Weekend Watch - October 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week, we are looking back at the films released in the month of October, recapping those of note that have a shot at making their way onto this blog’s list of Greatest Films of All Time, categorized by likelihood into three groups – Long Shots, Possible Things, and Sure Things. October has been the first month where we’ve really felt the impact of the film delays brought about by the SAG and WGA strikes that are happening because production studios refuse to pay fair wages and provide proper benefits to their employees, bringing an abbreviated slate of films but a decent one that has at least a few films worth seeing ASAP and others worth keeping an eye on. Let’s get into it.

Long Shots:

Totally Killer: Amazon’s time travel slasher kicked the month off with a bit of a bang in the real of horror, leaning into the self-aware tropes that has permeated the subgenre of late with decent success. It’s probably not going to win any awards, but it’s always nice to have another decently solid slasher to add to the yearly watch.

The Royal Hotel: The indie thriller about Americans backpacking through Australia, starring Julia Garner and Jessica Henwick, has all the makings of a cult classic. It’s done solidly with critics and has divided audiences. It’s flying far enough under the radar that I don’t expect to see it suddenly rising in any of its ratings or awards odds, but there’s always a chance.

Last Stop Larrimah: Max’s crime documentary about an Australian town of eleven residents has landed to some minor amount of buzz. It lives in an interesting niche that might do enough for it to gain some awards recognition later this year, which it will need to improve upon its currently just average audience reviews.

Fair Play: Netflix’s marital drama/thriller has been lurking on the edge of people’s list of anticipated films and long-shots for awards all year. Now that it’s here, the Phoebe Dynevor/Alden Ehrenreich vehicle looks to be a solid effort but probably not the streamer’s best bet of nabbing awards this year. The film’s exploration of gender roles and corporate America has left audiences somewhat divided so far.

When Evil Lurks: The Argentinian supernatural horror film released on AMC+ this past week and has been heralded as one of the best horror films of the year. Its critical and audience success should spell further hype as the year wraps up, but its nature as a horror film leaves it inevitably as a long shot to get any kind of boost.

Possible Things:

The Burial: Amazon’s based-on-a-true-story legal drama about corporate takeovers and funeral homes sparked a lot of buzz this month. Its star-studded cast that includes Jamie Foxx and Tommy Lee Jones should be enough to get people watching, and its story and themes have also managed to resonate solidly with audiences and critics. Keep an eye out for it to potentially spoil some campaigns in the coming months.

Anatomy of a Fall: The only reason I’m not putting this in sure things is France’s decision to not name it as their Best International Feature submission for the Academy Awards. Otherwise, this year’s Palme d’Or winner about a woman accused of murdering her husband has all the makings of being one of the best films of the year. It opened this past weekend near me, and I’m looking forward to seeing it soon.

The Pigeon Tunnel: Errol Morris’s latest documentary, this one about legendary novelist John le Carré found a home on Apple TV+ this month. The author’s final interview has the makings of being an all-time classic in the hands of the skilled documentarian, definitely one to keep an eye on.

Sure Things:

Killers of the Flower Moon: Martin Scorsese’s latest true crime epic has already struck majorly successful chords with audiences and critics alike, sitting solidly in the top-3 favorites to win this year’s best picture awards at most of the big shows. The highly necessary story helps put the film in a place of potential staying power as one that will be remembered for years to come.

Taylor Swift: The Eras Tour: Following hot on the heels of the remastered re-release of arguably the greatest concert film ever (Stop Making Sense), Taylor Swift released her concert film, which adapts her performance from the Los Angeles stop of her multi-million-dollar-grossing Eras Tour to massive box office returns and incredibly positive responses from audiences and critics. The high energy of the film and Taylor’s excellent capabilities as an entertainer make this one to catch on a very large screen if you can.

Weekend Watch - June 2023 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we are taking a look back at the month of June, making note of the films worth keeping an eye on that got a wide release in the U.S. in its thirty days. June has been a fairly disappointing month as of late, giving us such heaters as Hustle, Eurovision Song Contest: The Legend of Fire Saga, Luca, and Toy Story 4 – none of them bad films, but none truly in contention for the best films of their respective years. This June was different, giving audiences three really solid films (two all-time greats) in the midst of all the mediocrity. You have to go back to June of 2014 with the release of Edge of Tomorrow, How to Train Your Dragon 2, 22 Jump Street, and The Fault in Our Stars to get a June with this much heat all in one month. As always with recaps, we’ll be breaking the films into three categories – Sure Things, Possible Things, and Long Shots. Let’s get into it.

Long Shots:

Elemental: While it certainly wasn’t the worst animated release of the month, it wasn’t in the top two as it marked another drop in consistency for Pixar. It’s difficult to see such a well-intentioned film do so poorly, but it seems that audiences and critics agree that it just doesn't have that classic Pixar magic that endears the story to its viewers. It could still luck out with some success after its streaming release, so keep an eye on it.

The Flash: Another of June’s disappointing blockbusters was DC’s Flash movie. It leans so heavily on nostalgia that it makes audiences fairly happy but keeps critics low on the product due to its middling story. Some surprise visual effects nominations or a potential sudden surge in box office support could spell a bit more success, but I’d be surprised.

The Blackening: The horror comedy opened to higher reviews than most people anticipated, marking it as a sure thing for cult classic lists but still a long shot for much else. Its blend of genres don’t necessarily spell the success that it’ll need to see once awards start dropping to make it a true all-time great.

Extraction II: Chris Hemsworth’s action thriller sequel has proven to be an even bigger crowd-pleaser than his first. Netflix has found its niches in animation, romantic comedies, and movie star action thrillers (we’ll see if they can break into another when Rebel Moon drops later this year). Hemsworth’s sequel falls solidly into that third category, marking one of the streamer’s best offerings in the genre so far but probably still not an all-time great.

Asteroid City: Wes Anderson’s latest film has his fans buzzing, and that’s about it. It looks great and has his typical writing quirks that make him so popular in his lane. Unfortunately, wider audiences and critics haven’t been super high on this film, and with so many other well-produced films still to come this year, it’s believable that this’ll be left off most award nominations just like his last film (The French Dispatch).

No Hard Feelings: This film has done better than anyone gave it credit for, and that’s due purely to the two actors heading the thing up. Jennifer Lawrence and Andrew Barth Feldman have brought back the raunchy romantic comedy with a vengeance, keeping audiences laughing and critics happier than usual in such films. It’s still hard to see it making much more of a splash than this though.

Indiana Jones and the Dial of Destiny: The last of June’s disappointments came on its final weekend. It’s a fine action film but a half-hearted Indiana Jones film, and we’re left with a box office flop that sends the saga out with more of a whimper than a trumpet blast.

Possible Things:

Rock Hudson: All That Heaven Allowed: Max’s documentary about Rock Hudson and the contrast between his public ladies’ man persona and private LGBT+ lifestyle checks a lot of the boxes that the great documentaries do, but it happens to have released the same year as many other actor-centric documentaries also about relevant issues, so it’ll probably fall by the wayside even though it is pretty solid.

Nimona: I mentioned Netflix’s success in the animation department earlier, and this graphic novel adaptation is the perfect example. With a unique animation style, fun voice actors, and a quality story, this film marks itself as the current underdog to watch in the best animated movie of 2023 race (behind another June release that we’ll get to in a few minutes). Don’t let the other great animated film of this month be your only one of the year – give Nimona a shot as well.

Blue Jean: The British film about a closeted teacher under threat of being outed in the 1980s got its American release this month to a continuation of its success from across the pond. Critics and audiences have been solidly high on it. Unfortunately, this looks like a year with little room for much prolonged indie success, and that will probably be limited to just a couple of films that most likely won’t be this one. But it’s still better than most of the other June films, so keep an eye on it.

Sure Things:

Past Lives: Since its festival release earlier this year, Celine Song’s film about longing, immigrants, and memory has had people buzzing. With its theatrical release, that buzz has only grown, pleasing audiences and critics with its moving and realistic portrayal of its story. Song’s direction and writing and the performances have all garnered praise and will probably make some noise down the line as well (I’m rooting for a spouse showdown in the Original Screenplay category between Song and her husband Justin Kuritzkes who wrote the upcoming film Challengers, but we’ll see).

Spider-Man: Across the Spider-Verse: This film already looks to be the best animated film of the year, with some going so far as to call it the best animated film of all time and even calling for it to win this year’s Best Picture awards. The follow-up to Sony’s first Spider-Verse film has succeeded in living up to the hype, and I’m excited to see where it ends up.

Weekend Watch - Guillermo del Toro’s Pinocchio

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is Netflix Animation’s new Best Animated Feature frontrunner, Guillermo del Toro’s Pinocchio. The film is a reimagining of the classic tale, set in fascist Italy, done with stop-motion animation, and featuring the voice talents of Ewan McGregor, David Bradley, Gregory Mann, Ron Perlman, Finn Wolfhard, Christoph Waltz, Tilda Swinton, and a few others. The animated musical is now streaming on Netflix; let’s get into it.

Letter Grade: A-; the many reimagined elements of the story keep it fresh, and it has enough emotional weight to engage both children and adults.

