Weekend Watch - Barbarian

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

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

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

Why?

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

Weekend Watch - The Lord of the Rings: The Rings of Power

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendations. This week’s subject, as voted by our Instagram followers, is The Lord of the Rings: The Rings of Power, Amazon Prime Video’s new show set in Middle Earth, thousands of years before the events of The Hobbit and The Lord of the Rings trilogies. The show stars Morfydd Clark, Ismael Cruz Cordova, Markella Kavenagh, Megan Richards, Charlie Vickers, Robert Aramayo, Nazanin Boniadi, and others as a slew of returning and new characters in the Lord of the Rings franchise. The first three episodes are streaming now, and that’s what this review will be based on. Let’s get into it.

Letter Grade: A-; a fun return to Middle Earth, it might not have as much of a pull for new viewers.

Should you Watch This Show? Short answer: Yes. Long answer: This show probably has more to offer fans of the franchise than new viewers, but its production value and originality might be enough for them too.

Why?

                The Lord of the Rings: The Rings of Power offers a new look at the history of Middle Earth, bringing a combination of familiar characters and new faces, set at the pivotal moments surrounding the forging of the Rings of Power. Thus far, the show has done a good job showcasing its many storylines, giving the audience a solid mix of action, potential romance, suspense, drama, and lore dumps across its three currently streaming episodes. The leading performers have done well with their roles so far, with Morfydd Clark’s Galadriel, Ismael Cruz Cordova’s Arondir, and Markella Kavenagh’s Nori Brandyfoot featuring as early standouts. With each of these new/old characters come storylines that should grasp the interest of Tolkien die-hards and new viewers. The stories of the fall of Numenor, the hunt for and return of Sauron, the forging of the Rings, the coming of the Istari (wizards), and the founding of the kingdoms of Gondor and Rohan have all been seeded just in these first episodes, offering plenty of potential for great tales as the show moves forward. Against the backdrop of these great moments, the show has also brought plenty of the personal character moments that made the Lord of the Rings trilogy into one of the greatest ever made. Galadriel’s rescue by Halbrand in the sea, Nori’s decision to help “the Stranger”, Arondir’s complicated relationship with Bronwyn, and Elrond’s friendship with the dwarf prince Durin and his wife are all personal moments that already stand out as important and memorable in these first episodes. But perhaps the most intriguing aspect of the show’s story so far has been the teasing of Sauron’s return. Due to the nature of the show’s overall story, we know Sauron is coming, but we don’t know the form he will take, other than deceptive. So far, at least two possibilities have been teased with potentially another coming at the conclusion of this week’s episode. I have enjoyed the mystery surrounding the show’s ultimate villain so far, and I feel that it has created some solid discourse around the show. In addition to its solid characters and story, the show’s production value has been high so far. Utilizing a combination of real locations and CGI like Jackson’s trilogies, the show looks and feels very much like a true return to Middle Earth. Being a television show, some of the CGI doesn’t look perfect, but revisiting The Hobbit trilogy, some of that wasn’t the best either. Additionally, the show also brought back Howard Shore to score the show, delivering new but familiar music to go along with this return to Middle Earth. Overall, The Rings of Power offers a refreshing return to Middle Earth, offering plenty of new stories and characters in a familiar setting to bring in both old fans and new. Check this one out, with new episodes streaming every Friday for the next few weeks.

Weekend Watch - August 2022 Recap

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

Long Shots:

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

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

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

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

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

Possible Things:

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

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

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

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

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

Weekend Watch - House of the Dragon - Pilot Episode

                Welcome back to the Weekend Watch, where each week we take a new piece of film or television media, as voted by the followers on the blog’s Instagram, and give it a rating, review, and watch recommendation. This week’s subject is the pilot episode of HBO’s House of the Dragon, a prequel series to the wildly successful Game of Thrones, set 172 years before Robert’s Rebellion, the event that directly set up the events of Thrones. The pilot stars Matt Smith, Paddy Considine, Rhys Ifans, Steve Toussaint, Fabien Frankel, Milly Alcock, Emily Carey, and Graham McTavish, among others, as major players in this family drama set in the land of Westeros. The viewership numbers for the pilot episode were apparently the highest of any HBO premier in recent history, allowing the show’s second season to already receive the green light before its second episode has released. Let’s get into it.

