Weekend Watch - Saturday Night

                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 Jason Reitman’s film adaptation of the 90 minutes leading up to the airing of the first episode of SNL, Saturday Night. The film stars an ensemble cast as the show’s ensemble of players and writers, including Gabriel LaBelle as creator and writer Lorne Michaels, Rachel Sennott as Michaels’s wife and show writer Rosie Shuster, Cory Michael Smith as Chevy Chase, Ella Hunt as Gilda Radner, Dylan O’Brien as Dan Aykroyd, Emily Fairn as Laraine Newman, Matt Wood as John Belushi, Lamorne Morris as Garrett Morris (no relation), Kim Matula as Jane Curtin, Nicholas Braun as Andy Kaufman and Jim Henson, Cooper Hoffman as Dick Ebersol, Andrew Barth Feldman as Neil Levy, Willem Dafoe as Dave Tebet, and Matthew Rhys as Dan Carlin. The film, which chronicles most of the behind-the-scenes goings on of the sketch comedy show’s first night, opened this weekend. Let’s get into it.

Letter Grade: B-; this is a good film, not a great one that could have been great with just a little bit more fine tuning.

Should you Watch This Film? If you are a huge fan of SNL and consider yourself an expert in the show’s history, you’ll probably love this film and what it does. If you have some knowledge of and interest in SNL, then you can find something worth watching in it. If you have no interest in the show, I don’t know what this film does that’ll endear it to you.

Why?

                Saturday Night is a mildly disjointed passion project from a director in Reitman who clearly loves and knows way too much about his subject matter. The actors all do a phenomenal job playing these iconic figures of comedy history, marking the film’s real high point. Story-wise, though, it feels like Reitman had too many fun facts that he wanted to include to really create a satisfyingly cohesive narrative, jumping between business drama, drug comedy, relationship dramedy, biopic, and celebration of SNL without any clear sense of direction until the final sequence, which suddenly becomes this feel-good underdog drama. If it was going for the disconnected feel of an episode of SNL, highlighted more by the entertainment that comes from watching talented people do what they do best than by any sense of message or stance, then it might still work, but I’m not convinced that that’s really what Reitman was going for here. Like an episode of SNL, there are some bits that hit and others that fail to resonate at all and you’re left wondering whether everything you just witnessed in the last hour and half plus was really anything more than an excuse for the performers to put their talents on display. The 16mm film cinematography looks really good, also lending itself to that style over substance that the film seems to be going for. Ultimately, it’s an entertaining but empty film with talent that still deserves to be seen.

                While all of the actors playing their various characters do great jobs in their roles, playing the comedy titans faithfully and skillfully, it’s the performances from the behind-the-scenes characters that really stand out as more than just phenomenal impressions. Rachel Sennott gives us a compelling look at the complex marriage between Lorne Michaels and Rose Shuster, playing Rose as this capable and self-aware woman who made the show possible. Cooper Hoffman gives an admirable performance as the young executive who supported Michaels and his show, Dick Ebersol, punctuated by a strong scene where he finally reveals the precarious situation that the show is in to Lorne in a seedily lit stairwell. It really is LaBelle, though, who holds the whole film down, carrying it with a portrayal of Lorne Michaels as I’m sure Michaels would like to see himself, a young idealist who can’t imagine failing regardless of what practical knowledge might suggest. Gabriel LaBelle is a rising talent, and I’m glad that he does such a great job in this leading role.

                While the film struggles with thematic cohesion like an episode of the show that inspired it, the performances and stylistic choices that Reitman makes still make Saturday Night a film worth watching, though mostly for fans of the show and its history as opposed to a truly broad audience. It takes some unique swings, and some of them even hit. You can find this film in theaters right now if it sounds like something you’d like to check out. I’ll leave that up to you.

Weekend Watch - The Wild Robot

                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 latest release from DreamWorks Animation, the film adaptation of Peter Brown’s book The Wild Robot. The film is written and directed by Chris Sanders (Lilo and Stitch and How to Train Your Dragon) and features the voice talents of Lupita Nyong’o, Pedro Pascal, Bill Nighy, Kit Connor, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, and Catherine O’Hara. It follows the adventure of a helpful robot stranded on an island populated only by animals who view her as a potential predator or prey. The film opened this weekend in the U.S., winning the box office in the process. Let’s get into it.

Letter Grade: A; this is a top 5 film this year for me, and I expect it will be for you as well with its beautiful animation and poignant story.

Should you Watch This Film? Absolutely! This is a film you can watch on your own, with friends, with a significant other, with kids, really with anyone, and you’ll all walk away with something to appreciate.

Why?

                If you’ve seen any trailers for The Wild Robot, you already know that its animation is gorgeous both stylistically and in execution, and that rings true throughout the film, but there have been plenty of animated films in the last decade that are beautifully produced but lack in the story department. This is not one of those films. The voice acting is superb and lends to the story’s emotional weight and poignancy, and the story itself feels just fresh enough to engage even the most cynical moviegoer. While a few minor clichés hold it back from being a perfect A+ film, the story about found family, adaptation, kindness, and even motherhood is certainly one of the most original brought to a mainstream film in the medium in quite some time. It is poignant and important, imparting not just emotional payoffs but actual life lessons that we all need to learn and/or be reminded of in the trying times we live in. This film deserves to be the front-runner for most of the animated awards in the coming award season.

                I came into the theater to watch The Wild Robot expecting quality animation and potentially some emotional beats, but I didn’t necessarily expect to be so wowed by the film’s story and characters. From the jump, we are immersed in this world of wilderness where a robot like the film’s titular protagonist, ROZZUM Unit 7134 or “Roz” (Nyong’o), sticks out like a sore thumb, lacking the ability initially to even communicate with its unsuspecting “customers”. The hilarity and tragedy of Roz’s situation are portrayed excellently as she struggles to find anyone willing to even speak with her after she spends months learning to translate the language of the animals. Eventually her quest brings her an orphaned gosling to adopt and prepare for the coming migration, giving her a new directive – feed the baby goose, teach it to swim, and teach it to fly by the time the rest of the island’s geese undertake their migration ahead of its harsh winters. Roz’s conversations with her less than willing “co-parent” Fink the fox (Pascal) about “programming” and the laws of nature and survival skills mirror concepts that we all are familiar with in our own lives – nature, nurture, social norms, and the competition that society breeds into us. As the film goes on and we see Roz’s gosling Brightbill (Connor) mature into a semi-functional adult goose, those themes become more central alongside the film’s surprisingly profound exploration of motherhood and family, as viewed through the lens of Roz’s role in Brightbill’s life and the lives of the rest of the island’s inhabitants. The film’s final act has a few of its most cliché moments, but it brings everything home in a solid way without feeling the need to put a perfect bow on everything, making it one of the more adventurous mainstream animated films in that area as well.

                The Wild Robot is simply one of the best films of the year so far thanks to its gorgeous animation, skilled voice acting, and poignant story that explores themes relevant to viewers of all ages, engaging not just children, but parents, teens, and single adults as well. It’s a film worth checking out in theaters if possible, especially with its quality animation. Definitely seek it out if it’s playing near you.

Weekend Watch - Beetlejuice Beetlejuice

                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 this week’s latest legacy sequel, Beetlejuice Beetlejuice, the follow-up to Tim Burton’s 1988 cult classic Beetlejuice. The potential surprise September blockbuster sees the return of Michael Keaton, Winona Ryder, and Catherine O’Hara reprising their roles from the original, joined by Jenna Ortega, Justin Theroux, Willem Dafoe, Monica Bellucci, and Arthur Conti in this rich ensemble of quirky new and returning characters. After opening the Venice Film Festival last week, the film released in theaters this weekend. Let’s get into it.

Letter Grade: C; it’s the same energy as the first with less narrative cohesion, so it’s fine.

Should you Watch This Film? If you love the original, you’ll probably love this one as well. If Tim Burton’s vibe is your whole deal, then this’ll check that box well. If you have no interest in either of the aforementioned things, this is not for you.

Why?

                The original Beetlejuice was the very definition of a cult classic – lots of great practical effects and wacky production design with some weirdness all around wrapped in a decently poignant story about ghosts – and its sequel finds itself in those same shoes. On most levels, Beetlejuice Beetlejuice matches the quirky fun of the original while mostly justifying its existence with some new fun set pieces. Unfortunately, the weakness of the original – a thin story – is all the more prevalent in the sequel. Less attachment, too many plots, but fantastic production design are the hallmarks of this legacy sequel, sure to please fans of the original well enough without setting itself apart as some new innovation in filmmaking.

                The main cast (Ryder, Keaton, O’Hara, and Ortega) all perform admirably in their duties, with the original returners doing a good job of reprising and building on their characters from the first film and Jenna Ortega showing some versatility as the grounded activist daughter of Ryder’s Lydia Deetz, now the host of her own television show about speaking to ghosts. Keaton remains the highlight of the film, bringing all the ridiculousness of the iconic character that made the first film so successful, once again playing a highly entertaining and gross version of himself. O’Hara is once again in her most outlandish form, having lost no steps as the unique artist Delia. The supporting cast are a bit more hit and miss with Monica Bellucci feeling almost wasted as an intimidating, yet highly underutilized, villain hunting down Beetlejuice for revenge. Willem Dafoe gets to do a bit more and offers some of the most consistent laughs in the film as deceased actor, turned afterlife cop Wolf Jackson. Justin Theroux is inconsistent but goofily melodramatic enough to make for a decent complication in the plot as Lydia’s manager.

                Visually, the film refreshingly maintains its primarily practical effects, featuring a plethora of excellent costume designs, stop motion animation, and wild sets that help sell the film’s griminess, which simply wouldn’t have worked with how most of the modern VFX have been going in mainstream films. Unfortunately, the story doesn’t really back up the visual promise of the film, giving us a whole lot of ideas and scenes that never really cohere into something that feels like an overarching narrative. The emotional moments don’t come close to landing because of how many storylines are going on around them, reducing the film’s impact and poignancy, and tragically, the jokes aren’t consistently hitting enough to warrant such an incoherent collection of plots.

                With Beetlejuice Beetlejuice, the vision is there, the visuals are fully there, the acting is mostly there, but the story is so all over the place that the film falls well short of its potential. It’ll be a crowd-pleaser for those seeking new Tim Burton content and/or those who loved the original, but it doesn’t have enough to say or deliver on enough of its comedic or quirky promise to really be a must-see film for all audiences.

Weekend Watch - Inside Out 2

                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 Pixar’s latest theatrical release (their first since Lightyear), Inside Out 2, the sequel to 2015’s Best Animated Feature winner. The sequel sees the return of voice actors Amy Poehler, Phyllis Smith, Lewis Black, Diane Lane, and Kyle MacLachlan as the voices of Joy, Sadness, Anger, Mom, and Dad, joined this time by Kensington Tallman as Riley, Maya Hawke as Anxiety, Liza Lapira as Disgust, Tony Hale as Fear, and Ayo Edebiri as Envy, just to name a few of the new names and faces. The film follows Riley and her emotions as they move from childhood into adolescence with the complications of starting high school, fitting in, and puberty bringing a whole new set of issues to reckon with. The film opened this weekend to relatively positive reviews. Let’s get into it.