Should you Watch This Film? I think so. The animation, del Toro’s direction, and the story itself make it a quality film, worth watching for most audiences (note: there are a few scenes that take on a bit of del Toro’s horror proclivities, so think of this more like Alice in Wonderland than Zootopia in terms of its kid-friendliness).

Why?

                Guillermo del Toro’s Pinocchio has been easily one of the most anticipated films of the year, particularly for fans of “real cinema” (awards bait films), and it lives up to that hype for the most part. It’s not going to win Best Picture or anything, but the argument against this winning Best Animated Feature is going to be very hard to get across (apparently the Puss in Boots sequel bangs though, so I might have to eat my words in a couple of weeks). The film’s animation style, its reimagined story elements, and the story as a whole go a long way in making the film one of the best of 2022.

                Mark Gustafson’s animation direction is gorgeous to look at, bringing del Toro’s vision to life with rich textures, expressive characters, and scenes chock full of minute details to hold the audience’s attention. His most famous other work is Fantastic Mr. Fox, Wes Anderson’s first stop-motion film, which is also phenomenal and animated with similar excellence. In Pinocchio, Gustafson has created for del Toro a world that is equally fantastic and realistic, reminiscent of the production design of two of the prolific director’s greatest films – The Shape of Water and Pan’s Labyrinth. It feels grounded enough to give the story a sense of realism but also fantastical enough to take the audience into another world just adjacent to ours.

                Gustafson’s animation allows del Toro’s reimagining of the classic tale to really work well. The film contains most of the story beats of the classic book and Disney’s animated adaptation but with a totally different brand of execution. Geppetto makes a boy out of wood who is then brought to life by a fantastical blue creature. The boy then gets involved with a circus, Count Volpe, and a boy named Candlestick before being swallowed by a large sea creature along with his father and then escaping out of its blowhole. Those surface-level similarities are where the parallels end. Del Toro has chosen to set his Pinocchio in fascist Italy, a choice that allows him to craft yet another beautiful, anti-fascist story of dark childlike wonderment. The characters and backstory are a bit more fleshed out than in the Disney version, and the moral of the story is not the basic (and a bit overdone) “Children, obey your parents.” Guillermo del Toro’s Pinocchio engages with a far deeper theme – what it means to be a “real boy” and how society treats its children. It is a film that is made not just for the children who will watch it and enjoy the whimsical animation and the funny songs and Ewan McGregor’s lighthearted narration but also for the parents who will watch it with their children and be drawn into a story about parenting and the treatment of children and the ills of fascism and the importance of childlike wonderment – I should point out here, that the film is trying to do a lot, and only the most important themes of the film really get fleshed out while the others feel a bit more like hints of spice to keep the audience guessing.

                One of the only other major drawbacks of this new take on the story is that, with its extra story beats, it has extended its runtime to nearly two hours, making it one that might be more difficult to watch with smaller children. I do think that the animation, the songs, and the characters should be enough to keep them engrossed for most of it though. I also think that even people (like myself) without children will be able to find plenty to enjoy here. Guillermo del Toro’s Pinocchio is an excellent animated feature for anyone who takes the time to watch it, presenting the classic story in a new way that presents an entirely new and arguably more important message for a new generation of movie watchers, though perhaps in an overlong format.

Weekend Watch - Black Panther: Wakanda Forever

                Welcome back to the Weekend Watch where, each week, we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Black Panther: Wakanda Forever, the follow-up to 2018’s wildly successful Black Panther. This film stars Letitia Wright, Lupita Nyong’o, Danai Gurira, Winston Duke, Angela Bassett, Tenoch Huerta, Martin Freeman, and Dominique Thorne in what is easily one of Marvel’s best outings since the end of Phase 3 (Endgame and Far from Home). Let’s get into it.

Letter Grade: A-; the overall feel of the film is great, even if there are some minor flaws.

Should you Watch This Film? Yes, and do it in a theater if you are able. It looks and feels great, and I don’t think you’ll be disappointed, even if you didn’t love the first one.

Why?

                Wakanda Forever is a culturally and emotionally rich film, paying beautiful tribute to the passing of Black Panther actor Chadwick Boseman, while also giving its ensemble of characters plenty of space to establish themselves as the new players in the MCU. Its runtime can be a bit daunting at 2 hours and 41 minutes, but it fills its time well and never seems to drag. It paces itself well, bouncing back and forth between scenes of mourning, action sequences, introductions of new characters, and scenes of plot development, keeping its audience engaged in each with gorgeous cinematography, quality acting, a brilliant score, engaging characters, and fun action sequences. Visually, aside from some minor CGI issues here and there, this film is as stunning, if not more so, as its award-winning predecessor, showcasing director Ryan Coogler’s capabilities as a director on an even greater scale.

                The performances that go along with the visuals go a long way in making this film as great as it is. Most of them are not giving anything awards-worthy, but they play their roles well and make the characters come to life. Letitia Wright gives a performance that makes the character of Shuri legitimately likable with emotional depth and reasoning behind her decisions. Tenoch Huerta plays Namor with all the charisma, power, and even menace that the character requires. Even Danai Gurira and Lupita Nyong’o bring real character to their portrayals in a way that some MCU side characters don’t always get. Dominique Thorne as the newly introduced Riri Williams might be the film’s low point in its acting, though not for lack of trying. Her character feels a bit more shoehorned in, and so her performance feels out of place and gets a bit lost at times, but her potential is definitely there. The film’s best performance comes in the form of Angela Bassett as Queen Ramonda. She dominates the screen every time she is on it, bringing a new weight to the character as a mother in mourning for her family who also happens to be queen of one of the most powerful nations in the world – it’s a brilliant performance that rightfully has been receiving some fringe-level awards buzz.

                Through all of its length and characters, Wakanda Forever’s through line is an engagement with the concept of mourning, which allows the film to serve as a tribute to the late Chadwick Boseman in the process. I was not sure how the actor’s tragic passing would impact this sequel going in, but having seen the film, I can say with surety that the filmmakers and performers pay homage to the actor and his character in a way that is both moving and true to the film’s story, weaving Shuri’s, Ramonda’s, and Nakia’s grief into the fabric of the narrative, celebrating Chadwick’s/T’Challa’s life without dwelling too heavily on his death. The film moves its audience, giving them the opportunity to mourn as well while looking forward to the next phase of the Black Panther saga – waiting to introduce a new figure to the costume until everyone has reached something close to acceptance.

                Wakanda Forever shines in this new phase of the MCU thanks to some of the best acting Marvel has yet produced, an engaging story that pays tribute to the past and looks forward to the future, and excellent technical work on the part of Coogler and the rest of the production team, all of which far outweigh the film’s perhaps excessive runtime caused by some mildly unnecessary additions to the plot. This currently sits in my top five films of the year. I anticipate some of the more “film-y” films to knock it out by the time it’s all said and done, but this was a phenomenal time. Go see it if you have the opportunity.

Weekend Watch - October 2022 Recap

                Welcome back to the Weekend Watch where, each week, we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, we’re looking back at the month of October and its many film releases. In these recaps, we highlight the films that have some chance at making it onto this blog’s list of Greatest Films of All Time in three different categories – long shots, possible things, and sure things. This past month, we started easing back into the awards season, getting a few films that will go down as truly great alongside some streaming sleeper hits and the classic October offerings of new horror releases. Let’s get into it.

Long Shots:

Wendell and Wild: Netflix’s stop-motion film from Henry Selick and Key and Peele had a lot of people excited going into October. Reviews since its release have been a bit underwhelming and its ratings are continuing to decline, but it’s worth keeping an eye on as a long shot if nothing else.

Terrifier 2: This horror sequel has kept fans of the first film happy and has elicited some legendary audience reactions already. Its nature as a horror film and a sequel will undoubtedly keep it out of any major conversation in the coming months of awards season, but this one merits mentioning simply for its shock factor and faithful follow-up to the original.

To Leslie: This indie drama about a former lottery starring Allison Janney and Andrea Risborough is based on a true story and has done well among critics in its limited release. It will most likely fly under most people’s radars and remain as a cult hit only, but it’s worth keeping an eye on.

Catherine Called Birdy: Amazon Prime Video’s genre-breaking period film from Lena Dunham starring Bella Ramsey of Game of Thrones and The Last of Us fame has done decently with critics and has audiences giving mixed responses (mostly due to its feminist message and Dunham’s questionably problematic nature). It’s worth checking out and remains a long shot for now.

Stars at Noon: Claire Denis’s latest work hasn’t wowed audiences or critics like some of her past works, but the romantic thriller starring Margaret Qualley and Joe Alwyn remains a long shot simply for its name recognition and star power.

The Good Nurse: Netflix’s chilling based-on-a-true-story film starring Jessica Chastain and Eddie Redmayne is very much a vehicle for strong performances from both actors. Its mixed reviews will probably keep it from rising much beyond a bubble awards film, but on the off chance that it makes a solid push, we’ll mention it here.

Call Jane: Yet another film this year on the topic of abortion throws its hat into the ring. This one is set in the U.S. before Roe and stars Elizabeth Banks and Sigourney Weaver in a film based on the true story of an underground group of women who sought to provide safe abortions in the late 1960s. It hasn’t gotten the most solid reviews, but its topical nature keeps it in the conversation.

