Little Man Tate

Movie Name: Little Man Tate
Year of Release: 1991
Director: Jodie Foster
Starring: Jodie Foster, Dianne Weist, Adam Hann-Byrd, Harry Connick Jr., David Hyde Pierce, Debi Mazar, Celia Weston, George Plimpton, Josh Mostel, Bob Balaban
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

The same year that saw the release of one of her most iconic film roles, Jodie Foster also made her feature directorial debut with "Little Man Tate". The film follows the story of Fred, a young boy with amazing intellectual abilities, who lives with his young single parent mother in New York. His mother Dede is a waitress, and upon noticing his capabilities, allows with some reticence, for him to enroll in a school for the gifted, run by a former child prodigy herself, and now a psychologist, Jane Grierson. While Fred starts socializing a bit more, with both the joys and letdowns that derive from it, he also realizes ultimately where his heart is.
"Little Man Tate" was originally a project to be directed by celebrated director Joe Dante, who ended up vacating the project, allowing Jodie Foster to make her directorial debut. It's a film centered around a character who is clearly intelligent, sensitive and gifted, and yet somehow at odds with the world. The narrative positions itself as if the world doesn't really understand what to do with this unique set of characteristics from the central character. It's a topic that has surfaced in other films throughout Jodie Foster's career as a director, namely "Home for the Holidays" and even "The Beaver". One of the most rewarding aspects of this film, is the quiet assurance and easiness that comes across from all the actors in the situations that Jodie Foster captures so well. She manages to create this universe, filtered through the eyes of a gifted child, who yearns to be loved, accepted and just be part of everything. All the central performances make this film a treasure to be watched, with Foster, Dianne Weist, Adam Hann-Byrd and Harry Connick Jr., all successfully creating more than just two dimensional archetypes. The cinematography from Mike Southon is effective as is the jazzy score from Mark Isham. A great directorial debut from a terrific actor/director.

Get Carter

Movie Name: Get Carter
Year of Release: 1971
Director: Mike Hodges
Starring: Michael Caine, Ian Hendry, John Osborne, Alun Armstrong, George Sewell, Britt Ekland, Dorothy White, Geraldine Moffat, Rosemarie Dunham, Bryan Mosley, Glynn Edwards, Bernard Hepton
Genre: Crime, Thriller
Score out of ten (whole numbers only): 7
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Synopsis and Review:

After a career started in Television (much like many celebrated British film directors, such as Stephen Frears, Michael Apted and Alan Parker), director Mike Hodges ventured into feature film making with "Get Carter", an adaptation of the book by Ted Lewis. The film follows the story of Jack Carter, a lethal London-based gangster, who goes back to Newcastle, to attend his brother's funeral. He suspects that his brother's death was not accidental, and starts investigating in order to get to the bottom of things. His niece is in shambles, but he manages to start uncovering the workings of the criminal life of Newcastle, and slowly starts peeling away of what has truly occurred, not stopping at anything to get what he wants. What he uncovers is a shocking revelation which sets him on a path of vengeance with no stop.
"Get Carter", much like William Friedkin's "The French Connection", which also made its debut in 1971, would capitalize on a fresh perspective on the world of crime - gone were the glamour or humor driven views of the seedy underbelly, replaced instead with a more dramatic and visceral view of that reality. Both films went in the direction of a grittier, more violent and ultimately, realistic of that lifestyle, with all that it comes with it (including violence, death, greed). "Get Carter" and director Mike Hodges, manage to capture the reality of Newcastle impeccably, grim and grey, with Jack Carter aiding to this portrait, since he is the narrator, one who takes us through his views of the investigation, while also allowing us to view the city through his eyes, a city he had long left behind (the same going for people he pushed aside, in order to become the person he now is). Michael Caine dominates the film with a performance that goes from charming to lethal fairly quickly. He's charismatic, brutal, funny and fearless, all of which make this character unforgettable. The supporting cast is equally effective in their brief depictions. A solid film always worth revisiting. 