Letter Grade: B; it’s not saying anything wrong; I just don’t know that what it’s saying carries the weight that I want it to.

Should you Watch This Film? If you want a good movie to see with your kids or are a fan of the first, this is worth checking out. Otherwise, you can definitely wait to stream this one later on when you’re catching up on all the Oscar nominees.

Why?

                Inside Out 2 does a lot of things right as a sequel, building on the world of the last film while telling an original story with a positive message, memorable characters, and a few good laughs. Unfortunately, it also suffers as a product of the current Disney/Pixar machine (the first after the infamous announcement that they’ll be moving away from autobiographical stories like those in Turning Red and Luca), and in its quest for “universality” (whatever that means), loses most of the emotional (ironic, I know) resonance that they’ve become so well known for. I felt more emotional connection to the characters and stories of every Pixar film since 2020 (besides Lightyear) than I did watching Inside Out 2. They’ve given us an important message with solid characters that somehow manages to avoid actually getting the audience at all invested in the characters that they’re watching on the screen. The film’s story feels like it’s been designed around getting to a couple of key points in the film’s third act, and the result is a sense of manufactured emotion rather than genuine connection (unlike the authenticity of Turning Red, Luca, Soul, Onward, and even the first Inside Out).

                Now I know you’re asking how this film got even a B rating after all this negativity, and that’s because it really is a well-made film. The animation remains beautiful both in the real world and in Riley’s mind with some new techniques on display that really impressed me and made for some fun world-building and comedy. The new characters add some fun new wrinkles to the world of these films, with both Anxiety and Envy being the standouts. There’s a few jokes in here that really work well, even if too many feel more tailored to the younger audience that filled my theater, who for the most part weren’t laughing as much as I might’ve expected. The sound design and Andrea Datzman’s music do a solid job of creating tension and atmosphere. Even the film’s message is one that checks that Pixar box of being relevant for both adults and children – that anxiety is something that can easily come to define us if we don’t monitor how we’re framing our situation, and that’ll always lead to disaster. All of that speaks to the success of the new Pixar method in theory. On paper, this is an excellent film, but in practice, it’s missing that personal element that’s made modern Pixar so successful – the autobiographical stories of Turning Red and Luca, the family narrative of Coco, the friendship narrative of Toy Story 4, etc. Inside Out 2 tries to create those personal moments by telling a story about anxiety, growing up, and friendship, but none of the beats of those stories feel authentic enough (besides an excellently realistic panic attack) to create the resonance that it wants to – maybe that’s also because most of the development in this story happens to Riley herself rather than the emotions in her mind, who are supposed to be the main characters.

                Inside Out 2 is an excellently crafted animated film that unfortunately fails to deliver on what people actually love about the other Pixar films – authentic emotion, which is unfortunately ironic for this sequel. It looks good, sounds good, and even feels pretty good, but it fails to deliver in its biggest moments. If you liked the first film, you’ll probably still enjoy this one, but I don’t know that it’s a film that everyone needs to go see immediately in theaters.

Weekend Watch - Bad Boys: Ride or Die

                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 latest installment of the Will Smith and Martin Lawrence action/comedy series, Bad Boys: Ride or Die. The film picks up some time after the events of Bad Boys for Life and follows Mike Lowrey and Marcus Burnett as they become embroiled in a plot to frame the deceased Captain Howard as a contact for the cartel. The film sees the return of Will Smith and Martin Lawrence in the leading roles along with Joe Pantoliano as Captain Howard, John Salley as Fletcher, Jacob Scipio as Armando, Dennis Greene as Reggie, Paola Nuñez as Rita, Alexander Ludwig as Dorn, and Vanessa Hudges as Kelly along with an influx of newcomers Eric Dane, Ioan Gruffudd, Melanie Liburd, and Tasha Smith. Bad Boys for Life directors Adil El Arbi and Bilall Fallah return to the helm for this installment along with writer Chris Bremner and newcomer to the series Chris Beall (Aquaman). The film opened this weekend and looks to take the top spot on a potentially revitalizing start to the summer box office. Let’s get into it.

Letter Grade: B; nothing about the Bad Boys movies screams art film, so don’t expect it to be on the same level as an awards-bait, critically acclaimed piece of cinema, but this one checks most of the boxes you want in an action/comedy.

Should you Watch This Film? Absolutely! While its predecessor was a bit of a misfire in terms of the series, not hitting quite as many of the right notes, this one gets right back into the Bad Boys stride with jokes and action at 100.

Why?

                Bad Boys: Ride or Die is a true return of the Bad Boys franchise to its former greatness (obviously, we’re talking entertainment here and not so much the social commentary or anything else). The jokes are hitting, the action feels fresh and fun, and the characters are fantastic. The biggest drawbacks for this “fourquel” are its occasional reliance on callbacks in its humor and plot points and its fairly problematic storyline, given the state of American politics in this moment. Smith and Lawrence continue to be a fantastic duo; Hudgens and Ludwig remain two of the best “requel” additions to a franchise in the last ten years, and even the supporting players – familiar faces like Fletcher (John Salley) and Reggie (Dennis Greene) and cameos like DJ Khaled and Tiffany Haddish – shine in their featured moments.

                The film’s primary driving force is a dynamic shift between Mike and Marcus, with Smith’s Mike becoming the worrier as a result of his lack of commitment to any kind of real therapy for his past losses and Lawrence’s Marcus becoming the overconfident macho man, believing he can’t die after a near-death experience. It makes for a fun twist on the usual dynamic between the two, and the comedy and action certainly benefit from it, remaining fresh even in this fourth iteration. While not every joke landed, most of them did, and every action sequence had something in it that felt new and exciting – there’s a first-person sequence at one point that was particularly fun.

                At the same time, with a more critical eye, the copaganda and problematic messaging of the film’s plot becomes a bit clearer. These are films about cops who basically operate with a license to kill, shooting first and only occasionally asking questions later. This particular sequel also features a plot that revolves around cartels and government officials secretly working together to protect the “borders” from terrorists as long as the cartels get to bring their drugs into the U.S. It sounds like something off a 4chan conspiracy board, but there are people who will eat that plot up without a second thought. I don’t think this or any other film in the franchise should be taken too seriously in terms of its social “commentary”, but it warrants pointing out that there are definitely some people who will.

                At the end of the day, Bad Boys: Ride or Die feels like the ideal summer blockbuster to revitalize the box office, heavy on fairly impressive action and funny comedy, light on themes and commentary, with plenty of star power and supporting players to win over the whole audience. It might not be the best film in the franchise, but it hits the formula well and should be an easy one to get into for fans of the originals. Newcomers might be a bit confused at the significance of certain moments and events, but the overall structure of the film makes it easy to just sit back and enjoy it. Check it out in theaters while you can.

Weekend Watch - Challengers

                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 Luca Guadagnino’s Challengers, which opened in theaters across the U.S. this weekend. The love-triangle-tennis-movie hybrid stars Zendaya, Mike Faist, and Josh O’Connor as a trio of tennis stars whose interweaving professional and personal lives culminate at a small-stakes challenger event in advance of the U.S. Open. Scripted by Justin Kuritzkes (husband of Past Lives director Celine Song and creator of the “Potion Seller” YouTube video), directed by Guadagnino, and scored by the ever-talented Trent Reznor and Atticus Ross, the film has received a slew of critical acclaim and decent audience reception as well. Let’s get into it.

Letter Grade: A-; for the most part this film delivers what you want it to, and it’s all executed with excellence and innovation.

Should you Watch This Film? If you’re looking for an innovative sports relationship dramedy, this’ll be right up your alley; however, if you’re looking for that debauchery-fueled sex-fest promised in the trailers or a film with clear heroes and villains, you’ll be leaving at least slightly disappointed.

Why?

                Though perhaps a bit oversold in its marketing for broader audiences, Challengers delivers one of the better sports films and love triangle films in recent history. The performances from the three leads make for gripping romance, intrigue, and athletic sequences. Kuritzkes’s script provides a compelling story about the destructive forces of passion, jealousy, and insecurity. Guadagnino and cinematographer Sayombhu Mukdeeprom create a menagerie of charged sequences in both the interpersonal moments and the tennis matches, showcasing a creativity in shot choice that continuously leaves the audience dazzled. Reznor and Ross supplement it all with a score that breathes life, energy, and urgency into every scene, elevating the whole thing while increasing the plot’s sense of urgency. The film’s only real missteps come in the form of a predictable and maybe even overdone “twist” in the third act and a focus on the character relationships more than the characters themselves in the film’s story development.

                As a sports film, Challengers offers engrossing competition, compelling character drama, and a creative presentation of the sport of tennis itself, not yet seen in this way in mainstream films. It frames the game of tennis as a relationship, inextricably tying the sport portion of the film to the love triangle portion of the film, and it makes for even more intense competitions on the court and honestly one of the best climaxes and conclusions in any sports film, and certainly the best of the year so far. The ways that the camera is used in the tennis matches turns the sport into cinema, looking at each match from angles never seen before that keep the audience on edge for each serve, each volley, each point.

                As a relationship film, certain aspects feel a bit more familiar than the sport aspects, but it still manages to keep everything compelling, partially due to the direction of Guadagnino and the score of Reznor and Ross and partially due to the leads’ performances and Kuritzkes’s clear understanding of unhealthy relationship dynamics. Zendaya plays young star Tashi Duncan, a promising tennis star whose career is cut short by injury after she hits a rough spot with her tennis player boyfriend Patrick Zweig (Josh O’Connor), friend and rival of Mike Faist’s Art Donaldson who also has a huge crush on Tashi. The origins of their friendships and romantic entanglements are explored in nonlinear sequences of their interactions at youth tournaments and college before catching up to the present where Art is now a grand slam winner, coached by his wife Tashi, and where Patrick has fallen on hard times, struggling to find success as a tennis professional, seeking to qualify for the U.S. Open by winning the same challenger where Art has come to get his groove back ahead of the only grand slam that has yet eluded him. The ins and outs of Art’s development make for the most compelling portion of the film, as he goes from insecure also-ran to confident adult ready for the next phase of life while his rival and his wife remain their same childish selves, stuck in the what-ifs of the past. This lack of development for Tashi and Patrick has left some audiences less than thrilled with the film’s character development, particularly because their arcs culminate in a frustratingly predictable moment designed to lend extra weight to the film’s climax that really just reminds you just how little development they’ve had in comparison to Art. All three play their characters well, though, and the film’s conclusion in a relationship moment that highlights all three of their roles and sends each of them off on a high note certainly goes a long way in making up for the lack of attention paid to the actual characters of Patrick and Tashi.