Possible Things:

Triangle of Sadness: The Palme d’Or winner from Cannes this year finally got its theatrical release in the U.S. this past month. So far, its reviews have been tracking with those it received at festivals, keeping fans happy with Reuben Östlund’s work and critics mixed on the over-the-top nature of the film’s absurdities. Past success at festivals indicates this one will be worth keeping an eye on as award season ramps up in the coming months.

All Quiet on the Western Front: Edward Berger’s remake of the classic film has already been announced World War I film’s overwhelmingly positive reviews seem to indicate that it will be a frontrunner in that category and even a fringe possibility for Best Picture votes – definitely worth checking out on Netflix if you haven’t already.

The Redeem Team: The Netflix documentary about the 2008 U.S. Men’s Olympic basketball team has found success with both fans and critics. It exists in a fairly safe space among documentaries, focusing on well-known celebrities and a popular sport and could get the awards buzz needed to elevate it to a more permanent place among those docs.

Emily: Frances O’Connor’s Emily Brontë biopic/romance has kept its small audiences happy since its release in the middle of this past month. Emma Mackey has received praise for her portrayal of the titular character, and it’s definitely a film worth finding if you can in the coming months.

Till: The film portrayal of the tragic story of Emmett Till and his mother’s quest to get justice for her son has quickly risen to prominence as a vehicle for a career-defining performance from Danielle Deadwyler. Its historical depictions and modern relevance keeps it very much in the conversation going into awards season and beyond.

Decision to Leave: Park Chan-wook’s mystery/romance that released in the U.S. this past month was at one point the frontrunner in the Best International Film race but has slowed in momentum somewhat. Nevertheless, the film continues to wow audiences, consistent with Park’s other works and the films of South Korea from the past few years. Even if it gets no awards love, this will still be worth catching if you can.

All That Breathes: This documentary about two brothers seeking to ensure the survival of the Black Kite amidst the environmental struggles of Delhi has quickly risen to prominence among critics and some fans as well. The film’s very relevant messages about pollution and environmentalism make it a prime option for awards going into the season. This’ll be worth checking out when it hits streaming for sure.

Sure Things:

Tár: Todd Field’s film about the prolific composer-conductor Lydia Tár has audiences and critics alike thrilled with its filmmaking and acting. Cate Blanchett’s leading performance has her sitting at the top of most people’s best actress lists this year, and the film’s high-quality editing and unique pacing leave it as an unquestionably great film that will no doubt be discussed for years to come.

The Banshees of Inisherin: Martin McDonagh is back at it with the dynamic duo of Colin Farrell and Brendan Gleeson in this dark comedy about two friends who have fallen out of friendship on a small Irish island. The film’s beautiful location shooting, excellent acting, and well-balanced script have all been praised by fans and critics alike. Most of McDonagh’s works shouldn’t be skipped, but this has the potential to be his greatest film to date, potentially securing first-time Oscar nominations for all four of its leading performers.

Weekend Watch - Wendell and Wild

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s subject, as voted by the blog’s Instagram followers, is Netflix’s latest stop-motion animated film Wendell and Wild. The film features the voice talents of Lyric Ross, Keegan-Michael Key, Jordan Peele, Angela Bassett, James Hong, Sam Zelaya, and Ving Rhames. It tells the story of Kat, an orphaned girl who makes a deal with two demons (Wendell and Wild) to bring them to the world of the living in exchange for her parents’ resurrection. It’s an interesting film that has been getting some awards buzz in recent days, so let’s get into it.

Letter Grade: C+, there’s a lot to like here, but it ends up being a little underwhelming.

Should you Watch This Film? If stop-motion animation or films about the prison industrial complex are your particular cup of tea, this film is for you. Otherwise, there’s not a ton to write home about.

Why?

                Wendell and Wild is an animated film that has both style and substance but is lacking in the department that brings those two elements together – its story. For starters, there are a lot of fun things going on in the animation department. The colors, the textures, the movements, and the sets all look great and craft a really fun world for the film to explore, both in the underworld and on the surface. Fans of the stop-motion style of animation who enjoy finding the little details in each shot will be rewarded with plenty of easter eggs to keep them happy on multiple rewatches. The film’s overall message and themes are surprisingly heavy, dealing with issues of privatized prisons, coping with the death of loved ones, and the evolving role of parents in the lives of their children. By the end of the film, I was able to say that I agreed with the film’s message and that it felt fairly relevant. Unfortunately, the film’s story does not have a whole lot going for it to make the delivery of its message feel worthwhile. The plot progresses via convenient development after convenient development with few of the film’s conflicts providing any kind of actual issue for the film’s protagonist and her friends. In addition, Kat, the protagonist, ends up being one of the film’s least compelling characters. She is the archetypal troubled teen, lacking in much complexity aside from some very questionable decision-making skills. Wendell and Wild also fail to live up to the typical charm of Key and Peele, ending up feeling more like childish caricatures than fully fleshed-out characters. The film’s most compelling character and its high point, in my opinion, is Kat’s friend Raoul. Raoul’s hesitancy to trust the demons and drive to help his mother discover the culprits that ruined their hometown serves to make him the film’s most interesting character with ties to both Kat’s present and her past and his own story of seeking acceptance within their school community. At the end of the day, Wendell and Wild’s weak story detracts from its stellar animation and resonant message to create a film that is somewhat underwhelming, bolstered only by its more compelling side characters. This film is currently streaming on Netflix, so if you need an okay spooky season watch in the next couple of days, check it out.

Weekend Watch - Black Adam

                Welcome back to the Weekend Watch, where each week, we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is the DC Universe’s latest feature film release, Black Adam. The film stars Dwayne Johnson as the titular antihero, with Pierce Brosnan, Aldis Hodge, Noah Centineo, Sarah Shahi, Quintessa Swindell, Marwan Kenzari, Bodhi Sabongui, and Mohammed Amer in supporting roles. The film follows the return of Black Adam to Earth after years of exile and his conflict with other heroes and villains as he works to keep his homeland truly free. Let’s get into it.

Letter Grade: C, this film is fine, definitely nothing to write home about.

Should you Watch This Film? If you really want to see Dwayne Johnson playing himself again but with flying and lightning powers or are a fan of Aldis Hodge or Pierce Brosnan, this is probably a solid film for you.

Why?

                Black Adam’s action sequences are its crowning achievement, showcasing a solid mix of slo-mo shots, brutal kills, and decent visual effects. Black Adam, Hawkman, Dr. Fate, Atom Smasher, and Cyclone are all given moments to shine in the various sequences in typically thrilling ways. Unfortunately, after their introductory fight scenes, the action doesn’t really try anything overly daring, becoming quickly repetitive. The dialogue doesn’t do a whole lot either, offering a few quippy one-liners and a plethora of dry exposition with not many truly emotional beats. Dwayne Johnson gets to be his same charismatic self, if a bit more one-note here because most of the humor comes from other sources. The film’s story is pretty basic with a few plot twists that would’ve been so much better if they hadn’t already been given away in the film’s virtually unavoidable marketing campaign. I really feel like if I had seen none of the film’s trailers that I would have enjoyed the twists and the film would be getting better reviews right now. As it stands, the fun aspects of new characters, Dwayne Johnson, and solid action moments often end up overshadowed by a spoiled plot that wasn’t even that complex to begin with and writing that focuses a little too much on exposition and not enough on actual character development. I am guardedly excited to see what they do with this character and the supporting cast in the future. Noah Centineo’s Atom Smasher was a really fun addition to the film, and he could bring a lot to another team-up film. Pierce Brosnan’s Dr. Fate was arguably the coolest and most interesting aspect of the film, but even he isn’t given enough screentime to really connect deeply with his character, and if we’re being honest, the moments without Black Adam on screen were pretty consistently the best parts of the film. The coolest moment Black Adam gets comes not during the film’s run-time but in a post credits scene where we get some actual insight into how he is going to fit in the wider DC Universe going forward. Overall, Black Adam has a lot of potential, but left so much on the table and underdelivered on so much that it can’t be called much more than an average superhero film, on par with X-Men: First Class or Batman Forever. This film is currently showing in theaters if you want to go check it out.

Weekend Watch - Amsterdam

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, as voted by the blog’s Instagram followers, the topic is David O. Russell’s historical whodunnit that had its wide theatrical release yesterday, Amsterdam. The film stars Christian Bale, John David Washington, and Margot Robbie as three friends in the 1930s who are framed for murder and in the process of clearing their names uncover a much larger plot involving the U.S. government (which did really happen). They are supported in the film by a wide cast of characters played by the likes of Robert De Niro, Anya Taylor Joy, Raimi Malek, Taylor Swift, Chris Rock, Zoe Saldana, Mike Myers, Timothy Oliphant, and Michael Shannon. Let’s get into it.

Letter Grade: D+, somewhere in here, there’s something good, but it’s hard to get at.

Should you Watch This Film? I have no reason to recommend you see this in theaters unless you’re incredibly bored, have money to blow, and have seen 70% of the other films currently showing in theaters. Once it’s streaming, maybe.

Why?