Letter Grade: B+/A-; there’s a lot to love and a lot of potential in this pilot, but I want to wait before I’m fully sold on the show.

Should you Watch This Show? If you were a fan of Game of Thrones, absolutely. If you like Succession or other family dramas and also want something with a more medieval/fantasy bent, absolutely. If those things are not your cup of tea, you’re probably okay skipping this one.

Why?

                House of the Dragon comes out swinging with a pilot episode full of intrigue, dragons, violence, big characters, and difficult content. After a brief, possibly unnecessary, prologue, the show flashes to its present with a dragon front and center, flying over King’s Landing – a shot that might be slightly triggering to certain fans of Game of Thrones who were less than satisfied with that show’s final season. Immediately, the show’s production value (much higher than most comparable shows) becomes apparent, with some pretty good CGI work, excellent set pieces, and decent costume and makeup design (some of the wigs look a little more wig-ish than others). The characters, whose names might be a bit more difficult to pronounce/remember than Ned, Jon, or Jaime, still stand out as individuals, particularly Matt Smith’s villain(?) Daemon Targaryen, Fabien Frankel’s hot, young nobody Criston Cole, and Milly Alcock’s young heroine Rhaenyra Targaryen. Smith embodies a combination of characteristics reminiscent of some of Thrones’s most iconic villains – the creeping menace of Ramsay Bolton and the entitled violence of Joffrey Baratheon – I’m intrigued to see where they take his character as the show progresses. Frankel’s simple charm combined with his character’s skill on a battlefield make him a potentially great tragic hero, alongside Robb Stark or Jon Snow or Oberyn Martell from the original show. Alcock brings much of the charm of a young Arya Stark and combines it with the tact of Margaery Tyrell to become the show’s new protagonist (at least at this point), having to walk the complex minefield that is the political state of Westeros. If we’re being honest, my two biggest concerns going forward with the show are its inevitable time jump, which has already been teased, as both Rhaenyra and her friend Alicent Hightower are portrayed by different actresses later on in the season, and its lack of a fully likable character (a Tyrion Lannister). Time jumps in the middle of a show’s inaugural season make me considerably nervous, as audiences don’t always react super well to a change in actor, particularly in shows with character lists as lengthy as House of the Dragon’s. I also know that you shouldn’t compare two shows when doing a review, but it’s hard not to with Dragon and Thrones, especially with the knowledge of how the original ended. The surprise deaths and complex political games will only take a show so far if it doesn’t have an almost universally beloved secondary protagonist. Overall, House of the Dragon’s pilot episode does a great job of filling the shoes that its fans expected it to fill with a combination of high production value and memorable characters; we’ll see where it all ends up as the season progresses, but there’s a lot here to be optimistic about in HBO’s return to Westeros. The first episode is available on HBO Max if you missed its premier, and the second episode drops on Sunday night on HBO and HBO Max simultaneously.

Weekend Watch - She-Hulk: Attorney at Law Episode 1

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendation. This week’s Watch, chosen by votes on the Instagram account, is about the new MCU Disney+ show She-Hulk: Attorney at Law whose first episode dropped this week and will run for another eight weeks on the streaming service. It stars Tatiana Maslany as Jennifer Walters/She-Hulk as well as featuring Mark Ruffalo, Ginger Gonzaga, Jameela Jamil, and Steve Coulter. Future episodes are also supposed to feature Tim Roth, Charlie Cox, Benedict Wong, Josh Segarra, and Griffin Matthews. The show follows the origins of She-Hulk and Jennifer’s efforts to maintain a normal professional and social life as she gains these new powers; let’s get into the review.

Letter Grade: A-; for what is essentially a pilot episode, this might be one of the MCU’s best so far.

Should you Watch This Show? I’m gonna say yes. This show feels like it has a lot of potential to take its characters in fun directions and it feels worth checking out.

Why?