                Challengers is a sexy, if not overly sexual, take on tennis films, couched in a love triangle relationship dramedy that’s skillfully executed by everyone involved with a few knocks against it for some overdone relationship tropes and weak character development, that delivers a satisfying and innovative take on sports films and plenty of relational melodrama to keep everyone invested. It’s not necessarily everything that the trailers promised that it would be, but that makes it, honestly, a better film overall, avoiding that desire to be transgressive simply to push the bubble while pushing that bubble in different ways than expected. It’s worth the watch if you’re into cinematic innovation, complex relationship dynamics, fun sports action, and films without any singularly perfect hero.

Weekend Watch - Ghostbusters: Frozen Empire

                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 latest of the rebooted Ghostbusters films, Ghostbusters: Frozen Empire. The film is the follow-up to 2021’s Ghostbusters: Afterlife and sees the return of many characters from that film and from the originals, including Paul Rudd, Carrie Coon, Finn Wolfhard, McKenna Grace, Celeste O’Connor, and Logan Kim reprising their roles from Afterlife, with Dan Aykroyd’s Ray Stantz taking a more prominent role this time around, and the additions of Kumail Nanjiani, Patton Oswalt, and Emily Alyn Lind to fill out the main cast. This one is directed by Afterlife writer Gil Kenan who is again joined in the writing room by Afterlife director, and son of the original Ghostbusters director, Jason Reitman. The film opened in theaters this weekend. Let’s get into it.

Letter Grade: C-, a weak third act and overstuffed first bring down what is otherwise a fun and well-crafted movie sequel.

Should you Watch This Film? Maybe, it’ll probably please fans of the first reboot film, and doesn’t really have anything that’ll upset die-hard classic fans too much either. If you aren’t about that Ghostbusters life, though, I doubt this film will win you over.

Why?

                After taking a break from its usual haunt of the Big Apple in Afterlife, the Ghostbusters saga returns to NYC and the old red brick firehouse in Frozen Empire. An abundance of practical and digital effects return New York to its old, haunted self, in need of rescuing by a new generation of Ghostbusters. The characters, old and new, bring plenty of heart, if not necessarily humor, to this latest iteration of the films, which continues in the vein of its predecessor with McKenna Grace’s Phoebe Spengler taking center stage in the film’s narrative, again a solid choice, though weakened a bit by her continued fourth-place billing in the credits and attempts to create stories for the abundance of other characters filling out the film. Ghostbusters: Frozen Empire is a film that fits the visual feel and overall vibe of the franchise with fun characters and cool, nerdy technology and ghost stuff, but it trips itself up by getting too convoluted for its fairly breezy hour-and-fifty-five-minute runtime.

                One thing you can certainly say in Frozen Empire’s favor, which goes a long way toward how much I liked this film, is that it maintains that same sense of practicality in all of its props, sets, and visuals that made the originals and Afterlife such successes. Obviously, not everything is practical, nor was it in the original, but their practical and digital effects alike remain very on-brand for the franchise. Slimer still looks like a weird puppet; there’s a lot of new ghosts that use that blend of practical and digital to great effect – some terrifying and others goofy or endearing; there’s a fantastic scene in the third act with one of the proton packs sparking up in the back that’s probably a simple effect, but it achieves this cool factor that gets you excited for what’s about to happen even if the story getting you there hasn’t. You can tell that Kenan and Reitman both care a lot for the franchise and that everyone who worked on the film wants to stay true to the originals.

                Unfortunately, love for the old films and past iterations keeps Frozen Empire’s story mired in an excessively long first act that’s mostly just exposition and setup interspersed with nostalgia grabs and reveals of new gadgets and/or ghosts. It’s a textbook first act, except for the fact that it takes up almost the entire first hour of the film. This leads into a fun second act, though, that jumps between storylines fairly fluidly and keeps you engaged with payoffs from the setups in the first act. The pace picks up and you start to remember why you like these films in the first place. However, by the time we get to the film’s final act, there’s only about twenty minutes of the film left, and we get a regrettably rushed climax that misses out on much of its tension and emotional weight by rushing things that could otherwise have had extended scenes devoted to them had it not taken half the film to get everything rolling. Couple that with an astounding amount of shoehorned nostalgia for the sake of trailer spots, and you’re left with a conclusion that feels just a little too empty to justify the amount of time spent setting it up.

                For whatever reason, they were trying to do too much. Much as I enjoyed the comedy of Kumail Nanjiani’s character, his inclusion and arc felt out of place and rushed alongside the rest of the film. It detracted some from both the screentime and character development of Phoebe, which in turn detracted from the overall impact of the film, since she’s the main character. On the other hand, relegating Finn Wolfhard’s Trevor to the role of comic relief might have been the best call they could have made – his arc in Afterlife wasn’t overly engaging, and he is absolutely the funniest part of this film, which gets me excited to see him do something more in that vein as his career develops. Carrie Coon and Paul Rudd get to fully step into the parenting roles (which Coon had in the first film as well), creating some odd tensions at certain points in the first half but paying off with some of Paul Rudd’s best scenes in the back half, so I’m mixed on that choice. Aykroyd getting some additional screentime probably shouldn’t have worked as well as it did, and don’t get me wrong, it’s no Blues Brothers or even O.G. Ghostbusters, but he makes for a passable secondary protagonist as Ray seeks purpose in his later years. Again, though, all of these extra plots and conflicts make that first act drag, when really all the film needed to work was the Spenglers (Grace, Wolfhard, and Coon) working with Gary as Ghostbusters for Ernie Hudson’s Winston Zeddemore, focusing on Phoebe’s relationship with Ghostbusting and her family, and it could have been a complete film. Everything else is fluff that drags this film’s potential down.

                All told, Ghostbusters: Frozen Empire is a decent sequel that stays true to the formula and atmosphere of the original films that unfortunately gets bogged down in nostalgia and excessive storylines, limiting its overall impact. It definitely could have been better, but thanks to the care put into the details by the filmmakers and the actors, it manages to stay out of the abysmal territory of most of the films from the first quarter of the year so far. See it in theaters if you want, or don’t. I don’t have overly strong feelings on this one either way.

Weekend Watch - Kung Fu Panda 4

                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 latest from Dreamworks animation, Kung Fu Panda 4, the latest in the Jack Black-led franchise about anthropomorphic animals doing kung fu in a stylized version of ancient China. This one sees Po, the titular panda, being thrust into a new role as the “Spiritual Leader of the Valley of Peace”, meaning that he has to choose a successor to be the new Dragon Warrior. His hesitation to embrace this change in titles leads him to seek one last adventure as the Dragon Warrior, bringing him into conflict with this film’s antagonist, the sorceress known as The Chameleon. This installment features the returning voice talents of Jack Black as Po, Dustin Hoffman as Master Shifu, Bryan Cranston as Po’s father Li, James Hong as his adoptive father Mr. Ping, and Ian McShane as Tai Lung, joined this time by newcomers Awkwafina as Zhen the gray fox, Ke Huy Quan as Han the pangolin criminal, and Viola Davis as The Chameleon. The film opened in theaters this weekend. Let’s get into it.

Letter Grade: D+, this is a film that’s trying to do too much all in the same movie, sacrificing quality in the process.

Should you Watch This Film? If you’ve got a kid who’s a big Kung Fu Panda fan or is really into seeing animated movies in theaters right now, this isn’t the worst option for you, but this isn’t a film that anyone really needs to seek out in theaters otherwise. It’s definitely a streamer at best in my book.

Why?

                Kung Fu Panda 4 is definitely the weakest entry in the franchise so far, missing out on so many of the pieces that make the others successful for not just kids, but adults as well. The voice acting and animation remain the highlights of the film by far with a weak story, intentionally unoriginal villain, and action pieces that don’t quite live up to the rest of the films. The ideas of the film are pretty cool – a villain who can shapeshift into past villains, a new big city for Po to visit, having Po take on a more mature role, and building on the past films’ themes of knowing yourself by exploring the concept of change. Somewhere along the way, though, the film becomes overstuffed with concepts and understuffed with execution.

                It does still justify its existence with some beautiful animation and solid voice performances, but I don’t know that they make it worth seeing in theaters. The film’s best action sequence is probably a chase through the big city, but that happens early in the film’s second act, so the rest of the film doesn’t really deliver on those big action set pieces that we’ve become so familiar with in the franchise. The final fight with The Chameleon was fairly underwhelming and the cool silhouetted fight sequence teased in the film’s trailer has too many cuts to make it look as cool as it could have. The actual settings are richly crafted by the animators, though, and the requisite mix of animation styles in the flashbacks remains solid.

                Jack Black’s vocal performance stays consistently solid, and Bryan Cranston and James Hong get some really fun buddy comedy dad moments that highlight the range of the two actors that we don’t always get to see. Awkwafina is definitely still Awkwafina in her portrayal of the enigmatic street hustler Zhen, but it works really well when she gets to do some vocal sparring with Black’s Po that give us some decently funny moments. In the more emotional moments, both of their performances come up a bit short, but I think that has more to do with the film’s story than it does with either of the actors because Jack Black has hit some phenomenal emotional beats in the past films in the franchise, and Awkwafina isn’t incapable of giving a strong performance, as showcased in The Farewell. The highlight of the voice cast, though, is by far Viola Davis, turning in yet another chillingly villainous performance as The Chameleon. She gives weight and intimidation to the villain that perfectly sets her up to be the film’s big bad, even if the actual story and execution don’t fully deliver.

                The film’s story is really where it falls apart. Most of the story beats feel even more contrived than those of the past films, with developments forced on the characters or just written into the dialogue without much lead-up, making most of the character moments feel shoehorned. While The Chameleon’s character design is really cool and an example of the film’s strong animation, her motivations are just an amalgamation of the motivations of the series’ other villains – she feels that she deserves to know the secrets of kung fu (Tai Lung), she wants to conquer China (Shen), and she’s going to do it by collecting the powers of past kung fu practitioners (Kai). While her shapeshifting goes along with the film’s theme of grappling with internal and external change just when you are starting to get comfortable with how things are, she ultimately feels like the least original of the villains, and it’s quite disappointing.

                Underdeveloped plot and characters and less-than-impressive action sequences leave much to be desired from this good-looking and well-voiced animation sequel, making Kung Fu Panda 4 one to stream later even for die-hard fans of the franchise. It’ll keep kids happy enough if you really want to get out of the house as spring breaks start happening here in the U.S., but I definitely wouldn’t say it’s a must-watch for anyone else. I wish it could’ve been better because I really do think that its ideas are strong, but their execution is just so weak that I can’t recommend it.

Weekend Watch - Lisa Frankenstein

                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 Lisa Frankenstein, the high school romcom from screenwriter Diablo Cody (Juno and Jennifer’s Body) and rookie feature director Zelda Williams. The film stars Kathryn Newton as the titular Lisa, joined by Liza Soberano as her stepsister Taffy, Henry Eikenberry as her crush Michael Trent, Joey Harris as her nemesis Tamara, Bryce Romero as her lab partner Doug, Joe Chrest as her father Dale, Carla Gugino as her stepmom Janet, and Cole Sprouse as “the Creature”. The film follows Lisa as she navigates life at a new high school in her senior year, crushing on the literary magazine editor, convincing her stepmom that she’s not going insane, and keeping a resurrected bachelor from the 1800s hidden in her closet. It opened this weekend in theaters. Let’s get into it.