                Amsterdam is a conglomeration of strong and weak pieces that somehow ends up weaker than any of the parts on their own. The film’s strengths – strong acting, good comedy, a relevant message, and decently interesting piece of American history – fail to coalesce with its weaknesses – uneven pacing, odd writing, unnecessary rabbit trails, and a preachiness that comes close to putting Don’t Look Up to shame – and the film ends up being one big disappointment, considering the general skill of director David O. Russell and the many actors involved in the film. The clunkiness of the script is almost overcome by Bale’s and Robbie’s skill at fully committing to whatever role they are asked to play, but even Washington’s cool factor cannot quite mask the awkward stringing-together of deep one liners that is this film’s script. (It often sounds like the Tumblr equivalent of the Star Wars Prequels with the amount of talking past each other that the characters are asked to do here.) The moments of comedy sprinkled through the film are its true highlights, as the actors and script break away from the usual awkwardness and allow the audience to embrace their funnier side. In particular, Anya Taylor Joy shines in a much lighter supporting role than I have yet seen her play, bringing some much-needed comic relief to the scenes she participates in. Ultimately, I think the film’s true failing lies in forgetting who its audience is. The take-home message of the film, while relevant, is very nearly force-fed to its audience in the third act. Though I agree with the statements about the corrupt nature of the moneyed elites and the dangers of using a demagogue to persuade patriotic, but easily manipulated, veterans to undermine the democratic processes of America (or any Western democracy), I feel like most people seeing this film share those sentiments and don’t need such a heavy-handed delivery as the filmmakers bring to this film’s message. Also, people who don’t agree and do see this film probably won’t change their minds because of the use of Nazis, which will cause them to miss the whole point. In the end, Amsterdam is a poorly crafted mix of good actors, decently funny moments, and a relevant message with weak scripting, pacing that doesn’t quite make sense, and a preachiness that only serves to frustrate rather than persuade its audience. Check it out if you want to, but don’t tell them I sent you.

Weekend Watch - September 2022 Recap

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a review and recommendation. This weekend, we have come to the end of another month, and it’s time to recap all the movies worth watching that released this month, categorized by their likelihood of making it onto the blog’s list of Greatest Films of All Time. In terms of quality, September was a mild step up from the summer months, even if its box office returns were quite weak (the lowest September in almost 30 years, excluding 2020, was what I saw). There is one film worthy of the Sure Things categorization (though I might still be wrong), a few in the Possible Things, and a number in the Long Shots. Let’s take a look.

Long Shots:

God’s Country: Thandiwe Newton stars in this indie thriller that originally released at Sundance earlier this year before its limited theatrical release this past month. Critics seem to like this film slightly more than audiences, and it hasn’t drummed up a ton of buzz on any awards radars, but her acting chops and an 89% on Rotten Tomatoes keep this one on the edge.

Mija: Disney’s documentary about the children of undocumented immigrants working to make it in the American music industry has flown under the radar. So far, though, it has garnered positive responses from the few people who have seen it. It’s nature as a streaming documentary keeps it as a long shot, despite its decently high Rotten Tomatoes score, Metacritic score, and IMDB rating.

Riotsville, U.S.A.: This documentary about the militarization of America’s police force at the end of the 1960s finally received a limited theatrical release this month. Its divisive subject matter, critiquing the overt aggression of American police is bound to keep its fan reviews mixed, but its critic ratings are high, and it could garner some awards attention in the coming months.

A Jazzman’s Blues: Tyler Perry’s latest film, a period piece about an unsolved murder and the lives of black and white families in the early 1900s, has received surprisingly positive reviews, given his recent track record. The Netflix release probably won’t garner much more than this, but it’s still worth noting.

Blonde: Andrew Dominik’s fictional Marilyn Monroe biopic dropped this past week, and it has been divisive to say the least. Dominik’s vision seems to have come through strongly, but critics and audiences alike are divided on whether his vision is a good one. The one thing people can agree on is Ana de Armas’s strong performance, which keeps this film’s hopes alive but just barely.

Confess, Fletch: This soft reboot of the “Fletch” franchise, which was made famous by Chevy Chase, seems to be doing well enough with audiences and critics to warrant mentioning. Jon Hamm’s comedic chops are on full display, and it keeps this film a long shot.

Do Revenge: Netflix’s gen-z high school revenge comedy has been a surprise hit among certain audiences. Its teen-centric nature leaves it less than popular among “the olds”, but its success among younger viewers keeps it worth mentioning. Maya Hawke and Camila Mendes put on really fun performances in this one.

Don’t Worry Darling: The off-screen antics of this one are obviously the big draw for Olivia Wilde’s new film. Its just-okay script has kept the film from getting better reviews. Florence Pugh’s strong acting carries this film and keeps it worth mentioning here as a long shot.

Smile: This gruesome horror film about a doctor haunted by a smile released this week to comparatively positive reviews for a movie in that genre. I don’t see it going much farther than its 74% Tomatometer score and 82% audience rating, but it seems like a solid hit for fans of the genre.

Possible Things:

Barbarian: I already talked at length about this one in a previous Weekend Watch but suffice it to say that this wild horror film was such a pleasant surprise that it has worked its way into a possible Greatest Film of All Time. Solid performances, interesting horror, and surprises throughout have made this film the surprise hit of September.

Pearl: Not to be outdone, the prequel to Ti West’s X from earlier this year has been another solid outing in the horror genre from September. Mia Goth’s performance has critics and audiences buzzing, and the film even garnered a personal shoutout and high praise from the Martin Scorsese, one of the greatest directors to ever do it. Combined with high critic and audience scores across the board, it’s easy to see this one’s potential to make it on the list.

The Woman King: Apart from some review bombing on IMDB (a consistent problem for films featuring women, minorities, and members of the LGBT community in recent history that they need to fix ASAP), Viola Davis’s action film about the female warriors of the Dahomey has received consistent praise, covering its historical fiction well. The plethora of woman-led films releasing this year will most likely keep Davis out of any awards races, but her name recognition might launch this film even higher.

Argentina, 1985: This Spanish language film that released on Amazon Prime Video this past week has only been watched by a few viewers so far, but their responses have been overwhelmingly positive. The 95% (uncertified) Tomatometer score and 100% (with fewer than 50 ratings) audience score show that this is a film worth keeping an eye on moving forward, covering the prosecution of Argentina’s fascist regime in the 1980s (a topical hit).

Bros: The first romantic comedy from a major film studio to center around a gay couple has released, and so far, the reviews are positive. Billy Eichner is already generating buzz from the Golden Globes, and the film could even receive some nominations for its writing. This groundbreaking film is definitely one to keep an eye on going forward.

Sure Things:

Moonage Daydream: This cinematic experience of a documentary about David Bowie’s creative and musical journey has wowed audiences consistently since its original release at Cannes earlier this year and more recently in its theatrical and IMAX release this past month. The documentary is sanctioned by the Bowie estate and showcases some amazing visuals alongside a fascinating look at the iconic musical artist. Already, its scores are high enough to put it on this list, and the potential for more awards love going forward means that everything is looking up for this particular documentary.

Weekend Watch - Don’t Worry Darling

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a rating and review. This week’s topic, as voted by the blog’s Instagram followers, is Olivia Wilde’s newest film, Don’t Worry Darling, starring Wilde, Florence Pugh, Harry Styles, and Chris Pine among others. This psychological thriller had its wide release yesterday after opening with poor to mixed reviews at festivals earlier this month. The drama surrounding the film’s publicity and release has perhaps become bigger than the film itself, as media outlets have been discussing beef between the director Wilde and her lead, Pugh, as well as footage of Harry Styles possibly spitting in Chris Pine’s lap at the film’s premiere. It’s been a crazy time, but I’m gonna focus on the film itself in this review from here on. Let’s get into it.

Letter Grade: C; this film is much better than its review numbers might indicate, but it’s by no means perfect or even great.

Should you Watch This Film? If you’re interested in seeing it, I won’t dissuade you from doing so. It was a fairly enjoyable theater experience and looks great on the big screen. If you weren’t interested, there’s not much here to suggest you should though.

Why?