                This first episode of She-Hulk: Attorney at Law serves as the hero’s origin story. It starts as Jennifer is prepping her closing arguments for a case against some powerful individual. She then breaks the fourth wall (as the character often does in the comics) to cut and acknowledge that she is in fact a “Hulk” and then goes into the back-story. The origin involves a trip with her cousin Bruce Banner where she becomes a Hulk and then a long training journey where he teaches her how to be a Hulk. Along the way, we get a lot of development of both characters, delving deeper into Bruce’s connections to Tony Stark and Steve Rogers in some fun and even briefly emotional ways. At the same time, we see a little bit of what makes Jennifer tick, learning about her love for her job and her hesitancy to become a superhero in spite of her new powers. The threads that are set up in the flashback provide some nuggets for strong character development as the show goes forward. The CGI, which was a problem for many when the show’s trailers first dropped, has been touched up surprisingly well, especially for a T.V. show on a streaming service. It’s by no means perfect or “movie-quality” but it’s better than most of the other MCU shows for sure. I have seen people complaining about Maslany’s characterization of Jennifer and She-Hulk as too abrasive or “feminista” or whatever, comparing her to Brie Larson’s Captain Marvel/Carol Danvers, and I cannot disagree more. Yes, she has some talking points that should be expected in a show featuring a female superhero (only the fourth Marvel project to do so in a solo endeavor, I might add), but the character is legitimately funny and doesn’t feel overconfident or disingenuous at all to me. She is a New York attorney whose job is prosecuting powerful people (maybe even superpowered people), confidence and an ability to adapt on the fly are incredibly necessary in that world. I will also say, the show’s comedy harkens back to some of the more classic MCU days in a way that is highly reminiscent of the Iron Man franchise and even the first Avengers, and I didn’t hate it. In fact, this episode’s post-credits scene might be the best that Marvel has ever done, in terms of comedy; I was dying laughing when it went to black. Overall, She-Hulk: Attorney at Law’s first episode sets the tone for a solid superhero origin story featuring a mix of likable original characters and familiar MCU favorites with some quality topical comedic writing thrown in to top it all off. I’m excited to see where the rest of the show goes. Follow it as it releases each week on Thursdays on Disney+.

Weekend Watch - The Sandman

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give you a review and recommendation for watching it. This week, the subject is Netflix’s latest horror series: The Sandman, based on the graphic novel by Neil Gaiman. It features Tom Sturridge as the titular “Sandman” or “Morpheus” or “Dream” and also Boyd Holbrook, Patton Oswalt’s voice, Vivienne Acheampong, Vanesu Samunyai, David Thewlis, and many others. It follows the story of the King of Dreams after he escapes one hundred years of imprisonment in the human world and seeks to set his realm and the things associated with it back to relative normalcy. Let’s get into it.

Letter Grade: B+, there’s a lot of potential here, but it still needs some work to be great

Should you Watch This Show? If you are at all a fan of the graphic novel, yes! If you are looking for a dark fantasy show with really good worldbuilding, then also yes. I don’t think this show is as universally watchable as some of Netflix’s other releases (read Stranger Things) though.

Why?