Letter Grade: B-; this film should probably be a C were it not for some truly excellent payoffs throughout the film and especially in its last act.

Should you Watch This Film? In theaters? Maybe. At some point? Definitely. It toys with the edges of what can and can’t be done in PG-13 from time to time, but aside from that, there’s definitely something here that needs to be seen by most audiences.

Why?

                Lisa Frankenstein brings to the screen an amalgamation of Napoleon Dynamite, Sixteen Candles, Young Frankenstein, and the color palette of the iconic school supplies that its title references, having been brought to life by a cast that has committed to the absurdity of its bits and a writer/director combo that are willing to take big swings with the aesthetics, humor, and audiences’ expectations. That ends up creating a mess of a film in quite a few spots with plot lines left less than fully resolved, some fairly obvious set pieces designed to give us some exposition, and plenty of character choices that don’t make sense in the real world, but hey, this is romcom horror, and those pieces work excellently. The homage to classic monster movies, the occasionally visceral violence, the will-they-won’t-they love “triangle” that Lisa unwittingly traps herself in, and the commitment to making jokes that are unabashed in their setup and delivery go a long way in turning what is objectively a bit of a mess into something that should become a cult classic like those films it digs up.

                The performers are the key to making this film’s craziness work, and the core group hold it together with some excellent commitments to the bit. Have we already seen Joe Chrest play the clueless 1980s dad for four seasons of Stranger Things? Yes, but he’s at it again here in a slightly more endearing version of that character, giving the film exactly what it needs in that role – a dupe whose cluelessness makes the rest of the plot work. Carla Gugino gets to play the fun role of evil stepmother and evil psych nurse rolled into one, and she plays her part to its most absurd and loathsome end. Liza Soberano takes her role of cheerleader turned final girl and does the most with it, playing both aspects well – preppy but lovable in the best way. Cole Sprouse gets to show off mostly his physical repertoire in this film, communicating through expressions, movements, and grunts for basically the entire runtime, and it’s nice to see how capable he is of still making a murderous zombie man into a viable love interest with just those parts available to him. Kathryn Newton is the make-or-break point of the film’s cast, though; portraying a lead that is equal parts goth, troubled poet, it girl and occasional mad scientist, she has to walk a fine line, for which she is fully up to the task. From singing 80s power ballads off-tune in her living room to flirting with her crush(es?) to struggling with the pressure of the increased scrutiny after various disappearances that may or may not be her fault she brings the audience in and turns her Frankenstein-esque character into a believable and, indeed, lovable romantic comedy lead.

                As I already mentioned, the story side of Cody’s script might not be the film’s strongest aspect, and in fact, it’s probably its weakest. At least one unresolved plot line, plenty of convenient ineptitude from authority figures, and a less-than-fully consistent use of a semi-magical tanning bed make for a story that requires its audience to look past its flaws to fully appreciate it. At the same time, though, Cody’s comedy comes through at just the right level throughout the film. Its combination of camp, feminism, and shock-value fits in perfectly with the film’s genres, and her ability to choreograph the set-up and delivery of the film’s jokes helps make up for the lack of delivery on some of the plot set-ups. It’s laugh-out-loud funny at some points, and there’s one scene in the film’s third act that had the whole audience laughing harder than I’ve heard in a theater since Bottoms last year. It’s nice to have a romantic comedy/horror that doesn’t feel like it has to be self-aware. It’s still referential to those films that came before it, but none of it feels self-effacing like so many romantic comedies have become. It’s genuine and committed to itself, which is really about all that you can ask for a film these days.

                With a committed cast, a solidly produced genre blend, and humor that seems to hit all the right notes, Lisa Frankenstein lets audiences look past a lot of its story flaws and plot holes to be an enjoyable watch just in time for Valentine’s Day. Is it the best rom-com or horror film in recent years? Not really. It does wear its heart on its sleeve, though, and refuses to be anything but itself, which should be enough to get some people out to see it this week.

Weekend Watch - Argylle

                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 Matthew Vaughn’s latest theatrical release, Argylle. The film, written by Jason Fuchs and directed by Vaughn, follows a spy novelist as she discovers that her novels have been predicting real events in the espionage world and that opposing forces are after her latest manuscript to get ahead in the game. The film stars Bryce Dallas Howard, Henry Cavill, Sam Rockwell, Bryan Cranston, Dua Lipa, Ariana DeBose, Richard E. Grant, John Cena, Catherine O’Hara, and Samuel L. Jackson. The $200 million film opened this weekend to the worst critical reviews for any of Vaughn’s films but still looks to win the weekend box office. Let’s get into it.

Letter Grade: C+; this movie should be so much worse than it actually is, and for that, I’m giving it a passing grade.

Should you Watch This Film? If you’re looking for an easy watching piece of pure entertainment at the movies, I don’t know that there’s any film currently out that will scratch that itch more than this one, so probably yes.

Why?

                The bad action movie is back with a vengeance! Argylle builds on the long tradition of Lethal Weapon, Charlie’s Angels, and even Vaughn’s own Kingsman films with a completely contrived, convoluted, action-packed mess of an action film that will still leave you smiling when you leave the theater. The cast’s commitment to the many bits of this film is what should make it a lasting success in the proverbial Spike TV movie specials (I guess it’s probably FXX now or something along those lines). The crossover of Elly Conway’s (Bryce Dallas Howard) fictional universe and the real-world spy action makes for some really fun rug pulls, and there’s plenty of twists and turns to keep you on the edge of your seat. Is it the most cohesive or clean or grittily real spy thriller ever made? Absolutely not, and it’s not going to floor you with anything groundbreaking, but it is fully committed to its own bit, and that’s incredibly refreshing in a big budget studio film.

                All of the main cast feel like the right fit for their respective roles. Bryan Cranston looks and acts the part of shady spy corporation head, channeling just a bit of that old Heisenberg into a few of his scenes, while also getting to show off some of his comedic timing as well. Catherine O’Hara is the perfect skeptical mom, giving plenty of iconic reactions to her daughter’s increasingly ridiculous involvement with her work. Henry Cavill (even with one of the worst haircuts I’ve ever seen) plays the part of Bond knock-off excellently, nailing the physicality and suave that his role demands. It’s always fun to see John Cena and Dua Lipa in cameo roles that fit them, and that’s no different here as they bring just the right amount of star power to the film’s wild opening, mirroring the L.L. Cool J cameo in the start of Charlie’s Angels (2000). Bryce Dallas Howard brings a commitment to the role of unwilling protagonist, nailing the cat lady forced into espionage that the role demands, giving us a fun take on the reluctant hero in the process. The person most at home in his role has to be action-comedy veteran Sam Rockwell (Charlie’s Angels and Mr. Right). He again brings that unassuming charm and hidden action hero style to his role as the real-life spy who tasks himself with keeping Elly safe from the more sinister elements that are after her.

                Of course, the action sequences have the requisite Matthew Vaughn flair for the unrealistic with colorful and ridiculously high-paced action that may or may not be everyone’s cup of tea. There’s one particular sequence involving ice skating that feels so ridiculous that you can’t help but marvel at the director’s willingness to try new things (even when they’re so ridiculous in their execution). Unfortunately, the flipside of Vaughn’s films is their story struggles, and with Jason Fuchs (Wonder Woman and Pan) taking on the writing duties this time, the story feels even weaker than usual. An abundance of twists and turns keeps the story engaging, but most of its reveals and surprises feel more unearned and heavy-handed than actually well-choreographed and satisfying. In recent years, it’s become popular to say that certain big budget films are good as long as you can turn your brain off while you watch it, and I’ve never seen that sentiment so blatantly on display as it is in Argylle.

                There’s enough creativity in the action sequences and commitment from its star-studded ensemble to help Argylle overcome its vast screenplay shortcomings to be an entertaining, if not overly substantial, time at the theaters. It’s definitely not a waste of money at the theaters because of how ridiculous and over-the-top it is, which works well on the big screen, but I don’t know that I’d call it a must-see film. It’s more of a solid excuse to go to the theaters if that’s something that you’re looking for.

Weekend Watch - Wonka

                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 will be our last Watch of 2023, as I’ll be taking the holiday weekends off. The topic this week, as voted by the blog’s Instagram followers, is Paul King’s prequel to Willy Wonka and the Chocolate Factory that released this week, entitled Wonka. The film stars Timothée Chalamet as the titular chocolate magician, and he is joined by Calah Lane as the orphan Noodle, Olivia Colman as landlady and launderess Mrs. Scrubitt, Paterson Joseph, Matt Lucas, and Mathew Baynton as the chocolate “cartel”, Keegan-Michael Key as the Chief of Police, Jim Carter, Rakhee Thakrar, Natasha Rockwell, and Rich Fulcher as Wonka’s fellow lodgers and workers in town, Sally Hawkins as Wonka’s mother, and Hugh Grant as the Oompa-Loompa. The star-studded musical has thus far landed with a solid splash. Let’s get into it.

Letter Grade: B+, but in a good way; this film feels like a solid, wholesome end to 2023, not necessarily perfect but definitely a much-needed bolt of positivity in December.

Should you Watch This Film? Yes! This film is another example of Paul King making good family fun without feeling saccharine or forced, and it’s always refreshing.

Why?

                Wonka delivers everything you might want from an obvious cash-grab of a prequel – an engaging story, fun songs, well-managed fan service, and a fun blend of old and new characters, all of which gives some new perspective to the franchise(?) and the character of Willy Wonka. Chalamet, while initially a questionable pick to take over the mantle of the iconic chocolatier, perfectly slots into his role in the film, bringing the right blend of charisma, madcappery, and heart to the younger, less jaded version of Willy Wonka. King’s direction and writing take this musical to a place of family iconography that should hold a lasting place in the libraries of many movie fans. It’s not a film free from flaws, as some of its more fan-servicey moments and CGI feel a bit on-the-nose, but for a prequel that no one really asked for, those elements remain fairly few and far between.