                I want to start out by saying that Don’t Worry Darling is a film that looks great. From its cast to its production design to its costuming to most of its cinematography, the film is beautifully done, and Olivia Wilde’s skill as a director carries over from her success in Booksmart. The film’s idyllic 50’s-esque setting works well at slipping the audience into an equal sense of comfort and unease depending on the scene, which plays well with the film’s more psychological nature. It is also beautifully acted from its leads. Olivia Wilde’s performance as Bunny, the neighbor/friend of Florence Pugh’s Alice, is a solid reminder of her multiple talents, showcasing a depth of emotion and passion beyond what some might have brought to the role. Chris Pine as the mysterious leader of the community, Frank, brings all of his charisma to bear in what is a truly menacing role as the film’s antagonist, absolutely working it from start to finish. Obviously, Florence Pugh’s performance carries the film. Her ability to take any role and make it the central one of all of her scenes shines here as the true lead, something we haven’t really seen her take on since Midsommar back in 2019. Her emotionally fraught performance is the biggest highlight of this film and makes it much easier to overlook some of the worse aspects of the film. Speaking of worse aspects, many have criticized Harry Styles’s performance as Alice’s husband, Jack, saying it’s weak or phoned-in and saying it would’ve been better had Shia LeBeouf not been cut from the role. Without speaking to the Shia piece, I feel like Styles brings a solid performance to the table, especially in the film’s otherwise weak third act, which I won’t spoil here. It’s not the best by any stretch of the imagination, but he does what needs to be done to allow Florence to shine in her role, which is probably better anyway – Frank isn’t a character that should be stealing scenes. The film’s true weakness – and the reason it’s not getting glowing reviews – lies in its story. The first two acts do a phenomenal job setting up a fascinating psychological thriller, albeit with a few forgivable plot holes. Unfortunately, it fails to stick the landing with weak reveals and a plethora of unresolved conflicts in the third act. While I appreciate the commitment to not giving the audience everything with the ending, there is so much that is left out on the table by the time the credits roll that it feels more dissatisfying than a J.J. Abrams series finale/third act/final film. With so much greatness packed into its first two acts, the conclusion takes too much wind out of the film’s sails and leaves its audience at least a little bit disappointed. Also, if you’ve watched other films with similar plot twists, the film’s reveal might feel not just unearned but also derivative, as it did for my wife who called it before we even got to the theater. Strong performances, beautiful filmmaking, and a solid first two acts don’t do quite enough to cover all of the flaws in Don’t Worry Darling’s incredibly messy third act. Fans of Wilde, Pine, Pugh, and Styles will not be entirely disappointed with the film, nor will people looking for excellent production design. Unfortunately, the film’s story falls short of getting a glowing recommendation. If you want to see this film, I recommend seeing it in theaters. If you don’t want to see this film, I’ll say you’re probably okay missing it.

Weekend Watch - Barbarian

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendation. This week’s topic is the surprise hit horror film that dropped last weekend, Barbarian, starring Georgina Campbell, Bill Skarsgård, and Justin Long. The film is about two people who have unintentionally double-booked an Airbnb and then discover some surprising secrets in the house’s basement. Since its release, it has taken critics and audiences by storm, surprising most viewers with a remarkably original story and take on the genre. Let’s get into it.

Letter Grade: B+; the film’s originality and willingness to bend the mold doesn’t mean that it has fully broken out of some of the more predictable tropes of horror films.

Should you Watch This Film? If you are looking for a new horror film as spooky season approaches, this is one of the better ones out right now for sure.

Why?

                Like most fans and critics have already said, Barbarian succeeds at holding its audience’s attention with some of the most surprising twists and turns in recent horror history, creating a refreshingly original experience in the process. What starts out as a fairly straightforward stranger danger horror flick soon morphs into something much more interesting than that initial premise. The film’s blend of suburban horror and social satire comes through in a way that never feels derivative of anything else. The biggest issue most people will have watching this film will be with some of the wild choices made by the film’s protagonists, which is true of most horror films, but which also works to set up some of the better parts of the film, including its quick and stressful climax. For horror acting, the leads – Georgina Campbell, Bill Skarsgård, and Justin Long – overdeliver in their performances, doing work that is rarely surpassed within the genre, at least in films with comparable budgets. Campbell’s idealistic Tess makes a solid “final girl” that the audience can easily root for even through her many questionable decisions. Skarsgård’s enigmatic Keith works well in the role marked out for him, walking the line between dangerous villain or lovable sidekick as the audience gets to know him (his past role as Pennywise in the It films probably lent a lot to his character’s ambiguity as well, solid casting choice). Long’s problematic and troubled AJ serves as a great foil for Tess and solid comedic relief when needed as well. Honestly, each of them delivers perfectly on what the script asks of them, and it’s a very impressive outing from the trio. The fun originality of Barbarian’s disjointed story pairs with some solid acting from its leads to create one of the biggest surprise hits of the year. Check it out in theaters if you get the opportunity.

Weekend Watch - August 2022 Recap

                Welcome back to the Weekend Watch, where each week we talk about a new piece of film or television media and give it a review and recommendation. We’ve come to the end of August, so it’s time to recap this past month’s movie releases. In a month full of television premieres, the film releases continued the trend set by June and July – mostly underwhelming with a few films that made a bit of a splash and have the potential to stick around among the Greatest Films of All Time. Again, there’s no sure things coming out of the month of August, but there were some films that were possible things and long shots to make that list. Let’s get into it.

Long Shots:

Resurrection: This Rebecca Hall-led film about a woman whose past comes back to haunt her has done well among critics and certain audiences. Unfortunately, its thriller/horror nature will probably keep it out of most awards conversations, which it will need to overcome its overall low audience scores. From what I’ve heard, this one is worth seeing, but it’s not necessarily one of the Greatest Films ever made.

Bodies Bodies Bodies: A24’s ensemble slasher for Gen-Z has seemingly become an immediate cult classic, dividing younger viewers and older viewers with its cast of young stars (and Lee Pace) and darkly comedic take on the slasher genre. Critics are high enough on this film to keep it in the conversation, but A24 is more likely to focus on building awards momentum for its other films (Everything Everywhere All at Once and Marcel the Shell with Shoes On), so don’t expect to see this one vaulting out of its cult status any time soon.

Dragon Ball Super: Super Hero: Films from anime series can be hit and miss. Recent history suggests that the new Dragon Ball film will continue to make money and build its ratings. For this film to stand out from the ranks of other similar films (like Demon Slayer’s film in 2020), it will need a little bit more traction than it probably will get. That being said, there is no doubt that this has been a solid fan-pleaser among the Dragon Ball faithful.

Breaking: The hostage, crime-thriller starring John Boyega has seemingly overperformed among audiences and critics, even drawing some love from the Academy’s Twitter account after its release. The film, based on a true story, also constitutes one of Michael Kenneth Williams’s last credits following his death last year. While Boyega’s performance looks strong, it’s hard to see this breaking out past all the other awards-bait films still to come this year.

The Good Boss: A Spanish dramedy about a boss seeking to get a good review for his company, this film had a limited release in the U.S. this month and seems to be doing decently well for itself. Javier Bardem is certainly the biggest draw for this film, and it looks to be a better film than his upcoming English-language release, Lyle, Lyle, Crocodile. With all the highly rated foreign films already this year, even from Spain, it’s hard to see this making a bigger splash though.

Possible Things:

Thirteen Lives: This film looks to be Amazon’s big awards film, but it also seems to have already disappeared into “the discourse”. It contains some big-name actors, is directed by Ron Howard, and tells a story that is currently popular. Its ratings say that it’ll hang around when nominations come out, but it’ll need a few to really stick around and get a review on the list.

Prey: Hulu’s surprise hit Predator prequel has been arguably the biggest film ever to go the streaming only route. Many fans are already disappointed that (so far) they won’t get to see this one in theaters. Boasting a unique take on the monster-flick, a strong female lead, and some stellar reviews so far, it’s not outside the realm of possibility to see this one sticking around among the Greats.

Emily the Criminal: Aubrey Plaza’s crime thriller about a woman whose credit card schemes take her deeper than she intended has opened to limited viewership but positive reviews. If the below-the-radar Sundance hit can make a few more waves, it’s possible that Roadside might try a long-shot awards push to elevate this film to greatness. Don’t sleep on Aubrey Plaza’s versatility.

Inu-oh: This self-proclaimed animated rock opera based on a novel by Hideo Furukawa has thus far had positive reviews from both fans and critics. Its GKIDS release studio is known for its distribution of many other great Japanese animated films in both recent and distant history. Telling a story about outcasts finding their way through music seems to speak to a potential for this one to make its way onto the stage at the Oscars this year – we’ll see.

Girl Picture: Alli Haapaslo’s romance film about young women looking to have a good time during the long darkness of Finland’s winter has taken critics and fans by storm. Its limited American release has brought it a solid Rotten Tomatoes and Metacritc score. This looks to be another Scandinavian film that flies under the radar but makes its way onto the list thanks to its ability to tell a unique story that western audiences can’t help but review positively.

Weekend Watch - Bullet Train

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television that recently released and give it a rating, review, and recommendation for watching. This week, as selected by the Instagram followers, we are taking a look at Bullet Train, the new action comedy from Deadpool 2 director David Leitch, starring Brad Pitt, Brian Tyree Henry, Aaron Taylor-Johnson, Joey King, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Logan Lerman, Bad Bunny, Zazie Beetz and Sandra Bullock. It’s a really good time, so let’s get into it.

Letter Grade: B, this film won’t win any awards, but that doesn’t make it unwatchable

Should you Watch This Film? Mostly yes, some younger viewers should maybe wait on this one, but it’s a good time otherwise.

Why?