                Let’s start with some of what makes the show good. From what I can tell, fans of the graphic novel are highly pleased with most of what the show has done with the source material, which is always a good sign for adaptations (we’ll see how Amazon fares next month with their Rings of Power series). The aesthetic of the art comes through well in the visuals, which are mostly phenomenal to behold – some of the more intricate CGI leaves a little to be desired, but for a television show, the effects are pretty solid. The world of the novel also comes through well in the worldbuilding of the show. The many realms and mythical characters come into the story naturally and with adequate explanation, leaving very little confusion as to the role of each new character. The worldbuilding also leaves you wanting more by the end of the season – at least, it did for me, the sucker for good worldbuilding. Unfortunately, because of all of the characters and story arcs that are brought into the ten-episode season, the story sometimes gets left by the wayside and then caught up with later, rather quickly. The two main stories that feature in this season are deeply interesting in their own right, but because of the exposition that also has to occur, the stories both resolve rather quickly and conveniently with little payoff of things set up earlier in the show. At the same time, it feels like this show wants to set up for an adaptation of the entirety of The Sandman, the graphic novel, as many characters have now been introduced who have larger roles to play later on in the greater story, so that’s promising. (That does mean that we need even more watchers when season 2 drops in the future so that Netflix doesn't cancel it as they so often do. In addition to the solid worldbuilding and oddly paced storytelling, the shows acting is at times great and, at others, only so-so. Vanesu Samunyai, whose first credit is this show, puts forth a valiant effort as Rose Walker, the Dream Vortex and focus of the second half of this season, playing to the levels of the actors in her scene. When across from Tom Sturridge, Boyd Holbrook, and John Cameron Mitchell, she brings a very solid A-game, showcasing the emotional and emotive range of a far more experienced actress, holding her own and even upstaging these more seasoned actors. At the same time, in scenes with Razane Jammal’s Lyta or Eddie Karanja’s Jed, the show reverts to acting more on the level with a CW superhero show (still entertaining in a popcorn-y way, but definitely with more cheese). In addition to the performances of Sturridge, Holbrook, and Mitchell, the true highlights of the show come from David Thewlis as the villain of the first arc – the very creepily unhinged John Dee, whom he portrays with just the right amount of menace – and Kirby Howell-Baptiste and Vivienne Acheampong as the two positive mythical influences in Dream’s life – Death and Lucienne the librarian respectively. Death’s one episode in the middle of the season serves as a high point in both the acting and worldbuilding of the show, showcasing its potential, highlighted in Howell-Baptiste’s subtly emotional portrayal of the avatar of Death, who is apparently Dream’s favorite sibling and the one with the most influence over him. In similar fashion, Acheampong plays Lucienne, the librarian of the realm of Dream, and the closest thing Dream has to an advisor or a friend in his own realm. Her acting is consistent throughout the show, delivering a lot of exposition without ever feeling unnecessary and while having a legitimately involved character arc at the same time, developing alongside Dream. All told, the first season of The Sandman is a mixed bag of great worldbuilding, inconsistent storytelling, and acting that is all over the board. The show’s potential to get better makes it worth watching, along with its skillful adaptation of the original source material.

Weekend Watch - Bullet Train

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

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

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

Why?

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

Weekend Watch - July 2022 Recap

                Welcome back to the Weekend Watch where each week, we take a look at a new piece of film or television media that has recently released and give you a review and recommendation for it. As we have now come to the end of the month of July, this week is devoted to recapping the films that released in the month of July and have a shot of making it onto the site’s list of Greatest Films of All Time. Just as with June, July was a pretty sparse month for “Great Films”, so there are no Sure Things this month again. We do have a few in the Possible Things and Long Shots categories though, so let’s take a look.

Long Shots:

Minions: The Rise of Gru: This animated viral sensation is already one of the highest grossing films of the year, but its mediocre critic reviews keep it only at a long shot. It will probably need some success at one or more of the awards shows to make it up to true “Great” status. This doesn’t mean that the film is bad. Check out the Weekend Watch that I did on it a few weeks ago if you want to know the blog’s opinion.

Thor: Love and Thunder: The MCU’s latest outing seems to have slipped back into the Marvel Phase 1 levels of critical and fan reception. It’s a really good time, but the film struggles as a follow-up to the wildly successful Thor: Ragnarok. Taika Waititi’s brand of mixing wacky comedy with emotional weight seems to have missed the mark somewhat with this one, but its visuals and box office numbers keep it as a long shot.

The Sea Beast: Netflix’s animated fantasy film starring Karl Urban’s voice seems to have hit a successful chord among audiences and critics, sitting at a 94% Tomatometer score and 87% Audience Score on Rotten Tomatoes. However, its other numbers are only a little above average, and with Guillermo del Toro’s Pinocchio also releasing from Netflix later this year, it’s difficult to imagine the streaming service getting two Best Animated Picture nominees.

Where the Crawdads Sing: 30- and 40-something women across the U.S. are keeping this film’s hopes alive, along with the fact that I’ve seen enough critics praising Daisy Edgar-Jones’s performance to make me think she has (very) long odds to get some nominations come awards season. Other than that, the film doesn’t have much great about it, but we’ll see.