                The film’s story delivers a slightly different plot than the trailers seemed to promise, focusing on an already fairly skilled Willy as he comes to the city to make his fortune selling the whimsical chocolates that he’s learned to make in his adolescent travels. The conflict stems from a lack of funding rather than from a lack of talent, and it becomes a film of class solidarity and the potential to overcome the wealthy and corrupt when working together toward a common goal. After being swindled into owing an inordinate amount of money to his landlords, Willy is forced to work off his debt rather than making his chocolate, which puts him into close contact with other victims of the price gouging of Scrubitt (Olivia Colman) and Bleacher (Tom Davis) – the orphan Noodle (Calah Lane), accountant Abacus Crunch (Jim Carter), telephone operator Lottie Bell (Rakhee Thakrar), plumber Piper Benz (Natasha Rothwell), and aspiring comedian Larry Chucklesworth (Rich Fulcher) – who then become his comrades in arms in his plot to make it big in the Gallery Gourmet, where all the best chocolate in the world is made. The chocolatiers of the gourmet pose the other primary obstacle to Wonka’s rise, with Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton) holding a veritable oligopoly on the trade of sweets in the Gallery, using their excess of chocolate to bribe city officials, police, and the clergy into helping them maintain their hold on the trade. The escapades of Willy’s little group, which is eventually joined by Hugh Grant’s Oompa-Loompa, comprise the majority of the film’s runtime and make for some solid entertainment along the way. It’s not without a few plot holes and a few convenient deus ex machina’s in the closing act, but overall, it’s a fun story with a positive message of solidarity and companionship that is always welcome in the holiday season (even if this isn’t an explicitly holiday film).

                Chalamet’s performance is the driving force of the film, and now that I’ve seen it, I understand his Golden Globe nomination. He sings more than passably in the film’s plethora of upbeat and fun musical numbers, and his personification of the iconic character feels like a healthy homage to Wilder’s and Depp’s other iterations while bringing that youthful flair that the prequel’s story asks for. He’s well-cast, and I’m sorry for any disparaging remarks I may have made after watching the film’s underwhelming trailers. The rest of the film’s ensemble does their jobs decently without any major standouts. Colman seems to be doing her best homage to Mrs. Lovett of Sweeney Todd, but it works as a solid secondary villain. Though they are the film’s antagonists, Slughorn, Prodnose, Fickelgruber, and the Chief of Police also serve as its primary source of comic relief, and the timing and delivery from all four actors manage to elicit some laughs just about every time they’re onscreen.

                Chalamet’s impressive leading performance works with Paul King’s creative prequel narrative and some strong costume and production design to elevate Wonka above the typical prequel fare even if it does stray at times into that territory with some overt fan service and inconsistent CGI. It’s a great time at the theaters in this season of celebration, and once again, Paul King has given us a film that the whole family can enjoy without feeling too pandered to. You can check this one out in theaters for the next few weeks, and if you’re looking for something more upbeat, I have to recommend it.

Weekend Watch - Saltburn

                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 Emerald Fennell’s highly anticipated sophomore feature Saltburn. The film follows a scholarship Oxford student as he spends his summer holidays at the estate of one of his wealthy schoolmates and slowly inserts himself into that world of wealth. It stars Barry Keoghan, Jacob Elordi, Archie Madekwe, Paul Rhys, Richard E. Grant, Rosamund Pike, Carey Mulligan, and Alison Oliver and opened last week to a strong response from audiences even if its critic reviews are only a bit mixed. Let’s get into it.

Letter Grade: A-; so much of the film’s themes have been gone over time and again, but it executes them in such innovative fashion that you can’t help but be enraptured.

Should you Watch This Film? Maybe: filmgoers interested in a film that blends The Talented Mr. Ripley with Babylon are sure to be thrilled. People who find either or both of those films off-putting are probably in for a bad time, though.

Why?

                Saltburn delivers on its promises of exploring the excesses of the British aristocracy and the lengths that people will go to attain wealth through a twisted series of events. Fennell has delivered a depraved but highly entertaining story about class, education, and desire that is at its best when its actors get to show off the fullness of their characters’ idiosyncrasies and sociopathy. The film takes the premise of “eat the rich” to a whole new level that ultimately reads as much as a critique of middle-class social climbers as it does of the aristocracy that it puts on display. Keoghan, Elordi, Madekwe, and Pike, in particular, stand out in their performances, bringing the sexiness that the film requires to hold its audience’s attention as it dives deeper and deeper into the lifestyles of the denizens of Saltburn and into Keoghan’s Oliver’s need to be part of it all.

                In terms of its actual story, Saltburn is fairly reminiscent of Anthony Minghella’s The Talented Mr. Ripley, following a gifted middle-class college student who inserts himself in increasingly aggressive fashion into the life of his rich schoolmate and his friends and family. Keoghan’s Oliver Quick is perhaps more chilling than Damon’s Tom Ripley simply on his ability to lurk while hot, giving a more disconcerting lead performance than Damon’s obsessive one. The twist that kicks off the film’s third act comes only as a mild surprise, and Oliver’s final reveal (no, not that one) might leave too little to the audience’s imagination. Overall, though, the story works because of how fun it is to watch Oliver and his machinations play out, even when you’re pretty sure you know where it’s all headed.

                In addition to the film’s fun – at times, disturbing – story beats, the cast of characters keep things compelling as well. Archie Madekwe, who continues to have himself a year with his supporting performance here, perfectly plays the spoiled, but broke, American cousin of the Cattons, Farleigh Start. He plays smug and confident with so much smarminess that you can’t help but love to hate him. Even toward the film’s end, when his arc becomes more tragic, he brings just enough ridiculousness that you feel he deserves whatever comes, and he manages to never get shown up by any of the film’s “bigger” names. Jacob Elordi also happens to be putting up career numbers this year, and in Saltburn, his Felix Catton is aloof enough to draw the audience in and jealous enough to make them stay. His charisma and sex-appeal ooze from every scene he’s in, and you almost empathize with Oliver’s blend of obsession and frustration with the rich young socialite. Rosamund Pike, though secondary in the film’s cast of characters, gives a scene-stealing performance as the matriarch, Elspeth Catton. Her deadpan delivery of some truly wild lines brings an element of unexpected humor to many of the film’s tensest situations, and she plays so well off of every character she sits across from – Richard E. Grant’s Sir James, Keoghan’s Oliver, Elordi’s Felix, and even Carey Mulligan’s Pamela – elevating every scene that she’s in because you never know exactly what she’s going to do next, raising the whole cast up to her incredibly talented level. Obviously, though, Barry Keoghan carries the bulk of the film on his back, playing that unnerving little dude just as well as he ever has here as Oliver Quick. In every moment, his decisions, however uncouth and out-there they might be, feel true to the desperation of his character, and the actor feels like the perfect casting for such a uniquely depraved performance. I never doubted his willingness to fully send, and he full sends many MANY times in this film.

                A brilliant cast of characters, some truly gorgeous visuals, and plenty of wild story beats keep Emerald Fennell’s sophomore outing fresh and entertaining even as the themes it explores feel a bit overdone in modern popular media. The big swings taken by the filmmakers certainly won’t land with all audiences, but those looking to see a well-acted film that innovates and takes risks in the modern landscape of film are sure to be rewarded for their watch. Saltburn is currently showing in theaters around the country if you’d like to check it out while it’s still there.

Weekend Watch - Thanksgiving

                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 Eli Roth’s new holiday slasher, Thanksgiving, which opened in theaters this weekend. The film, which follows the citizens of Plymouth, MA, who are being terrorized at Thanksgiving by a masked killer one year after a disastrous Black Friday sale left multiple people dead, stars Nell Verlaque, Patrick Dempsey (sexiest man alive 2023), Rick Hoffman, Milo Manheim, Addison Rae, Karen Cliche, Ty Olsson, Jenna Warren, Tomaso Sanelli, Gabriel Davenport, and Joe Delfin as its ensemble of potential killers and victims. Let’s get into it.

Letter Grade: B+; it’s got plenty of that tongue-in-cheek slasher humor and gory action to please any audience even if its story underwhelms in the final act.

Should you Watch This Film? Yes! This is a great time at the theater that never gets too serious or self-important, giving audiences just about everything they might want in a new classic slasher.

Why?

                Thanksgiving delivers up a fun, anti-Black Friday slasher ride that feels like Eli Roth at his most crowd-pleasing, never getting excessive with its gore while still maintaining the director’s twisted reputation with a collection of creative holiday-themed kills and injuries. It’s not a perfect film by any stretch of the imagination with a third act and mystery that end up fairly underwhelming in their execution due to an aggressively choreographed plot twist that even the most basic viewer can probably see coming from a mile away. There’s plenty of dangling plot details to potentially give us sequels if it does well enough, and I really hope that it does because the film’s themes of corrupt business owners, cross-town rivalries, and Thanksgiving-related shenanigans deserve to be further explored alongside its archetypal cast of characters.

                The best parts of the film are its moments of creative kills and attacks that often come out of nowhere. They had the audience in my theater absolutely losing our minds with creative use of industrial-grade ovens, corn cob holders, pilgrim axes, and the heavy doors of a restaurant’s dumpster. They are brutal in the most hilarious ways possible, living very much in the same space as Tarantino’s stylized gore. Each one leans into the film’s holiday motifs and feels like something you haven’t quite seen before in a slasher, at least not in this context. It’s fun to see this type of innovation in a genre that so often relies solely on tropes and familiarity, especially in recent years, to win audiences over.

                Story-wise, Thanksgiving jumps in with a promising premise – someone is out for revenge on the people responsible for a violent and deadly Black Friday mob one year later at Thanksgiving in Plymouth, Massachusetts, the home of the original Thanksgiving (purportedly). After showcasing the horror of a mob at a Black Friday sale, which also introduces us to the film’s collection of characters, it gets into its present-day setting, a town amping up for a Thanksgiving celebration with cross-town sports rivalries, a parade getting prepped up, and lots of hurt feelings as the town approaches the anniversary of the previous year’s disaster. Every bit of dialogue is loaded with potentially incriminating statements to keep the audience guessing as to who the real killer is and whether there might even be multiple killers operating in tandem. For anyone paying the slightest bit of attention, it’s pretty obvious who the perpetrator(s) is (are?), but there’s enough smoke and mirrors and plenty of fun violence to make up for that lack of mystery.

                Each of the characters are fun and decently fleshed-out, with a well-selected cast of lesser-known actors portraying them (2023’s sexiest man alive Patrick Dempsey notwithstanding). Dempsey delivers a performance that works well in building up the setting as Plymouth’s thick-accented sheriff, worried about the impact of the killings on the town’s annual celebration of Thanksgiving. Nell Verlaque does the most as Thanksgiving’s new final girl, occasionally making some questionable decisions but never losing the audience’s support in a passable performance as a burgeoning scream queen. Her band of friends, comprised of Milo Manheim, Addison Rae, Jenna Warren, Tomaso Sanelli, and Gabriel Davenport, fills out the cast well, giving the audience enough individuality to make us curious about who makes it out and who might be the killer.

                Thanksgiving might not have the most surprising reveals and suffers some in its third act, but its fun characters, innovative violence, and tongue-in-cheek humor more than make it a satisfying time in the theaters and a welcome addition to the slasher genre. It might not be perfect, but there’s plenty of potential to follow it up with Thanksgiving 2 (or Easter or St. Patrick’s Day or July 4th) if Eli Roth wants to give us more, and I certainly hope that he does. It’s currently showing in theaters, and I definitely recommend checking it out this week as a way to celebrate the holiday.