                Bullet Train falls in the same category of film as basically every R-rated action comedy that has released since the year 2000. It’s got strong language, fast-paced witty dialogue, intense gory violence, and homages to other action genres – everything that Edgar Wright, Matthew Vaughn, and Guy Ritchie have seemingly perfected. Bullet Train has all of that in spades and does most of it in what can only be described as entertaining fashion. With all of that eye-popping action and aesthetic, the film’s story takes a major backseat. I don’t mean this as a knock against watching the film, just if you’re looking for “real cinema” or “a Film”, this is definitely not going to be what you are looking for – I honestly don’t know what the overall message was, and the plot twists weren’t overly surprising. At the same time, the rest of the film is great! The cast works perfectly with the quick dialogue and the action, delivering their witticisms and intimate action sequences with equal skill. Brian Tyree Henry and Aaron Taylor-Johnson’s duo is the highlight of the film, as both are incredible actors working in really fun roles. Their back and forth carries large portions of the film when the action briefly slows down. Joey King is perfectly cast as the villain (at least for me). She has the worst vibes of just about any actress I’ve ever seen, and that comes through well for the audience as she is tricking the different men of the film to do her dirty work for her – it’s like watching a less talented, younger Cersei Lannister go to work. Brad Pitt has all the charisma that you want from an action movie lead, but he also brings enough dad energy in his older age to make the hesitant killer act believable. Even Bad Bunny, Zazie Beetz, and Logan Lerman bring their own flair to the small roles that they have to play. Bad Bunny makes the most of his limited lines of dialogue by communicating most of his character with the facial expressions and body language of an actor well beyond his experience, and then he sells the action sequence with Brad Pitt just as naturally. Zazie Beetz works well in her brief, unhinged role bringing a combination of humor and menace to her four minutes of screen time. Lerman continues to distance himself from Percy Jackson, this time by playing the incredibly useless son of the White Death crime lord and being enough of a jerk to make his death feel warranted. All told, Bullet Train is a wildly well-cast action comedy that delivers on those two promises without much story to hold them up – worth the watch but not necessarily a place among the greatest films ever made.

Weekend Watch - June 2022 Recap

                Welcome back to the Weekend Watch where each week we react and review a new piece of film or television and give you a recommendation on whether to watch it. This week, we’ve come to the end of the month of June and have a recap of all the critically acclaimed films that released this past month. Usually, we break them down into three categories – long shots, possible things, and sure things – based on their likelihood of making it onto this site’s list of Greatest Films of All Time. June, as best as I can tell, has nothing that was a sure thing, which remains pretty par for the course for the month (basically since Wonder Woman). With that being said, there are a few films that should be on your radar because they have potential with the right push to reach the heights of Greatness.

Long Shots:

Watcher: This indie horror thriller about a woman and her husband on vacation in Europe across the street from a potential serial killer has had success among critics. Its small following and mixed audience reviews will most likely keep it out of the top 1000 films, but apparently its twists on the tropes of Rear Window and the like have some people excited enough to make it worth mentioning.

Crimes of the Future: David Cronenberg’s latest outing was highly successful at its Cannes release, but its extended standing ovation does not seem to be extended to its actual ratings. The film features strong performances from its supporting women (Lea Seydoux and Kristen Stewart) but also offers a reportedly weak commentary and fairly straightforward story. For Cronenberg fans, this is probably a must-see but not so much for everyone else.

Fire Island: LGBT+ Pride and Prejudice set in the modern day at a massive gathering of the community on Fire Island. It’s a highly ambitious film and works well as a fully sold-out romantic comedy/retelling of Jane Austen, which is why critics have been so high on it. Unfortunately, “the gays” get some mixed reviews from “the straights” and will probably not make much of a splash once the awards start coming, but I really enjoyed this one.

The Phantom of the Open: A golf comedy about the worst round in British Open history starring Mark Rylance sounds like just the type of wholesome comedy that I need in my life right now. Unfortunately, its reviews from critics and fans are just barely above the average level and not quite at greatness, but still, it remains a long shot because of what Rylance’s name brings to the table.

Hustle: The best film Adam Sandler has put out since Uncut Gems blends NBA drama with heartfelt family issues in what feels like the most honestly Sandler film that he’s put out in some time. It has solid reviews but none that are quite enough to get it over the hump, and for the most part, movies about team sports only make it onto the list if they are documentaries, so don’t expect to see a Hustle review any time soon, unfortunately.

Lightyear: The latest Pixar film has somehow managed to hit a sweet spot in terms of bad reviews – delivering gay content to bring “that” section of review bombers to the table alongside one of the least risky Pixar films in a while, alienating the real cinema people at the same time. This film is honestly only on the long shots list because of the studio behind it, otherwise it would not be worth mentioning, sadly.

The Black Phone: Honestly, this could probably be up in the next section if it wasn’t a horror film. This movie has all the people talking about it in a positive way. People love Ethan Hawke’s performance, they like the originality, and they like the horror. Unfortunately, that still only translates to a 65 Metacritic Score and an 84% on Rotten Tomatoes. Horror’s limited track record in awards season keeps this sadly as a long shot to make the list.

Wildhood: This indie coming-of-age film about two brothers looking for their mother and reconnecting with their indigenous heritage checks a lot of boxes in terms of its viability come awards season. Sadly, its fan reviews are ridiculously lopsided in comparison with those of critics, and its indie nature will probably keep it out of contention.

Mad God: A stop-motion horror film that took 20 years to make has critics buzzing and audiences frustrated. This refreshingly different addition to the genre of animation has not fared so well among fan ratings as it has among the critics, and with so many other animated features being released this year, it’s hard to imagine this winning the awards that it will need to make it onto the list.

Possible Things:

Good Luck to You, Leo Grande: This sex-positive film about a middle-aged widow who hires a sex worker to help her discover her sexuality, featuring Emma Thompson, has created quite a buzz in certain circles. It is a fairly simple film but heartfelt and incredibly well-acted, discussing themes that are rarely covered in any conversations, let alone film. Emma Thompson’s name attached also adds credibility come awards season, so we’ll see if it gets the push it needs to make it to the big time.

Official Competition: A Spanish comedy featuring Penélope Cruz and Antonio Banderas about making a film that will be one of the greatest ever. It is a satire about filmmaking, which tends to do well with awards voters. This should at least garner some looks in the Foreign Film categories and could potentially pull some acting nominations as well. With everything that it still needs to go right though, it will stay only as a possibility for now.

Cha Cha Real Smooth: Sundance success that gets bought by Apple TV+, where else have we seen this? Oh yeah, last year’s Best Picture winner CODA. This is not to say that Cha Cha Real Smooth brings everything to the table that CODA did, but the formula is certainly there – an indie film about a relevant issue (autism) that basically everyone cares about with some romance thrown in as well and a solid performance from an underappreciated actor (Dakota Johnson). I’m not saying that this is a sure thing, but it’s definitely a possibility.

The Janes: An incredibly timely HBO documentary about women who orchestrated safe abortions during the days before Roe v. Wade, this one has the makings of another Best Documentary Feature for the company. Due to its controversial subject matter, though, it will remain a possibility and not quite a sure thing just yet.

Elvis: Baz Luhrmann’s biopic of the King of Rock and Roll has released to stellar scores from audiences, above average ratings from critics, and just enough awards buzz to keep this one on the edge of being a possibility. Luhrmann has mixed success when it comes to awards, but young actors playing musicians tends to do well with awards voters, so Butler might bring home some nominations when the time comes.

Marcel the Shell with Shoes On: This wholesome film based on an early-2010s YouTube video would be a sure thing if it had a few more viewers. A24’s limited release model is keeping this one fairly low on the rating count, but those that it does have are consistently high. As more people see this one, I hope it continues to do well. I just don’t know that it will get any kind of awards love, and I’m not fully convinced that it’s something that will do well with wider audiences, so it’s going to stay a possibility for now.

Weekend Watch - Lightyear

                Welcome back to the Weekend Watch where we take a look at a new film or show that is out right now and give you a brief review and recommendation as to whether it necessitates watching. This week, we’ll be taking a look at Pixar’s latest outing based on existing I.P. Lightyear. It stars Chris Evans as the titular Buzz Lightyear and is apparently the film the toy in Toy Story is a product of. Let’s jump into it.

Letter Grade: B-/C+; it’s a solid kid’s sci-fi film, but not quite the fare of your typical Pixar

Should you Watch This Film? If you absolutely need something in theaters and have already seen Top Gun and Everything Everywhere All at Once and Doctor Strange and maybe even The Bad Guys, this is a solid other option, especially if you have kids.

Why?

                As a children’s film, sci-fi film, and action film, Lightyear is passable, bringing decent comedy, solid voice acting, and an interesting world to the big screen. Unfortunately, Lightyear fails to live up to the hype that most of its Pixar predecessors have created. Its simple messaging about the importance of teamwork overshadows its more complex and less overtly delivered message about letting go of the past and challenging the status quo in favor of progress. In doing so, Lightyear becomes much more akin to the Cars sequels or Brave or even The Good Dinosaur but perhaps also even less ambitious and more cash-grabby. Lightyear’s entertainment value is high enough to warrant watching, delivering a solid combination of laughs, suspense, action, and human connection that kept me watching it for its duration. At the same time, its simplicity and lack of ambition left me disappointed with Pixar. When I look at Pixar’s other offerings of the last couple of years – Onward, Soul, Luca, and Turning Red – I see films that champion unique causes and characters and stories from all over the globe and from all walks of life. I see films that connected with the children and adults in the audience in meaningful and emotional ways. With Lightyear, I felt none of that and left somewhat disappointed. That being said, I do not believe that the film is deserving of its currently incredibly low 5.0 IMDB score that it currently has. That is due primarily to bombing from certain circles that were unhappy with Buzz’s original commander being a lesbian, which a completely ridiculous reason to review bomb any film, but it’s happening right now so… Don’t go into Lightyear expecting Ratatouille or Coco, and you most likely will not be disappointed. I have little doubt that the children in your life will really have a good time with this one, and you won’t be completely frustrated with the time that you have spent watching this film. Check it out if you want, or wait for the Disney+ release in a couple of months if you’d rather.