Vengeance: B.J. Novak’s feature film directorial debut came out in wide release this weekend to relatively positive reviews, if somewhat mixed. For Texans, his film is near perfect, delivering a well-researched story that features some very solid depictions of the state and its people. For everyone else, the film’s story does at times get overshadowed by Novak’s messaging coming through in the dialogue. It’s good, but not great, and it’s hard to see this getting looks for much besides its writing come awards season.

DC League of Super-Pets: The Dwayne Johnson-Kevin Hart animated comedy about Krypto the Super-Dog and his pet companions is going to make a decent splash at the box office, as Johnson’s films inevitably do. So far, it has also seen quite a bit of success among audiences but not as much among critics. Its mixed numbers and the high number of animated films in the running for awards this year will probably keep it off the list.

A Love Song: This indie film about aging romance that released this weekend starring Dale Dickey and Wes Studi has all the makings of a really solid film. Unfortunately, we are in a year when so many other indie films (two or three so far, all from A24) have gained cult followings that it feels like this one is going to fly too far under the radar to get the awards love it will need to make it onto the list.

Possible Things:

Mrs. Harris Goes to Paris: Audiences and critics alike have predominantly positive things to say about this Lesley Manville-led film about a widow who reopens the House of Dior in Paris in the 1950s. The film’s positive message, solid acting, and great costuming make it a possible hit for something when the Awards nominations start rolling out.

Gabby Giffords Won’t Back Down: This documentary about Gabby Giffords, the Congresswoman who was shot in an attempted assassination back in 2011, and her perseverance getting through life since then is directed by the same people who did the Oscar-nominated RBG documentary, so there’s definitely a shot for this film. It's not a sure thing yet, mainly because it just doesn’t have the critical success that so many documentaries often enjoy.

Nope: Jordan Peele’s third film currently looks to have a better shot at the list than Us did. Audiences like this one more, and it has some beautiful cinematography and a simpler story to help it along. Its scores aren’t quite high enough to make it a sure thing, but don’t be surprised to see it jump up come awards season.

Hallelujah: Leonard Cohen, a Journey, a Song: This documentary about Leonard Cohen and his song “Hallelujah” has been a solid hit with critics and audiences. A nomination and/or win for feature documentary at some awards shows would help this one rise up onto the list.

Accepted: This documentary covers a school in Louisiana with some controversial teaching and disciplinary practices that also happened to have a ridiculously high acceptance rate among Ivy League schools. The film documents the discovery of potential abuses and engages with the question of how far people are willing to go to get into “good schools”. Its reviews are relatively positive, but not many people have seen it so far, so we’ll keep it as just a possibility for now.

Weekend Watch - Nope

                 Welcome back to the Weekend Watch where each week, we review and recommend a new piece of film or television media as voted on by the followers on the blog’s Instagram account. This week, the winner of the poll was Jordan Peele’s newest film, Nope, a sci-fi/horror film featuring Daniel Kaluuya, Keke Palmer, Brandon Perea, Steven Yeun, and Keith David. The film is Peele’s third, following the widely successful films Us and Get Out. Without further ado, let’s take a closer look.

Letter Grade: B+; this film is by no means perfect, but most of it is high quality and really fun and original

Should you Watch This Film? I think so; it is a film worth checking out for its combination of original and homage filmmaking.

Why?

                Nope is a genre-blending film whose parts are probably better than the whole. It utilizes elements of sci-fi and alien horror films, psychological thrillers, classic westerns, and family comedies into its own unique package. Writer/director/producer Jordan Peele’s vision shines through most brilliantly in the moments when the film leans all the way into its genres and uses them to make commentary on the state of modern entertainment and “spectacle”. Whether it is exploring aliens and flying saucers, the phenomenon of society’s newfound UFO awareness, the issues with child stars, the dangers and potential of trained animals in film and television, or even a cinematographer looking for the perfect shot, Nope’s highs showcase some brilliant commentary, gorgeous visuals, and a refreshingly unique story. Of Peele’s films, this one is by far the most connected to the world of filmmaking, allowing the director to throw in bits and references to black cinema, and specifically westerns, rewarding some of his more faithful fans in the process. At the same time, Nope’s highlights are also what causes its message to break down by the end. A film critiquing the audiences desire for spectacle while presenting spectacle inevitably feels a bit too on-the-nose or not quite self-aware enough to accomplish its goal, and in watching the film, it feels as if Peele recognized that danger and, therefore, chose to conclude his film with a different note and story emphasis. Unfortunately, by the time the audience becomes aware of the turn, they have already become invested in the other story lines and themes, making where the film ultimately ends up into a bit of a disappointment. This is not to say that the rest of the film, especially its performers and sci-fi/horror aspects, is particularly bad. In fact, the rest of the film is arguably a top-three film to release this year. Its inability to stick the landing definitely leaves you looking for more, but that should not dissuade you from appreciating the rest of the film and its otherwise great parts.