Weekend Watch - The Marvels

                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 (now that the studios have agreed to pay their writers and actors what they deserve) recommendation. This week’s topic, as voted by the blog’s Instagram followers is Marvel Studios’ The Marvels – the latest release from the MCU, featuring the team-up of Captain Marvel (Brie Larson), Miss Marvel (Iman Vellani), and Monica Rambeau (Teyonah Parris) who currently has no official superhero alias in the cinematic universe. In addition to its leading ladies, the film also sees the return of Samuel L. Jackson’s Nick Fury to the Marvel films, the big-screen debut of Kamala Khan’s family portrayed by Zenobia Shroff, Mohan Kapur, and Saagar Shaikh, reprising their roles from the Miss Marvel Disney+ show, and sees the introduction of the villain Dar-Benn, played by Zawe Ashton, and Prince Yan of Aladna, portrayed by Park Seo-joon. The film opened this weekend to what looks to be the lowest box office debut of any MCU film to date. Let’s get into it.

Letter Grade: B-; it’s a great time at the movies, and the leads help make the film really fun, but many of the important story beats break down under any kind of close examination.

Should you Watch This Film? If you are a fan of any of these three leading characters from the MCU, this film does them justice, and you’ll find your fandom rewarded. I don’t know how much this film impacts the overall continuity of the “Multiverse Saga”, so it’s a “maybe” for any other Marvel fans. People who haven’t enjoyed the latest offerings of the MCU probably won’t have their minds changed by this one, either.

Why?

                The Marvels, like most of the MCU films post-Endgame, is a mixed bag of good ideas, fun characters, decent effects, and a thin story. In the case of this particular outing, the good ideas come in the form of creative action sequences and a very fun team-up. The effects feel a little bit more consistent than in some of the recent outings; though, at times, the CGI of Captain Marvel flying around doesn’t look overly lifelike. The characters don’t have overly complex arcs in this quick film, but their interpersonal relationships take center stage and make for some solid fleshing out of the three leads. In a broad sense, the story works – forcing Captain Marvel/Carol Danvers to actually address the fallout from her past actions and do her best to patch things up, both with the Kree and with Monica. Unfortunately, the finer details of the story are where it starts to fall apart with more plot-holes than even I am comfortable with in a superhero film.

                Starting with the positives, it’s very fun to see all three of these leading characters on the big screen, and having them work together as a team is the icing on that particular cake. Aside from a tertiary role in Wandavision, we haven’t gotten to see much of Teyonah Parris’s Monica Rambeau, and in this film, she proves to be quite a welcome addition to the team. Beyond actually figuring out what her powers can do, she provides a human connection for Carol/Captain Marvel to wrestle with, which wasn’t as fully present in the first Captain Marvel film, and she brings more of a grounded perspective to the trio, acting as the voice of reason between Carol’s brashness and Kamala’s fangirling. She’s a fun character that has potential to be even more important as the second of the MCU’s sagas unfolds. Kamala Khan/Miss Marvel at least had her own show leading into this film, but Vellani’s character finds her stride here as she becomes part of a team, realizing that she has more to contribute than just being a sidekick to more famous heroes. While Monica is the brains of the operation and Carol is the main character and strength of the trio, Kamala serves as the team’s heart, reminding them time and again of their individual and collective greatness, becoming the best part of the film in the process. Her interactions with each member of the team, with Jackson’s Nick Fury, and with her own family serve as the comedic heart of the film but also the emotional core of the film, as her arc from fan/b-lister to mainline superhero comes to full fruition. Brie Larson’s Carol Danvers, in contrast with Kamala’s heart-on-her-sleeve passion, has to be brought out of her shell some in this film, benefitting greatly in this regard from Kamala’s outgoing nature and her emotional connection to Monica and her deceased mother. She’s obviously still one of the most powerful beings in the MCU, but her character gets to play in that space a bit more, as she’s forced to reckon with her inextricable connections to those weaker than her and to come to appreciate those connections rather than shy away from them and the vulnerability that they bring. Those connections offer a much-needed depth to her character that makes her a more integral part of the universe moving forward.

                On the flipside, the story surrounding these three great characters lacks a solid narrative framework and feels like a shell that was built around the awesome team-up. It’s a film that makes for a great time while you watch it, but when you look back and think about it, you’re puzzled by the logic and many conveniences that happen in the midst of it. Zawe Ashton does a commendable job as the villain Dar-Benn, coming across as the desperate world leader that she’s asked to portray, but many of the character’s decisions feel more like they were meant to bring the characters to certain locations and set pieces rather than the coordinated actions of the leader of an entire planet (empire?). Don’t get me wrong, those set-pieces are mostly pretty solid – the musical planet with Prince Yan, the cat rescue, and the initial entanglement sequence all make for highly entertaining film – but it’s again not the most logical in terms of story development. Likewise, I found myself wondering multiple times about how Monica just knew certain bits of information about the universe and physics that pertained to their specific situations and how the trio moved on so easily from witnessing multiple potentially world-ending events in pretty rapid succession. The processing scenes are either missing entirely or much too short to be fully satisfying. But that also speaks to my initial point that this film is here to showcase the trio rather than explore the universe that they inhabit, which may or may not work all the time.

                The Marvels is at its best when its leading team is on-screen, working together, and interacting in fun and fresh ways; unfortunately, much of that fun comes at the expense of a cohesive story, with the writing feeling more constructed around the characters as opposed to the characters developing around the story. It probably won’t work perfectly for most audiences, and a bit more time spent on story development could easily have made this one of the best MCU films. As it stands, it’s still a very fun superhero film with memorable characters, some original action sequences, and lots of heart that just misses the mark on some of its story logic. I think it’s worth your time if you’re looking for a lighthearted action flick that’s currently showing in theaters. Otherwise, you can probably wait for this one to hit streaming if you’re a Marvel fan or skip it if you aren’t because I’ve seen too many people dumping on this film for not being “cinema” for me to tell those people to watch it. They’ve already made up their minds because Scorsese told them to, and they’re not changing for a Brie Larson superhero film. If that’s you, just don’t see it rather than wasting time trashing people for doing their jobs.

Weekend Watch - Bottoms

                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 Bottoms, the high school comedy from Emma Seligman and Rachel Sennott, starring Sennott alongside Ayo Edebiri, Ruby Cruz, Havana Rose Liu, Kaia Gerber, Nicholas Galitzine, Miles Fowler, and Marshawn Lynch. The film follows lesbian best friends (Sennott and Edebiri) as they start a fight club to try to hook up with their crushes. It opened last weekend to wide acclaim (critical and fan-based) and jumped immediately onto Letterboxd’s list of the top-rated 250 narrative feature films on their site. Let’s get into it.

Letter Grade: A; this is legitimately the most laugh-out-loud funny film I’ve seen in theaters in a long time, and with the addition of some solid performances and writing in between jokes, it’s an excellent film.

Review:

                 Bottoms puts together a perfect blend of quirkiness, heart, high school hijinks, and pure comedy to insert itself into the conversation for the best modern teen comedy. The comedic performances from Edebiri, Sennott, and Lynch stand out from the crowd with perfect timing, playing excellently off each other in what ends up being a brilliantly paced, quick hitting high school comedy. Sennott and Seligman put together a fun premise with memorable characters and goofy situations that feels unquestionably original and fresh, aggressively self-aware and thoroughly entertaining from start to finish.

                Ayo Edebiri is in the midst of a huge come-up right now, with voice performances in the Ninja Turtles and Spider-Verse films that came out this summer, an Emmy nomination for her performance in The Bear, and now the co-lead in one of the most popular comedies of the year so far. Her turn here as Josie is probably the most complex character, and she plays the awkward but driven young woman charmingly. Rachel Sennott follows up her critically acclaimed 2020 partnership with Seligman in Shiva Baby with yet another mildly unhinged, uproariously funny turn as PJ, the ringleader of the impromptu girls’ fight club. Marshawn Lynch is the not-too-surprising stand-out of the supporting characters, playing the girls’ history teacher, Mr. G, arguably the film’s funniest character, holding his own in the film across from these two incredibly talented actresses, even outshining them in some scenes.

                While I am very aware that I am not Seligman and Sennott’s target audience as a straight white guy, I still found their film to be highly enjoyable and never unapproachable in its humor or storyline. The caricaturized version of high schoolers that they present in the cheerleaders, football players, outsiders, and nerds makes for a quality satire of the high school experience, specifically for girls, but one that is easily recognizable for anyone who’s been to an American high school in at least the last twenty years. The story of girls with crushes looking for love is nothing new, but its execution with the comedy, situations, and ultimate over-the-top climax that brings it all together is on a level of originality that you just rarely see in your mainstream modern comedies.

                Bottoms is a refreshingly original take on the high school comedy genre, bolstered even higher by some solid comedic performances, excellent humor, and a story that never feels tired and never loses its pacing, making this one of the must-see films of 2023. Seligman, Sennott, and Edebiri represent a talented group of rising stars in modern Hollywood, and I’m excited for them to have this film under their belt as a classic comedy to look back on as their success continues to climb. Marshawn Lynch might be the most unironically funny athlete-turned-actor to date, and he gets to put that on full display here; I look forward to seeing even more of that. The originality and representation in Bottoms also goes a long way in moving the film industry in a positive direction as well. All-around, this film represents a huge step in the right direction for the American film industry, and I’m glad that it exists and that I got to see it this weekend.

Weekend Watch - Teenage Mutant Ninja Turtles: Mutant Mayhem

                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 Teenage Mutant Ninja Turtles: Mutant Mayhem, the latest reboot of the TMNT franchise, this time written and produced by Seth Rogen and written and directed by Jeff Rowe (of The Mitchells vs. the Machines and Gravity Falls fame). The film features the vocal talents of Micah Abbey, Shamon Brown Jr., Nicolas Cantu, and Brady Noon as the four titular turtles, joined by the likes of Jackie Chan, Ayo Edebiri, Maya Rudolph, John Cena, Paul Rudd, Ice Cube, Hannibal Burress, Seth Rogen, Rose Byrne, Natasia Demetriou, Giancarlo Esposito, and Post Malone to fill out the rest of the mutant and human cast. The film opened last weekend to surprisingly high reviews but middling box office returns. Let’s get into it.

Letter Grade: A-; this is quite possibly the best Ninja Turtles content that’s ever been produced, and it deserves recognition for also being some really high-quality animation too.

Review:

                In a not-so-surprising turn of events, filmmakers have finally found a non-muppet-based winning formula for a Teenage Mutant Ninja Turtles film, and that formula is to lean harder on those first two words than they do on the third one. Mutant Mayhem delivers what its title promises – more mutants than expected and some truly wild and crazy fight scenes utilizing them. It also brings with it a healthy dose of heart, humor, and authenticity (strange in an animated film about mutant turtles, I know) that wins the day for the film, making it my second-favorite animated film of the year so far.