Once Upon a Time in Hollywood

Movie Name: Once Upon a Time in Hollywood
Year of Release: 2019
Director: Quentin Tarantino
Starring: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Al Pacino, Emile Hirsch, Margaret Qualley, Timothy Olyphant, Julia Butters, Austin Butler, Dakota Fanning, Bruce Dern, Kurt Russell, Damian Lewis, Nicholas Hammond, Luke Perry, Maya Hawke, Lena Dunham, Scott McNairy, Rumer Willis, Rebecca Gayheart, Zoe Bell, James Remar, Michael Madsen, Perla Haney-Jardine
Genre: Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Quentin Tarantino is back, 4 years after the release of "The Hateful Eight". Where his previous film was a lengthy chamber piece with a series of despicable characters, "Once Upon a Time in Hollywood" is a view/homage of life in Hollywood at the end of the 60s, distilled through the director's sensibility. The film focuses on Rick Dalton, a character modeled after Clint Eastwood's career. We find him in 1969, following a successful run on TV, playing a cowboy/lead on a TV show which has given him plenty of exposure and fame. Rick meets with a successful producer who wants to cast him in a series of Italian features, where once again he can be the lead star, starting with some spaghetti westerns. Rick overdrinks, oversmokes, and his sole friend is his constant and loyal stuntman, Cliff Booth, a handsome, charming man, who has a somewhat colorful past. Cliff has remained best friends with Rick through trials and tribulations, and has a very low profile, easy going vibe, which draws him to a group of hippies (under the mentorship of Charles Manson) living in what used to be a set for cowboy films. Rick lives on the Hollywood Hills, surrounded by well known neighbors, such as Roman Polanski and Sharon Tate who is just now starting her path to fame. As Rick, Cliff and Rick's new wife return from their Italian experience, they're all in for more than they expected.
"Once Upon a Time in Hollywood" is, unlike Tarantino's previous films, looser and scope and narrative. Though the film focuses on the story of Rick Dalton, and his relationship with his best friend Cliff, there's not much advanced in terms of who Rick, or for that matter Cliff, really are. The film cuts a slice of what life in Hollywood was in 1969, and provides insight into the life of an actor trying to find his bearings, someone who feels precociously aged and out of sync with the life/career he aimed to live and have. The film also has a series of supporting characters who show up, all aiming to create a more diverse universe, one where hippies, cults and their followers co-exist without much friction. What is the most fantastic thing about the film, its fluid style and seemingly ease by which the story gets told, is also its downfall: there really isn't that much to tell. As much as Rick's fascinating character and life may be, and Leonardo DiCaprio brings him to life impeccably, as a mixture of loneliness, fear, excitement, insecurities, alcoholism, all bottled to amazing dysfunction, the film veers off into other plot lines, such as Cliff's encounter with the cult (which basically goes nowhere) or even Sharon Tate's, both of which are inconsequential, lack insight or generally feel underdeveloped or superficially looked at. The film is indeed a postcard to a bygone era, but much like postcards, it's up to the viewer to make the story or imagine what has happened in that postcard. Robert Richardson's cinematography is phenomenal, and Leonardo DiCaprio and Brad Pitt, make this film worth watching, but this lacks the punch or visceral response that Tarantino's previous films caused. 

A Vigilante

Movie Name: A Vigilante
Year of Release: 2018
Director: Sarah Daggar-Nickson
Starring: Olivia Wilde, Morgan Spector, Kyle Catlett, Tonye Patano, Betsy Aidem, Judy Marte, C.J. Wilson, Chuck Cooper
Genre: Drama, Mystery
Score out of ten (whole numbers only): 4
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Synopsis and Review:

Following a few shorts, "A Vigilante" is Sarah Daggar-Nickson's feature directorial debut. The film follows the story of Sadie, a woman who helps women (mostly but not exclusively) escape domestic abuse situations. She lives precariously in motels, where she trains incessantly and has some devastating breakdowns. Through a series of flashbacks, we witness Sadie's heartbreaking story and how she eventually escaped her own devastating abuse story, embodied by her violent husband. 
"A Vigilante" is a film filled with good intentions, showcasing a topic deserving of all attention possible, domestic abuse. It's also a film that capitalizes on what Patty Jenkins did with the complicity of Charlize Theron on "Monster": showcase through grittiness and as much realism as possible, the devastating effects that some brutal events have on women's lives. However where "Monster" succeeded in creating a universe and populating it with characters, "A Vigilante" is comprised of snapshots that never provide much insight into Sadie's plight, who she was and ultimately her sudden transition into the vigilante that we find her as. Olivia Wilde tries her hardest to make Sadie believable, someone living with unbearable pain and ghosts, but there's a hollowness to her performance, something that lacks substance and dimension - she forgets that in order to showcase pain, you have to draw a path that demonstrates an evolution of a person/character. Unlike Charlize Theron who loses herself in Aileen Wuornos, Olivia Wilde's performance is a more calculated one and one note, while the supporting characters are sketches and barely defined (including her ex husband, the catalyst for the situation she's in). There are glimpses of possibility, but it's a film that could benefit from a stronger point of view. Forgettable.

The Midnight Meat Train

Movie Name: The Midnight Meat Train
Year of Release: 2008
Director: Ryuhei Kitamura
Starring: Bradley Cooper, Leslie Bibb, Vinnie Jones, Brooke Shields, Roger Bart, Tony Curran, Peter Jacobson
Genre: Horror, Mystery
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Japanese director Ryuhei Kitamura followed a prolific directorial career in Japan, with "The Midnight Meat Train", an adaptation of Clive Barker's short story with the same title. The film follows the story of Leon, a photographer trying to build a career in New York. He lives with his girlfriend, the loving and supportive Maya, who is a waitress. While capturing enticing and gritty photos, Leon is drawn to a man leaving the subway station, impeccably suited, very late in the night. He starts following this oddly striking man, and discovers he is a butcher. As he probes deeper, he discovers that the man is actually a serial killer who kills people on a train carriage, after midnight. Leon becomes a target for the killer, and when Maya and their friend Jurgis try to help, they both get tangled in a gruesome scenario that goes beyond all that they originally envisioned.
"The Midnight Meat Train" holds a lot of Clive Barker's story trademarks, namely the progressive evolution of a seemingly normal situation to something menacing and supernatural. This film and its director capture the life of the young couple at the center of the story successfully, even if a bit generically, but as Leon's obsession grows, and as the gruesomeness of the deaths escalates, the film takes a very dark and graphic turn, that also turns out to be the least interesting element about it. The final revelation of the film is once again gratuitous, failing to capture the suspenseful thread that it had built throughout the narrative. The film could have been more successful through suggestion, rather than through exposition that is both literal and limiting. The cast tries to embed these characters with as much dimension as possible, but in the end only Bradley Cooper and Vinnie Jones actually create memorable characters: one showcasing the descent into a dark valley of horror and the other, by communicating menace with physical glances and an imposing physical presence. The cinematography from Jonathan Sela is cold and menacing, as is the score from Johannes Kobilke and Robb Williamson. A film that could have benefited from more subtlety, but nonetheless worth watching.  