Weekend Watch - Where the Crawdads Sing

                Welcome back to the new and improved Weekend Watch, where each week, you vote on the blog’s Instagram for what we should watch next weekend, and then I watch it and give a little review and recommendation about it. This week’s winner was the new theatrical release, Where the Crawdads Sing, based on the best-selling novel by Delia Owens. It features Daisy Edgar-Jones as the protagonist Kya Clark, Taylor John Smith and Harris Dickinson as her two love interests (Tate and Chase), and David Strathairn as her elderly lawyer, Tom Milton.

Letter Grade: C-, it definitely doesn’t wow, but it tells an interesting enough story

Should you Watch This Film? Fans of the book should enjoy this one well enough, but visually, it doesn’t bring enough to the table to necessitate a theatrical viewing.

Why?

                Where the Crawdads Sing suffers from similar issues to many adaptations of detailed books into films. It tells the story well, but the story was only part of what made the book so well-liked. The character development is cast to the wayside in favor of hitting story points, but because of runtime requirements, the story points often feel disjointed from one another, making it a difficult film to categorize. This film has notes of a romantic drama, a woman-empowerment film, and a courtroom drama, but not quite enough of any individually to get it into those categories. It has a love triangle (of sorts) between three attractive actors, in which one guy is clearly better for the girl than the other is, but she has to discover that for herself. The only problem is that for extended stretches of the film, the romance plot simply disappears, taking you out of that genre’s mindset. The film features a strong female protagonist doing great things all on her own like fending for herself after being abandoned by her family, writing a plethora of books about local wildlife that end up published by academic publishers, and fighting off an attempted rapist all on her own. At the same time, she only learns of the publishers from one of the men in her life and her court case rests on the skill of her male lawyer, as she refuses to take the stand in her own defense. These are two clear moments of potential female empowerment that lose some of their impact because of the men involved, which is true to the book, but the book has plenty of other aspects that enforce the female empowerment piece, and maybe the story’s ending redeems those points to a lesser extent as well. Finally, as a courtroom drama, we get very little, which was also the case in the book, as the trial featured only at the story’s conclusion. In the film adaptation, the court case is sprinkled in throughout the film between flashbacks to other parts of the story. For the most part, the courtroom and related scenes serve mainly as a vehicle for David Strathairn to do some acting and very little else. Not much is revealed through those scenes, and they feel more like an afterthought to everything else going on in the film because of Kya’s reluctance to speak. Despite these tonal disparities, the story is compelling, and the acting is relatively solid (minus some occasional accent inconsistencies). I’d say this is certainly a film worth watching at some point, especially if you’ve read the book or you are at all curious about the book but haven’t had time to sit down and read it yet. Where the Crawdads Sing is a faithful, if lacking, adaptation of Delia Owens’s novel, featuring all the story points of the beloved book without the strong character and relationship development that tied it all together. It feels like something that could have been even better, had it gone the route of miniseries like so many other stories have in recent years.

Weekend Watch - Minions: The Rise of Gru

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give a brief review and recommendation. This week, we are taking a look at the first film to be selected by followers on the blog’s Instagram account: Minions: The Rise of Gru, the sequel to 2015’s Minions and prequel to the Despicable Me trilogy that released to record-breaking success at last weekend’s box office and continues to wow audiences. Let’s get into it.

Letter Grade: B; solid, definitely watchable animated family flick

Should you Watch This Film? Yes, it’s a mostly enjoyable if a little bit imperfect animated film. Kids will absolutely love this, as will fans of the Despicable Me/Minions franchise.

Why?