                By leaning into the teenage and mutant aspects of the quartet of heroes, Mutant Mayhem sets itself apart in a fun, humorous, and heartfelt way from its predecessors. Featuring references to memes and pop culture that current 15-year-olds would reference and talk about, leaning into the archetypes of the four turtles and how they actually translate to real teens, and centering around the turtles’ desire for acceptance allows the film to follow the familiar beats of a high school comedy with plenty of mutant ninja action connecting its pieces together. In a lot of ways, this film feels more like the successor to Sky High or The Lego Movie in the ways that it blends realness with humor, action, and fantasy than it does a successor to the TMNT films of the 90s or even the television shows of the 2000s and 10s, and that’s a good thing.

                Mutant Mayhem also follows in the footsteps of its more recent predecessors – Into the Spider-Verse, The Mitchells vs. the Machines, and Across the Spider-Verse – by delivering some great animation, comedy for kids and adults, and some all-time needle drops to tie it all together. Where Disney and Pixar have embraced animation that blends realistic textures and images with fantastical settings, Sony and Paramount have stepped into this realm of stylized animation, with Sony copying comic book panels and art styles in its animated Spider-Man films and Paramount putting on displays of 2-dimensional meets 3-dimensional in a way that showcases the realness of the world in science fiction settings. In TMNT, that looks like oddly misshapen but highly detailed human faces, grungy buildings that match the sewers below, and mutants that look like monsters but still have hearts of gold. This animation carries over into the action sequences backed by some great songs, all of which feel fun, original, and well-directed for the target audience while still keeping the non-kids in the room happy.

                The only true knock against Mutant Mayhem (and reason why it doesn’t receive a higher rating) is that its stakes never get high enough to induce that high-octane thrill that the action scenes deserve. There’s great action front to back, but you never feel like the outcome of the fights is in question. Even when they get down, the turtles and their allies never quite stay down long enough to get you worried that they won’t be getting back up again. The downs don’t hit quite as hard as the ups, and they are overcome a bit too easily for the film to feel fully earned. I still love it and had a great time watching it, but I wish that the stakes had felt more dire. There’s enough humor to warrant a few more down moments, but they don’t come, so here the film sits at an A- with potential for an A+ somewhere (probably) on the cutting floor.

                Teenage Mutant Ninja Turtles: Mutant Mayhem comes through on its promises of mutants, mayhem, teens, turtles, and ninja action in a glorious way, with plenty of heart and humor to carry it over the finish line, even if its stakes never quite get to a dire point that leaves you on the edge of your seat. Hopefully, the film does well enough to get the sequel that it deserves (and maybe a solid TMNT trilogy for once) because it really is a great time at the theater and so much better than anyone was giving it credit for going in.

Weekend Watch - Haunted Mansion

                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 Haunted Mansion, the latest of Disney’s films based on rides from their parks. This film is in no way related to the Eddie Murphy film from the early 2000s except in its inspiration coming from the same ride. The current film stars an ensemble cast of LaKeith Stanfield, Rosario Dawson, Owen Wilson, Tiffany Haddish, Danny DeVito, Jamie Lee Curtis, Chase Dillon, and Jared Leto. It focuses on Dawson’s Gabbie and her son Travis (Dillon) who have bought a new home outside of New Orleans with the goal of turning it into a bed and breakfast and have discovered that it is haunted, leading them to turn to a series of experts – a physicist, medium, historian, and priest played by Stanfield, Haddish, DeVito, and Wilson respectively – to rid themselves of their ghost problem. Let’s get into it.

Letter Grade: B-; this film isn’t “good” like last week’s slate of excellence, but it knows its lane and delivers a solid film for its genres and target audience.

Review:

                Haunted Mansion is every bit the Disney ride adaptation that we’ve come to expect, never quite hitting the highs of the first Pirates film, but delivering a quality blend of goofy effects, Easter eggs for the devoted fans, and light comedy in the midst of serious stakes. For me, I’d say this film outperforms the more recent ride adaptations – Jungle Cruise, Tomorrowland, The Country Bears, and The Haunted Mansion – thanks to better comedy, better acting, and a simpler story.

                The humor can be hit and miss, but for my wife and me, it was certainly more hit than miss – even if the rest of the audience didn’t quite seem as tickled by a lot of it. This can’t come as much of a surprise, considering writer Katie Dippold’s track record – writing such hits as Parks and Rec’s “Indianapolis” and “The Set Up” but also flops like Ghostbusters (2016) and Snatched. The jokes and characters all feel very trope-y in an endearing way that keeps the film familiar even if it’s not overly original. With a story that does a good job of establishing characters and connections, including a fun heist-esque montage of recruiting the various players, the film is at its best in the first two acts with a third act that rushes a bit to get the characters to a conclusion that only feels satisfying for one of its characters but leaves you happy enough with the outcome.

                The actors help to make their archetypes work well, introducing unique flairs to their characters to help them stand out against the familiarity. Dawson plays maybe the most familiar character in Gabbie, the unsuspecting homeowner and mother who gets caught up in a haunting. She plays her with the right amount of heart and backbone to hold the unlikely team together. Dillon’s Travis plays an interesting addition/sidekick to Gabbie’s character, struggling with his recent disconnection from his father (Gabbie’s husband). Dillon brings a lot of fun to the son character while still giving a deep enough performance to make his character arc interesting. Stanfield’s Ben Matthias has the most depth of the film’s players, struggling with an inner grief that he portrays in a surprisingly heartfelt and moving way for such an otherwise simple and comedic film. His acting far outweighs the rest of the cast for most of the film, but he manages to tone it down enough in the funny moments to get some laughs for himself as well. Wilson, Haddish, and DeVito deliver the most laughs of the film as the supporting cast, each with their own unique takes on the familiar character tropes. Wilson’s priest with a shady background, Father Kent, brings that familiar Owen Wilson squirrely charm to the typical unorthodox priest character. Haddish’s medium, Harriet, gets the most laugh-out-loud moments and lines in the film, coming across as a fraud with just a hint of authenticity, keeping the energy very light as we’ve come to expect from the skilled comedienne. DeVito’s historian, Bruce Davis, mostly exists to give some exposition, but he also gets some moments to be the funny, irreverent old man that DeVito so often embodies these days.

                With an ensemble cast that brings a solid blend of heart and humor to the familiar (and maybe a bit too rushed) story, plenty of nods to the ride that inspired it, and just enough mild and goofy horror moments, Haunted Mansion is a passable and fun time at the movies that won’t necessarily break any new ground in its genres but should please the crowd. It far outshines some of the more recent live action Disney outings, but it also won’t be making anyone’s top-10 family or horror or comedy films any time soon. Go in hoping for a lighthearted good time that won’t make you think too hard, and you won’t be disappointed.

Weekend Watch - Barbenheimer

                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’re looking at the cinematic event of the year, the double release of Barbie and Oppenheimer, which have combined to form the 4th-largest American box office weekend in history – and the only one headlined by non-franchise films. Barbie comes from director Greta Gerwig, cowritten by her and Noah Baumbach, starring Margot Robbie as the primary titular character, joined by Issa Rae, Alexandra Shipp, Kate McKinnon, Hari Neff, and many others as the many iterations of the iconic doll and Ryan Gosling as the leading Ken, joined also by Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, and many others as the other Kens in Barbieland. America Ferrera, Ariana Greenblatt, Will Ferrell, Helen Mirren, and Michael Cera round out the star-studded comedy that has ruled the weekend. Oppenheimer, from writer/director Christopher Nolan, stars Cillian Murphy in the titular role, supported by another star-studded cast, headlined by Robert Downey Jr., Emily Blunt, Matt Damon, Alden Ehrenreich, David Krumholtz, Benny Safdie, and Florence Pugh. Both films, and this weekend, are sure to go down in cinematic history, so let’s get into it.

Barbie Letter Grade: A-; this is the type of film that studios should strive to get back to for their blockbusters!

Oppenheimer Letter Grade: A; Nolan delivers a masterclass of a biopic, drawing excellent performances from every actor in the film!

Barbie Review:

                Greta Gerwig’s Barbie is sure to go down in history as a modern classic of satire, production value, and comedic excellence. Every role in the film feels perfectly cast, from Margot Robbie’s complex leading lady to Ryan Gosling’s perfectly himbo-coded Ken to Will Ferrell’s bumbling CEO to America Ferrera’s harried mother/secretary to every supporting Barbie, Ken, and Allan. It’s a fantastic cast that help sell Gerwig’s vision of the mythical Barbieland and the almost real “real world” and allow the film to thrive in its massively important messages of female empowerment and the importance of defining yourself intrinsically rather than extrinsically.

                Barbie’s production design might be some of the best of the year, starting obviously with Barbieland but extending also to the real world, particularly the office-scape of Mattel where we get a particularly fun chase scene and some great contrast to the brightness of Barbieland. The attention to detail that went into the creation of the sets and their intentional artificiality makes this a film that will undoubtedly stand the test of time. The subtle (and not-so-subtle) changes that occur there throughout the movie only add to the film’s sense of itself, drawing the audience into a fantasy land where truths about our own world can be put on full and aggressive display as only satire can do.

                The comedy and story of Barbie, as crafted by Gerwig and Baumbach and then delivered by their stellar cast, hits the right note in just about every scene. The depth of the film’s satirical critique of modern society can only be appreciated when you take a step back and look at the whole thing. This is not a film, as some have argued, that “hates men” or “wants to set the feminist movement back fifty years” or “seeks to villainize all men”. It is a film that uses its childlike premise and perspective to peel away the façade of society’s nuances and lay everything out in its most basic terms. The reverse parallel between Barbieland and our own world highlights the flaws of gender-driven/sexually-motivated systems of power – namely that they are overly reductive and generally ineffective in creating well-running, equitable, informed, and ethically acceptable societies. By showcasing this argument through humor (sometimes self-deprecating, sometimes on-the-nose, sometimes slapstick, sometimes other forms), the audience is invited to embrace gender as a definition of self without it being a cookie-cutter or archetypal label that defines your entire potential for life. Patriarchy is the film’s villain, not because the filmmakers view men as villains, but because they want to reject fully the idea that gender (or implicitly, income, occupation, family status, nationality, race, sexuality, age, etc.) can define anyone’s individual worth or efficacy. You need only look at the story arcs of both Barbie (Robbie) and Ken (Gosling) to see that this is the message being portrayed. The only real issue with the film’s story/comedy/messaging comes in its climactic monologue from America Ferrera’s Gloria in the third act about the struggles of being a woman in a patriarchal society. The monologue itself is excellently done, hearkening to Laura Dern’s Oscar-winning performance in Baumbach’s marriage story in its tone and content, but its issue lies in the fact that the moment feels a bit unearned, given all that we’ve seen of Gloria’s life up to that point in the film (not a whole lot). For a character to make so many sweeping statements speaks to the state of her society, but when so much of the film has taken place away from that society, it feels like there should have been a little bit more lead-in to the moment, however valid it might be.

                Barbie is one of those big studio films that manages to live up to the hype thanks to some excellent performances, great production design, and solid writing that leave audiences with a minimally flawed film and a great time at the theater. Greta Gerwig, Margot Robbie, and Ryan Gosling again have the fullness of their talents on display in this film that is sure to stick around for a while in modern cinematic discourse.