I Am Mother

Movie Name: I Am Mother
Year of Release: 2019
Director: Grant Sputore
Starring: Clara Rugaard, Rose Byrne, Hilary Swank, Luke Hawker, Tahlia Sturzaker
Genre: Drama, Sci-Fi
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Another release hailing from streaming giant Netflix, "I Am Mother" is the feature directorial debut for Grant Sputore, following some work on TV and a short feature. The film takes place in the future, following a global apocalypse which decimated the human population. In a secured bunker, an Android becomes active, and goes about bringing to life a frozen embryo, among many that were saved. The embryo eventually becomes a baby girl, who grows up under the tutelage of the Android, who is addressed as "Mother". Mother educates the young girl, versing her in multiple disciplines, also testing her to validate she is a hard worker and well versed on topics she deems relevant to her human condition. This seemingly tranquil existence is thrown into disarray when a wounded woman shows up at the entrance of the bunker, shocking the young girl, who was until then, under the assumption humanity had entirely perished. She goes against Mother's orders, and allows the woman to come in, which changes their relationship permanently while simultaneously makes her aware there's more to the narrative that she was told since her childhood. 
"I Am Mother" is an interesting digest of multiple dystopian feature films, with influences from James Cameron's "The Terminator", Stanley Kubrick's "2001", Steven Spielberg's "A.I.", among many others. Director Grant Sputore is successful in portraying a claustrophobic existence for the two entities living in the bunker for the most part of the film, showcasing the complicity between them, the idyllic existence that they have created for themselves, all of which is disrupted with the introduction of an external factor. The wrench, in the shape of Hilary Swank, is never more than a one note character, always acting like a persecuted animal, with little to no nuance. The "Mother" entity, the Android, actually has far more interesting shades of humanity than the external disruptive factor. Rose Byrne, who voices Mother, perfectly captures and defines her personality, with a mix of her soothing voice, which is consistent, even when it goes dark. Opening the context of the film to the outside area of the bunker, actually makes the film lose some momentum. What makes it so interesting, and far more successful than for instance Stanley Donen's "Saturn 3", is the environment created in that space (the bunker), where there's no escape, and where the revelations keep escalating. The film is entertaining and well crafted (solid visual effects), featuring a great performance from Clara Rugaard. Worth watching.

Midsommar

Movie Name: Midsommar
Year of Release: 2019
Director: Ari Aster
Starring: Florence Pugh, Jack Reynor, Will Poulter, William Jackson Harper, Vilhelm Blomgren, Ellora Torchia, Archie Madekwe, Henrik Norlen, Gunnel Fred, Isabelle Grill
Genre: Drama, Mystery
Score out of ten (whole numbers only): 5
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Synopsis and Review:

After the success of "Hereditary", director Ari Aster has returned with yet another unexpected tale. The narrative focuses on Dani, a young student, who suffers a life shattering event at the beginning of his story. She is currently in a rocky relationship with Christian, also a student, who is about to embark on his PHD dissertation and who lives with a few roommates, including his best friend Mark and Pelle, who's originally from Sweden. The roommates, which also includes Josh, have planned a trip to Sweden, to visit a commune where Pelle was brought up. That commune is filled with sociological and anthropological aspects that Josh wants to use to build his dissertation, and Christian worried about Dani's well being, invites her to come along. Upon the introduction to the area and community, the group starts experimenting with some hallucinogenic drugs, and slowly learn about their way of life. These daily discoveries and occurrences come to a crashing halt, when one of the traditions of the group is presented to them, much to their horror and consternation. As some of them start wanting to leave, absences start mounting, all the while Dani and Christian's relationship becomes more and more distanced.
What made "Hereditary" so striking and interesting, wasn't so much the twist and shocking turn that occurred in the final act of the film. It was actually the process captured by Aster of how a family handles grief, pain, and how he captured the disintegration of some of the bonds between that nuclear group. He perfectly captured the dynamics between those characters, what made them interesting and unique. "Midsommar" is sadly not as successful as its predecessor. While Aster is obviously talented and paints this unique commune and universe with attention to detail and a stylistic bravado, the characters sadly aren't quite as well developed or portrayed as they were in his previous feature. Dani is the more nuanced character, going through a range which includes sheer terror, fear of loneliness, and dealing with unbearable pain. Florence Pugh manages to bring the character to life with abandon and conviction, however the remainder of the cast doesn't fare so well. Jack Reynor sadly is again quite monolithic in his portrayal of Christian, both in his lack of warmth, or enthusiasm, or for that matter, any emotion really. The rest of the roles don't have quite as much dimension, failing to provide an interesting backdrop for what Dani is going through. There are hints of Roman Polanski's films in this feature (a la "Rosemary's Baby"), but sadly the film just isn't as tightly woven as "Hereditary". The practical and visual effects lack quality, which renders the narrative less impressive, while the editing could have also been a bit more finely tuned, with sequences that drag on needlessly (such as the seduction of Christian). The score from Bobby Krlic is fantastic as is the cinematography from Pawel Pogorzelski. A lesser effort from an interesting director.