                Minions: The Rise of Gru does not try to stray from its lane in the entertainment world and succeeds greatly for that. It gets back to the formula of the original Despicable Me, playing on a combination of rude and witty visual and verbal humor with original characters and worldbuilding all with a heartfelt message about family. What this sequel does well is comedy, setting, and message. As an adult with no kids, I went with my wife to see this film and sat down the row from a group of small children who were absolutely losing it at everything the Minions did, giving the film a more endearing film for sure, because it was succeeding with its target audience. However, I also found myself laughing at jokes and gags that definitely went over my younger peers’ heads and never felt that I had made a huge mistake in going to see what all the buzz was about (might’ve also helped that I went on a discount ticket day, idk). The setting of 1970s America comes through from the opening sequence and carries through in the different characters, vehicles, and situations for basically the entirety of the film; it is apparent that the animators and writers wanted this to stay true to the setting, and they achieved that. The message of the film is fairly simple, but effective: We need people to live life well and should treat other people well if we want to see that happen. It comes through in the young Gru’s relationship with the Minions that develops throughout the film from frustration to appreciation and care and is also reflected in the development of the relationships of the other villains in the film (all of which are very well-themed and fit the setting well). It’s a good message for both kids and adults to remember to treat the people around us well. With all of its high points, the film does struggle a bit on the story side. There are a lot of moments where things just happen in this film, especially in the film’s action-packed third act. I wish there was just a little bit more explanation of a certain object’s abilities before it got used, and I could also have used some more in between moments showing how the main Minions (Kevin, Stuart, and Bob) got to the final showdown. The final showdown itself is pretty entertaining; it’s just the moments immediately leading up to it that feel a little bit rushed. I feel like they could have added like five more minutes of content (barely breaking the 90-minute mark can’t be that cardinal of a sin) and made this an even more enjoyable film for the adults that will inevitably watch this. If you can suspend certain expectations about story and plot holes, Minions: The Rise of Gru is a delightful family film that delivers solid comedy, well-developed 70s characters and settings, and a simple but relevant message. Check it out in theaters, or wait for it to come to streaming, but this is definitely worth watching at some point.

Weekend Watch - June 2022 Recap

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

Long Shots:

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

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

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

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

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

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

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

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

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

Possible Things:

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

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

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

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

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

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

Weekend Watch - Obi-Wan Kenobi

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give a recommendation and review of it. This week, we’re taking a look at the now completed Obi-Wan Kenobi miniseries from Disney+. It started streaming at the end of May and just released its final episode on Wednesday. It features cameos and performances from many of the Star Wars prequel actors alongside some characters who haven’t yet been featured in live action or whose version has not yet been featured in live action and a couple of brand-new characters as well. Let’s dive in.

Letter Grade: B+, imperfect but highly enjoyable (Last episode is an A)

Should you Watch This Show? If you are a Star Wars lover, particularly of the prequel era, this show will make you happy. There are things for non-fans as well, but a lot of what makes it great is the connection to pre-existing content.

Why?