Oppenheimer Review:

                Christopher Nolan’s Oppenheimer has set a new standard in biopics, delivering a devastating historical narrative in a way that keeps its audience fully engaged and guessing for its entire three-hour runtime. It is a dialogue-driven film full of hearings, interspersed with conversations about politics, metaphysics, and the scientific community that never actually manages to feel as boring as all of that sounds, which is a triumph in and of itself. Nolan manages to deliver a well-paced narrative that only gets you lost a few times and that is one of the most well-acted films of the year, top to bottom.

                At its heart, Oppenheimer wants to tell the story of J. Robert Oppenheimer as honestly as it can, taking the good with the bad and leaving the interpretation up to the audience. It invites you to empathize with the historical figure who is at least partially responsible for one of the biggest atrocities in history, and it accomplishes this goal not by attempting to justify any of the evils that he wrought but by showcasing the human behind it all. Oppenheimer isn’t a hero or a villain or even an antihero; he is a man thrown into some of the muddiest waters in history and asked to swim back to the surface. We get to see the worst parts and best parts of Oppenheimer’s life – both personal and professional – as portrayed in Cillian Murphy’s subtle but gripping performance. The people he wronged along the way and his awareness of that wrongdoing play a key role in making this film as successful as it no doubt will continue to be.

                While I wish that the narrative let you in on a bit more of its side characters’ (RDJ’s Lewis Strauss and Jason Clarke’s Roger Robb for examples) motivations, the overall narrative structure – jumping around between hearings and history – works well in keeping you engaged and presenting its true message, which is only tangentially related to the person of Oppenheimer. The film’s final moments, though not chronologically the last point in the film’s timeline, offer a chilling and gut-wrenching conclusion to Oppenheimer’s work. From the very start of the film, we see Oppenheimer plagued by this fear and guilt and fascination over the work that he conducts, offering an awareness of his own nature and the nature of humans toward self-destruction. His participation in and enthusiasm for the creation of the atomic bomb only serves to reinforce this message, and Nolan makes it all the more clear when we finally see what it is capable of (in gloriously enrapturing cinematography and sound design). Nolan wants his audience to understand that our “othering” of our fellow humans and our own selfish desires for self-preservation over the good of all others are in fact leading us down a path of self-destruction, just as Oppenheimer set himself up for his own demise, the human demand for “defensive weapons” has set us up for our own violent destruction.

                Led by Cillian Murphy’s commanding performance and a plethora of strong supporting performances, Nolan’s Oppenheimer manages to tell the truth about its subject while also offering a deep truth about humanity, marking it as the new gold standard for biographical films. It’s not always the most perfectly paced or explained film, but on the whole, it offers a new perspective and a meaningful message that the world needs in this time.

Weekend Watch - The Flash

                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 Flash, the latest offering (and last of the most recent iteration) from the DC cinematic universe. This film is the first to star Ezra Miller’s version of the speedster as its titular hero and also features Ben Affleck’s and Michael Keaton’s versions of Batman/Bruce Wayne alongside Michael Shannon reprising his villainous role of General Zod and the newcomer Sasha Calle playing Supergirl/Kara Zor-El. With an increasing amount of superhero fatigue around seemingly throwaway films and the coming reboot of the DC Universe with James Gunn and Peter Safran at the helm, the film has underperformed so far at the box office. Let’s get into it.

Letter Grade: C; this is a totally acceptable superhero film that you can see if you need to scratch that itch.

Should you Watch This Film? If you are firmly invested in seeing a Flash movie, I’m not sure when the next one will be coming on DC’s slate, so this might be your best choice. Otherwise, you can probably skip this and won’t be missing too much in the grand scheme of things – culturally and in the film universe.

Why?

                The Flash offers audiences a film that, at this point, we’ve stopped asking for and only cared slightly about to begin with, doing a fine job of showcasing its characters and story but leaving everyone wondering why exactly it exists, particularly with its box office returns being as poor as they have been so far. It feels like a poorly informed cash grab in the vein of Morbius but with slightly better story, action, and characters. For a film that embraces the story of Zach Snyder’s Justice League, this film departs strongly from the vibes and vision of that drab, plodding superhero film. Instead, The Flash presents audiences with a brightly colored, poorly CGIed superhero action comedy with more unearned fan service than should be allowed in a single film.

                Let’s talk highs first. As a standalone superhero comedy, The Flash works just fine. Ezra Miller has never really made it as a dramatic actor, so letting them go full manic comedy seems like the right choice for this film. It’s a film that never tries to be anything but itself, and for that I applaud them. The comedy hits most of the time even when it feels like a strong deviation from any superhero formula that we’ve yet seen. The jokes keep the whole film fairly light and keep the pace moving, rushing you through the film’s almost two-and-a-half-hour runtime at a pace that feels closer to an hour and forty-five minutes. Now, the levity does have one major drawback – it removes any feeling of drama and suspense that you might normally have given the situations unfolding onscreen. There’s so much humor that I never felt fully invested in any of the conflicts (that might also be because we know the universe is getting a reboot after this anyway) and the more emotional beats of the film only halfway landed.

                Performance-wise, Ezra Miller does the best with what they’re given, leaning hard into the multiple Barrys thing and delivering well on the comedy. Are they the best iteration of Flash ever brought to screen? No way, but I found them enjoyable enough to keep the film watchable in their role. Ben Affleck’s limited screentime works out fine, as this might be his most phoned-in Batman/Bruce Wayne performance yet, understandably so with it being his last time in the role as far as anyone knows. Michael Keaton is a welcome addition to the cast, and his Bruce/Bat makes a lot of sense in the film, given its lighter (borderline campier) tones. He gets to do more than Affleck, and that’s not a bad thing. If anything, The Flash actually helps cement Keaton’s take on Batman as my second-favorite behind Robert Pattinson’s. (That’s not a statement about any of their films, just how I feel about their interpretations of the Caped Crusader.) Calle’s Supergirl and Shannon’s Zod feel almost more like throwaway plot points than actual characters, through no fault of the actors, more due to the writing, but they work in their roles. Obviously, Shannon is a great actor, and his Zod is probably the best villain from this saga of DC films. Calle does great in her action sequences but isn’t given much to do in terms of character work, so I’m curious to see whether she gets to come back in the new universe or not – it could be good.

                The Flash is a bit of a mess narratively and tonally that works best when it’s not taking itself too seriously – not the worst superhero film of the year but nowhere near the best either. If you need that itch scratched or are just deeply committed to seeing Ezra Miller’s Flash on the big screen, this is the film for you. Otherwise, you can definitely skip its theatrical run and might even be okay avoiding it entirely. Tragically, in a world full of superhero universes, films that lack legitimate consequence within those universes end up being fairly skippable.

Weekend Watch - Spider-Man: Across the Spider-Verse

                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 vote by the blog’s Instagram followers is Spider-Man: Across the Spider-Verse, Sony Animation’s and Lord and Miller’s sequel to 2018’s Best Animated Feature, Spider-Man: Into the Spider-Verse. This film features the returning voice talents of Shameik Moore as Miles Morales, Hailee Steinfeld as Gwen Stacy, Brian Tyree Henry as Jeff Morales, Luna Lauren Velez as Rio Morales, Jake Johnson as Peter B. Parker, and (technically returning if you count the post-credits scene) Oscar Isaac as Miguel O’Hara. A few of the notable voices joining the Spider-crew this time around are Jason Schwartzman as the villain Spot, Issa Rae as Jessica Drew, Daniel Kaluuya as Hobie Brown, Karan Soni as Pavitr Prabhakar, Shea Wigham as George Stacy, and Andy Samberg as Ben Reilly. Opening last weekend to rave reviews, this film has made its way to the very top of Letterboxd’s rankings and into IMDB’s Top 250 movies as well (at #11 currently). Let’s get into it.

Letter Grade: A; the only thing keeping it from that “+” is its reliance on a sequel to finish its story. If Beyond the Spider-Verse sticks the landing, it unquestionably jumps to an “A+”.

Should you Watch This Film? Yes! Emphatically, yes! Across the Spider-Verse is the best animated film since Into the Spider-Verse and might be one of the best films in general since then as well. Everyone needs to see this film.

Why?

                Across the Spider-Verse picks up a year after the events of its predecessor with Miles Morales more established as Brooklyn’s very own Spider-Man, working in tandem with his father, Officer Jeff Morales, who still does not know his son’s secret identity, to bring down criminals across New York. After a jaunt into Gwen’s backstory, the film picks up when Gwen appears again in Miles’s universe, this time of her own volition, telling Miles about a multiversal team of Spider-heroes who protect the multiverse from existential threats. Upon discovering his own involvement in the current threat to the multiverse (inadvertently allowing Spot to escape), Miles secretly tags along with Gwen to make things right, sending the pair on a multiverse-spanning adventure that hasn’t quite wrapped up just yet.

                This film does everything it sets out to do incredibly well. The animation is some of the best in film history, taking the comic book style of the first film and amping it up, giving each Spider-person’s universe its own style and colors, giving audiences some of the most beautiful scenes ever put to screen that also happen to be full of details and/or emotional moments that help flesh the film out. A two-hour-and-twenty-minute runtime is ambitious for an animated feature, but it never loses steam, jumping from moment to moment with a well-paced blend of humor, action, and human emotion. It does what all sequels are supposed to do – fleshes out the universe and playing with the themes of the first without ever losing the charm that made the first so great. It follows in the vein of great sequels like The Dark Knight or The Empire Strikes Back, taking on a slightly heavier story than its self-contained predecessor, personalizing the stakes for its heroes, and leaving you in need of a satisfying conclusion when the credits roll.

                That ending is one of the only legitimate knocks against Across the Spider-Verse, leaving virtually all of its existing conflicts unresolved, more in the vein of 2021’s Dune or this year’s Fast X. It does a solid job of giving certain arcs some emotional closure but leaves the audience with a profound sense of satisfied dissatisfaction. You love what you’ve just seen, but there is an acute awareness of the fact that the story has so much resolution still to come. Again, I think it’ll pan out because Lord and Miller are great writers, and the directors they have chosen (Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson in this case) do an excellent job executing their artistic vision. It’s just one of those things in film where you’re stuck not knowing what the follow-up is going to bring. Will it be epic but bloated like At World’s End, campy and satisfying like Return of the Jedi, methodical but convenient like The Dark Knight Rises, bigger and with more fan service like Endgame, some other new descriptor we haven’t even thought of yet? Who’s to say? Regardless, I’m excited to see how they bring this trilogy home, and I really hope it does justice to these first two films, because they have been excellent.

                Across the Spider-Verse delivers everything you could want from a sequel and then some, going even harder with its gorgeous animation, involved action sequences, and emotional set-ups for payoffs we’ve yet to fully see. The film is tracking to be a legitimate contender, not just for Best Animated Feature this year, but to be the best film of the year overall. If you haven’t already, please go see this film in theaters while it’s there. I’m going back tonight to celebrate my birthday if you needed any further endorsement.