Wine Country

Movie Name: Wine Country
Year of Release: 2019
Director: Amy Poehler
Starring: Amy Poehler, Maya Rudolph, Ana Gasteyer, Rachel Dratch, Paula Pell, Emily Spivey, Jason Schwartzman, Tina Fey, Jay Larson, Cherry Jones, Craig Cackowski, Greg Poehler
Genre: Comedy
Score out of ten (whole numbers only): 5
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Synopsis and Review:

"Wine Country" is yet another Netflix exclusive release, this one in particular, having the privilege of being acclaimed actress/writer Amy Poehler's directorial debut. The film follows the story of a group of friends, all of whom get together in Napa to celebrate one of their birthdays. The person in particular, Rebecca, is about to turn 50. Abby who has arranged and organized the whole trip, secretly has lost her job, and every single one of the friends on the trip are going through some sort of self questioning in their own lives. As their trip progresses and they come face to face with a series of unexpected events/occurrences, what becomes more and more apparent is the friendship and love tying all these women together, something that has lasted since their younger adulthood, and has survived their hectic and filled lives. 
"Wine Country" is a film that functions as a rehash of Lawrence Kasdan's "The Big Chill", but without the death of a friend being the catalyst that brings a group of close friends together. Instead, these women, come together to celebrate a milestone anniversary, while secretly each one of them is pondering decisions, dealing with insecurities and generally trying to figure out what path lies ahead in their lives. It's a film that lives mostly and primarily from the quality of the cast assembled, particularly with the presence of Amy Poehler, Maya Rudolph, Rachel Dratch, Ana Gasteyer, all from SNL, and acclaimed actresses in their own right. They all share and have a familiarity and rapport between themselves, something which allows the film to feel breezy and effortless, but the script doesn't provide enough nuance to really bring these characters to life (each of their lives are pretty much summarized in quick cliches, and the main characters themselves, really required some further investment to be fully illustrated and realized). As is, the film is a funny sketch, with a really talented group of performers, all of whom have an opportunity to have fun, but it's also quickly forgettable and rather generic. Here's hoping the next directorial output from Amy Poehler has more of her incredible personality and talent. 

Kafka

Movie Name: Kafka
Year of Release: 1991
Director: Steven Soderbergh
Starring: Jeremy Irons, Theresa Russell, Ian Holm, Joel Grey, Jeroen Krabbe, Armin Mueller-Stahl, Alec Guiness, Brian Glover, Keith Allen, Simon McBurney, Robert Flemyng
Genre: Drama, Mystery
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Following his auspicious debut with the fantastic "sex, lies and videotape", director Steven Soderbergh tackled a decidedly different material, working from a script from Lem Dobbs, whom he'd work with again on "The Limey" and "Haywire". "Kafka" though not a traditional biopic, is centered on the famed author, known for "The Trial", "The Castle" and "The Metamorphosis", to name but a few. The film introduces us to Kafka, an insurance clerk, who is also an unpublished author, living in a city which appears to be Prague, in 1919. When one of his co-workers is murdered, he starts investigating the occurrence, and finds himself tangled with an underground group, responsible for bombings around town. The goal of this group is to damage the control that a secret organization has over major events taking place in society. The root of all this control seems to lie in the castle which looms over the city, where Kafka goes, in order to understand the full scope of these occurrences. 
"Kafka" is a film that has been relegated to cult status. Upon its release, it largely flew under the radar, and unfairly so, since it's a film that takes the mantle of Franz Kafka's career, and makes it a suspenseful and claustrophobic thriller/mystery. The film is a mix of a quasi-biopic with a mystery, showcasing the influences from several of the author's books, creating in the process an interesting narrative. The invisible and oppressive authority, the conspiracy that is never clarified, the absurdity of situations, all of those are topics present in the author's work, that permeate the film. Unlike his previous film though, this one does not depict the characters as fully dimensional, but Jeremy Irons, Theresa Russell and Ian Holm, all manage to create interesting and captivating identities for themselves in this darkly lit mystery. It's a film that entertains and showcases the point of view of a great director, who at the time was still finding his path. The cinematography from Walt Lloyd is fantastic, as is the score from Cliff Martinez. An underrated gem from a great director.