Weekend Watch - Jurassic World: Dominion

                Welcome back to the Weekend Watch where each week we give a review and recommendation for a new piece of film or television media that came out recently. This week, we’ll be taking a look at the latest in the long line of dinosaur movies, Jurassic World: Dominion, supposedly the last film in the Jurassic franchise. I went and saw it on Thursday night and have some thoughts for you.

Letter Grade: C, I can’t in good conscience give this film anything higher

Should you Watch This Film? Probably, if you like a basic action film/summer blockbuster that has little to add to filmmaking other than a really good time.

Why?

                Jurassic World: Dominion is one of the most enjoyable messes that I have watched in quite some time. My immediate analysis of the film is that it is a workable combination of Bond action sequences, dinosaurs, and unused Star Wars sets packaged with a Jurassic World message of respecting the world we live in. The film’s story is incredibly thin, tying together the Jurassic World heroes with the heroes of the original Jurassic Park to create dollars and nostalgia, while at the same time focusing its character development on arguably the weakest character, Maisie, played by Isabella Sermon. The film’s new characters – Kayla Watts played by DeWanda Wise and Ramsay Cole played by Mamoudou Athie – are solid additions to the cast, each bringing something unique to the table, but the characters feel somewhat lost amid the already bloated cast, not to mention a new “villain”, the barely fleshed-out, Steve Jobs-esque Lewis Dodgson played by Campbell Scott. Even the film’s script struggles in some places, almost going meta by acknowledging a cringeworthy line delivered by Bryce Dallas Howard’s Claire toward the film’s beginning but then slipping back into the frustratingly predictable action film dialogue for its remainder. (Side note, I need to fight whoever was writing Kayla’s dialogue because every second of it felt like an old Millennial trying to sound like a Gen-Z-er or a white guy trying to sound like a black woman, either way, not great.) Jurassic World’s action sequences are its saving grace and why I can still recommend going to see it. Great dinosaur fights and chases provide the highlights of the film, but I wish there were more. The stretches of the human characters talking to each other with no dinosaurs on screen continue to be the Jurassic films’ weakness, trying to add too much of a not great story to a movie where a T-Rex and a Therizinosaurus fight a Giganotosaurus. All told, it’s a solid outing in the action department but needed even more of it to overcome a weak story and writing and make it great. It’s worth seeing on the big screen for those moments, but it might be better if you can find someone else to pay for your ticket.

Weekend Watch - May 2022 Recap

                Welcome back to the Weekend Watch, where each weekend we take a look at new movies and/or television that has recently come out and give recommendations on whether or not to watch. This weekend is May’s last Saturday, meaning we are going to be recapping the quality films that came out in the U.S. this month by categorizing them by their likelihood to make it into the blog’s list of Greatest Films of All Time. Just wanted to offer a quick reminder that the analysis is my own opinion, but the list and rankings are based on ratings from movie critics and fans, box office numbers, and awards. Without further ado, let’s take a look back at the month of May.

Long Shots:

The Duke: Technically, this film was released last year in the U.K. and received minimal BAFTA buzz, but it didn’t drop in the U.S. until this past month. All told, the Jim Broadbent led comedy about a taxi driver who steals a painting from the National Gallery in London sounds like a solid watch but is going to need a wild awards season push in the U.S. to break onto the list, and I just don’t see that happening. Watch it if you want, but don’t expect to see a review on this blog come next March.

Doctor Strange in the Multiverse of Madness: Marvel’s latest outing is incredibly fun, but also apparently fairly divisive amongst both fans and critics. Its mediocre Metacritic Score (60) and Letterboxd rating (3.4) seem likely to keep this film from adding to the ranks of superhero films that are part of the Greatest Films of All Time. Solid box office numbers and the potential for some technical awards keep it as a long shot as it currently stands.

Operation Mincemeat: Another British film that released somewhat later here in the U.S., Operation Mincemeat stars Matthew Macfayden and Colin Firth in a historical drama about a British espionage operation in World War II. My mom really enjoyed this movie, but that might have more to do with its stars than the actual content. It currently has middling scores, no theatrical release (only Netflix), and little awards buzz to help elevate its scores out of the 70s and onto the list.

On the Count of Three: This indie dark comedy about two friends planning a joint suicide attempt has struck a chord in the groups where it has been seen. A solid Tomatometer score (86%) has it Certified Fresh, and I haven’t seen anyone talking about it in a negative way. Unfortunately, its audience ratings aren’t quite high enough to elevate it to greatness, and its indie nature seems to be an indicator that we won’t be seeing its name up in lights come awards season.

Downton Abbey: A New Era: The second follow-up to the successful British television show appears to be even more well-loved than its predecessor. Critics and fans of the show alike have come out in favor of the film’s blend of newness and playing the hits. Outside of Downton Abbey fans, this hasn’t seemed to be quite as resonant, resulting in scores solidly in the 70s for the new sequel. A cast with a few names that pop up in awards season and the potential for costuming and production design awards keep it worth mentioning as a long shot.

Emergency: Amazon’s latest comedy/drama/thriller about college students who find a dead(?) body during the ultimate night of partying has opened on the Prime streaming service to some interesting ratings and reviews. Its scores on Rotten Tomatoes are surprisingly high, perhaps high enough to get it some writing buzz when awards season comes around. However, such an event is not the most likely, so it’ll stay as a long shot that you might should look into checking out if you have the service.

Chip ‘n Dale: Rescue Rangers: I talked about this film on here last week. It’s fun for the whole family and has a solid blend of Lonely Island and Disney humor. Unfortunately, such a combination rarely wins awards, and that’s what this one will need to elevate it out of the slightly above average category and into greatness.

A Chiara: An Italian film released by American studio NEON at Cannes this past week and with limited release in the U.S. It currently has limited reviews, but they are mostly positive. It follows the story of a 15-year-old girl whose family is abandoned by their father, an interesting premise that sounds awards-y. I haven’t heard a ton of buzz about it compared to some other Cannes releases, but its numbers make it worth noting, even if it is a long shot.

Memoria: This Tilda Swinton science fiction drama received a wider release in the U.S. this past month. It was submitted by Colombia for consideration in this past Oscars cycle but was not nominated. Critics seem to love this film, but fans have certainly not. Its 91 Metacritic score keeps it high enough to keep an eye on as more people see it and rate it, but its lack of awards success in the past makes it unlikely to succeed now.

Possible Things:

The Bob’s Burgers Movie: This film follows in the footsteps of the other animated adult comedy show turned into a movie (The Simpsons) in terms of its success. It looks to be receiving solid reviews, and the show is well-liked by many, so it’s not unimaginable that it could garner some heavy box office numbers and maybe even some animated feature nominations.

Sure Things:

Happening: A French film from 2021 that got its release in the U.S. this month, Happening tells the story of a woman’s experience with abortion when it was still illegal in France in the 1960s. Its aptly-timed release has given it a slew of positive ratings from both viewers and critics. A BAFTA nomination last year and potential for some Oscars buzz this year mean that it could rise very high on the list indeed.

Petite Maman: In the same vein as Happening, Petite Maman also released in the U.S. this past month after being made in France and receiving a BAFTA nomination. While its fan ratings are not quite as high, its critic ratings are even higher than its counterpart. It apparently is either very moving or way too slow for its own good depending on who you ask. At any rate, its scores mean that you will definitely be seeing this on the blog at some point in the future.

Top Gun: Maverick: The 35-years-later sequel to Top Gun is doing critical and box office numbers that its predecessor could only dream of, looking to open with around $150 million domestically this weekend with a 6-minute standing ovation at Cannes, a 97% Certified Fresh Rating on Rotten Tomatoes and currently sitting at 99th on IMDB’s list of highest rated movies of all time. This is May’s can’t miss film, with the potential to be the best film of the summer season (May to August). With all of its critical success, it’s hard to imagine it missing out on some Oscars buzz as well, come awards season.

Weekend Watch - Chip ‘n Dale: Rescue Rangers

                Welcome back to the Weekend Watch where each week we take a look at a new piece of entertainment media and give a brief review and basic recommendation for watching or skipping that show or film. This week, the topic of conversation is the new Disney+ film Chip ‘n Dale: Rescue Rangers, featuring the voice talents of Andy Samberg, John Mulaney, Will Arnett, Eric Bana, and J.K. Simmons and the live action actress KiKi Layne, directed by Hot Rod and Pop Star: Never Stop Never Stopping director Akiva Schaffer.

Letter Grade: B; fun family movie with a little bit for everyone

Should you Watch This Film? If you have kids and Disney+, absolutely; if you are feeling nostalgic and have Disney+, probably so; if you want some less raunchy Lonely Island-esque humor, yes

Why?