                Obi-Wan Kenobi does a few things extremely well and a few others much more poorly. For starters, Ewan McGregor gets to live in the character of Obi-Wan more than he ever did in the prequel films, creating a deeper on-screen Obi-Wan than we’ve gotten outside of maybe some episodes of the animated Clone Wars show and the final scenes of Revenge of the Sith. In addition, the show uses cameos from the prequel actors well, using them to provide motivation and explanation, not just as fan service (aside from maybe one at the very end of the show). Obi-Wan Kenobi’s Vader is also arguably better than the Rogue One Vader because he gets more screen time, more development, and even more opportunity to be the incredibly powerful and menacing figure that we all saw in that hallway scene – his moments are highly rewarding in this show. The show’s introduction of new characters/actors goes both ways with some very well executed and some less so. The child actress cast as young Leia is a revelation, holding her own with every adult on-screen and serving as a consistent reminder across every episode how much cooler Leia is than Luke. The new character of Reva, played by Moses Ingram of The Queen’s Gambit fame, is somewhat less consistently good – due in no part, as far as I could tell, to Ingram’s acting. Her character arc is highly predictable, and much of her dialogue feels more Phantom Menace than Empire Strikes Back, but at the same time, her character does a lot to make the action of the show happen, and she has some moments to shine, particularly at the end of the show’s second and fifth episodes. The young Luke actor is probably the weakest of the bunch, but he is kept off-screen for most of the show’s episodes and has very little to do when he is there, so it’s not a huge issue. Story-wise, the show’s first two episodes and last episode and a half are incredibly good, giving great action sequences, solid character development, and interesting locales to visit along the way. The middle two episodes drag somewhat in getting to the actual end of the show but do offer a good Vader moment and a solid enough break-out plot to keep you engaged for the show’s climax and conclusion. I’m going to close this out by highlighting what makes this show as good as it is – its devotion to character-driven story and lightsaber fight content. Both Obi-Wan and Anakin/Vader get strong character development individually and relationally throughout the show’s episodes, and their dynamic game of cat-and-mouse is a big part of what makes the show so enjoyable even through moments of weak dialogue and occasional pieces of what feels like filler. And the lightsaber fights between the two help showcase the development of the two characters and their relationship. From their first encounter to their final epic showdown, we see both how both characters have changed from the end of the prequels and how the show is setting them up for their fateful meeting on the Death Star in A New Hope. All told, the show is certainly worth watching thanks to its faithful exploration of the character, quality performances from McGregor and Vivien Lyra Blair, and some phenomenal lightsaber battles. Check it out on Disney+ when you are next in the mood for some Star Wars content.

Weekend Watch - Lightyear

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

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

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

Why?

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

Weekend Watch - Jurassic World: Dominion

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

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

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

Why?

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

Weekend Watch - May 2022 Recap

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

Long Shots:

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

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

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

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

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

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

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

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

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

Possible Things:

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

Sure Things:

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

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

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

Weekend Watch - Chip ‘n Dale: Rescue Rangers

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

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

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

Why?

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

Weekend Watch - Our Flag Means Death

                Welcome back to the Weekend Watch where each week I talk about a new-ish piece of media and give you a brief, mostly spoiler-free review and tell you whether or not to watch it. This week, we’re back in the world of streaming television with a show that I’m kinda late to, and I’m sure you’ve heard about but may not have watched. It’s Our Flag Means Death on HBO Max. I started this show weeks ago when it first got big, but only watched the first episode and was relatively entertained. This week, a friend from high school recommended the show to me, so I decided to pick it back up, and let me just say, it did not disappoint.

Letter Grade: A – high quality pirate comedy

Should you Watch This Show? Yeah! Definitely.

Why?

                Our Flag Means Death fits into quite a few genres very well but also plays outside the lines of most of those genres. Perhaps most fitting genre is comedy, which it delivers on consistently in each episode, often following the Taika Waititi brand of comedy in a similar fashion as What We Do in the Shadows, crafting satire, witticisms, and legitimately quality humor into a show about pirates. At the same time, this show is not comedy just for the sake of comedy – it deals heavily with modern issues (not just modern for the 1700s either) and focuses concepts like masculinity and femininity and everything that goes into that conversation with the tact and familiarity that such concepts should be discussed. As an action show, it delivers on occasion, often seeking to poke fun at the ways we expect action sequences to go and very much emphasizing the show’s protagonist’s (Stede Bonnet played by Rhys Darby) physical aversion to violence. As a pirate show, it has those in spades. Many historical figures from the “golden age of piracy” are featured in this show in both cameos and major roles. Stede Bonnet the “Gentleman Pirate”, Edward “Blackbeard” Teach, and Izzy Hands all feature heavily in the show, no doubt pleasing those looking for historicity. Also, though, the pirate stuff is just plain fun. The show plays on audience expectations of how pirates are supposed to be and turns a lot of that on its head in consistently creative and interesting ways. Our Flag Means Death does a really good job of making a show about pirates into something wholesome about friendship, relationships, gender, sexuality, and also lots of pirates.

Weekend Watch - Doctor Strange in the Multiverse of Madness

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

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

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

Why?

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

Weekend Watch - 2022 Recap January through April

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

Long Shots:

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

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

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

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

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

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

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

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

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

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

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

Probable Things:

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

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

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

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

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

Sure Things:

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