                Chip ‘n Dale: Rescue Rangers is a film that definitely feels like it knows its place in the world of entertainment pretty dang well. It’s not looking to be some awards-bait pseudo-children’s movie, but it works well as an elevated family movie. Akiva Schaffer and Andy Samberg working together means the comedy levels are going to hit for adults, kids, and all people in between, a sure sign of a family film worth watching. The film’s premise is really fun, playing off of the groundwork of films like Who Framed Roger Rabbit? and Space Jam, creating a world where every piece of entertainment media is actually portrayed by a real person, cartoon, puppet, Claymation figure, etc. This world creates an abundance of references in every single shot to keep the adults happy. Some of the bits might be a little more meta than the film as a whole. For example, ugly Sonic (yes, from the OG Sonic the Hedgehog trailer) makes a cameo at the beginning of the film (voiced by Tim Robinson of I Think You Should Leave) but then ends up being an important side character for the film’s third act, and I’m not convinced that I wanted to see that much of the failed Sonic animation. Seth Rogen also voices/plays a henchperson animated in the “uncanny valley style” like Polar Express, which again works as a brief bit when first introduced but breaks down the more he appears on-screen. Each bit of comedy plays on a combination of nostalgia and irreverence that works well in parody but sometimes fails to connect with the wider story. The story is a basic Chip and Dale mystery with cartoon characters going missing and being made into bootleg versions of themselves – the bootleg bit is really well done throughout the film and is actually very funny. The mystery is complemented by a story of friendship and reconnection between the two titular characters, which again helps elevate the film beyond just an hour and a half episode of the 90s television show. Overall, the family aspects of Chip ‘n Dale: Rescue Rangers combined with the irreverent comedy of Schaffer and Samberg make it into a solid, if at times over-the-top, Disney outing for their growing streaming service.

Weekend Watch - Doctor Strange in the Multiverse of Madness

                Welcome back to the Weekend Watch where, this week, I’m gonna give you the rundown on whether or not you should go see Marvel’s latest film – Doctor Strange in the Multiverse of Madness. This is the second multiversal film that the Weekend Watch has covered, which means the multiverse is here for the foreseeable future in entertainment. Doctor Strange builds on the ideas of the Marvel multiverse introduced in the Disney+ Loki show last summer and expanded upon in Spider-Man: No Way Home last December.

Letter Grade: A-, pretty solid; one of the most fun Marvel movies of Phase 4

Should you Watch This Film? Obviously, Marvel fans should watch this film; Sam Raimi fans should watch this film; fans of creative action sequences should watch this film; if you are looking for entertainment, you should definitely watch this film.

Why?

                Firstly, for Marvel fans, Multiverse of Madness feels like it’s setting up the direction of the next ten years of Marvel content. Yes, the film explores the concept of the Multiverse a little bit more, but it also sets up some exciting new properties to be explored in films in the next cycle, some of which we knew about and some we only had assumptions about. This film is a reset and tone-setter for the next few phases of Marvel content beyond just Dr. Strange and Wanda/Scarlet Witch. Some Marvel fans may be disappointed because there are not enough cameos or there’s not enough Multiverse action, but I felt like it worked for me, and I had a great time. For Raimi fans, this Marvel film allowed him to exhibit his brand of horror pretty fully. I’ve seen multiple reviews talking about the gore and horror in this film, which for a Marvel movie was definitely high. Director Sam Raimi was fully allowed to play in the space that he was given, creating what I hope most Raimi fans will agree is both a solid Raimi film and solid Marvel film. Finally, if you don’t fit into either of the above categories, I think this film still works as a pure entertainment piece. The action and character connections in this film are really fun! Each major character has a moment to shine and showcase their superhero abilities in new and incredibly satisfying ways. One fight in particular is definitely the most original fight scene in the MCU, and I’d put it up against most other famous fight scenes in terms of entertainment value and originality. Overall, Doctor Strange in the Multiverse of Madness is a reminder of how fun superhero films can be, an excellent addition to the Raimi catalogue of films, and a solid tone-setter for the future of the MCU. It’s definitely worth going to see while it’s out in theaters.

Weekend Watch - 2022 Recap January through April

                This week’s Weekend Watch is a special edition, recapping the movies that have released so far this year and have a shot on making it onto the list by next year’s updates. We’re gonna do this every month, this one was just delayed because we’re recapping April movies and all the rest of 2022 as well. We’re going to break these movies down into 3 categories: Sure Things, which are movies that have all the ratings and success needed to make the list, Probable Things, which are movies that have a good chance of making the list with some consistent box office success and maybe one or two award nominations, and Long Shots, which are movies that have some decent ratings but not great and will need some major awards love to make the list. (Not all movies will be listed because some are even beyond Long Shots.)

Long Shots:

The Unbearable Weight of Massive Talent (April 22nd): Tom Gormican’s film about Nicolas Cage playing Nick Cage was on top of many film goers’ lists of movies they were excited for this year. So far, it has had audiences loving it and mixed success with critics. Its lack of critical love keeps it as a long shot right now, especially because of its early release, which will probably keep it out of most awards talk as well.

Jackass Forever (February 4th): The fourth film in the Jackass franchise is also its most critically successful, sitting at a 74 Metacritic score and 86% Tomatometer score. Its ratings currently have it sitting right around a 76, meaning it’ll need some awards love to make it higher, and it doesn’t necessarily look like that’s a guarantee for this one.

X (March 18th): A24’s horror movie about young people making a porno in the late 70s has critics loving it but fans giving it mixed reviews. Given horror movies’ overall lack of success in awards shows, it is unlikely that this will climb any higher to make it on the list.

The Outfit (March 18th): Graham Moore’s mob thriller starring Mark Rylance as a tailor who probably knows more than he lets on has definitely been more successful both financially and critically than I originally gave it credit for, but its decent scores aren’t quite good enough to make the list. While Mark Rylance has been a pretty consistent awards darling in the last ten years, I don’t necessarily think this role will be the one to get him back there.

The Bad Guys (April 22nd): The latest from Dreamworks Animation based on the acclaimed children’s books has gotten a lot of love from the people on Rotten Tomatoes and also has been a consistent winner in its first weeks at the box office. Middling Metacritic scores will probably keep it off of the list barring a Best Animated Feature win.

Kimi (February 10th): A surprising critical success from Steven Soderbergh and HBO Max, the Zoë Kravitz crime thriller has some pretty solid critic scores but not phenomenal audience ratings. Its lack of wide release will keep it from box office numbers and honestly awards success too.

I Want You Back (February 11th): Amazon’s romantic comedy starring Charlie Day, Jenny Slate, Scott Eastwood, and Gina Rodriguez has some of the highest scores I’ve seen for a true romantic comedy in a while, making it certainly worth watching, but being a romantic comedy, it probably won’t get the awards recognition it needs to push it over the edge.

After Yang (March 4th): Kogonada’s film starring Colin Farrell and Justin H. Min about the death of an AI butler and the fallout from that event has mixed reviews. Fans seem less than impressed, but critics are relatively high on it. It fits the bill of an indie film that could garner a few nominations, but we’ll see for sure once the season rolls around.

Fresh (March 4th): The Hulu original horror romantic comedy about a cannibalistic boyfriend starring Sebastian Stan and Daisy Edgar-Jones has promise as a cult classic, but its scores keep it from making the all-time list, probably. Long-shot potential for writing awards keeps it on the long shot list.

Rescued by Ruby (March 17th): Netflix’s dog movie starring Grant Gustin currently has a 100% on Rotten Tomatoes (5 reviews so far, but who’s counting). I’m leaving it as a long shot because it is a dog movie from Netflix starring the guy from the CW The Flash series, and it currently has no Metacritic score at all.

Better Nate Than Ever (April 1st): The Disney+ family movie about a kid who wants to be on Broadway has decent enough Rotten Tomatoes scores to keep it as a long shot, but it’ll need quite a few nominations to make it up onto the actual all-time list.

Probable Things:

The Batman (March 4th): Matt Reeves’s comic book film starring Robert Pattinson as the Caped Crusader has experienced critical and box office success beyond almost every DC outing since The Dark Knight Rises. It currently sits right on the border of making the list, and its technical aspects are up to Oscar levels for nominations, making it likely to climb higher.

Turning Red (March 11th): Pixar rarely misses out on making the list, and it looks like Turning Red should make it. Middling audience scores keep it as a probable thing and not a sure thing because some people are apparently uncomfortable with female coming of age stories. It should be on the list, and I’ll be disappointed if it misses out, but such is the way of numbers.

The Northman (April 22nd): Robert Eggers’s Viking revenge movie is his most successful with audiences. The audience reviews are still not quite at sure thing levels, but it also looks like there’s outside shots at awards for this film as well. I look forward to seeing on how it turns out.

The Fallout (January 27th): HBO Max’s teen trauma movie has really good reviews right now. Audience reviews are right around average, and it might not quite have enough to make it up onto the list without one or two nominations, which quite honestly might not be coming. It’s close though.

Apollo 10 ½: A Space Age Childhood (April 1st): Richard Linklater’s animated Netflix film about growing up in Houston in 1969 sits at a 90% on Rotten Tomatoes currently, and its other ratings are pretty solid as well. With Linklater as a director and Netflix’s historical success at garnering nominations for their animated films, it is well within the realm of possibility that this one makes it onto the list next year.

Sure Things:

Everything Everywhere All at Once (March 25th): I already wrote about this one in detail, so I won’t go on and on, but barring some major review bombs, this movie will be on the list when it gets updated next year. Legitimately, this is the most positivity I have seen around a new release in a long time, and it’s really exciting to be a part of it.