Spider-Man: Into the Spider-Verse

Movie Name: Spider-Man: Into the Spider-Verse
Year of Release: 2018
Director: Bob Persichetti, Peter Ramsey, Rodney Rothman
Starring: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, Nicolas Cage, Zoe Kravitz, John Mulaney, Kathryn Hahn, Kimiko Glenn, Liev Schreiber, Chris Pine, Natalie Morales, Oscar Isaac, Greta Lee, Jorma Taccone, Lake Bell, Joaquin Cosio, Edwin H. Bravo
Genre: Action, Adventure, Animation
Score out of ten (whole numbers only): 8
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Synopsis and Review:

Continuing the expansion of the "Spider-Man" universe and mythology, Sony Pictures released the entertaining and stunning "Into the Spider-Verse", which featured a story from writer/director Phil Lord (who alongside Christopher Miller has been responsible for "The Lego Movie" and the "21 Jump Street" films, among many others). The film, with three credited directors (two of which, Bob Persichetti and Rodney Rothman are first time feature film directors, while Peter Ramsey, this is his sophomore effort), follows the story of young Miles Morales, a high school student who has been enrolled in a private school, much against his will. His father, a police officer, wants to succeed, and set aside his art vocation and leaning, which Miles loves dearly. While out with his uncle, Miles is bitten by a radioactive spider, and becomes a "Spider-Man", very much like Peter Parker, who already wears the suit in New York City. When Peter (and Miles) try to defraud a risky and dangerous plan from the Kingpin, Peter is killed in the process, but unbeknownst to them, what the Kingpin put in place, opens a ripple effect in multiple dimensions, one that brings multiple Spider powerful beings to Miles' New York. They collectively have to battle the Kingpin and his cronies, and each of the Spider powered beings return to their realities, before they die.
"Into the Spider-Verse" is a dynamic and stunning animated feature. The film starts with the premise of a well known story, the origin of Spider-Man, but quickly shifts into Miles' awakening and understanding of what being a Spider-Man truly entails and requires. It's a film about responsibility, being empowered to follow one's dreams, but also understanding that every action has a consequence, and that pursuing one's dreams requires sacrifice, struggle and overcoming pain. Also it ultimately is a film with a powerful lesson about relying on friends, and understanding the power of acceptance and love. If the topics of the story are somewhat familiar, specifically the tone of the film, which mixes heart, humor and action in perfect balance, the animation itself is truly wonderful to behold. The film is aesthetically beautiful with a saturation of colors that is truly bewildering, featuring shots and frames that are quite stunning. It's a stylistic delight, one that demands multiple views.
The voice cast is uniformly impeccable, with Liev Schreiber bringing his intensity to the Kingpin character, where the versatile Kathryn Hahn, is as usual, fantastic playing the villainous Doc Ock. A very good film worth watching!

Spider-Man: Far From Home

Movie Name: Spider-Man: Far from Home
Year of Release: 2019
Director: Jon Watts
Starring: Tom Holland, Samuel L. Jackson, Jake Gyllenhaal, Cobie Smulders, Zendaya, Jon Favreau, Marisa Tomei, Jacob Batalon, Tony Revolori, Angourie Rice, Remy Hill, Martin Starr, J.B. Smoove, Peter Billingsley, Toni Garrn, J.K. Simmons, Michael de Roos
Genre: Action, Adventure
Score out of ten (whole numbers only): 6
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Synopsis and Review:

In what appears to be the omnipresence of Marvel at every turn (and almost every month), director Jon Watts returns with a sequel to the 2017 "Spider-Man" feature, which rebooted the uneven franchise (which has had three versions thus far, starting with Sam Raimi's, followed by Marc Webb's and the current one under the tutelage of Jon Watts). The film takes place after the events that took place in the last "Avengers" film ("Endgame"), which has seen everyone brought back to life after the collective demise brought on by Thanos. Peter looking to get back to his every day life, has the opportunity to go with his class to Venice and Paris. He hopes the getaway will allow him the opportunity to share with Mary Jane a special moment, finally letting her know his feelings. His plans are derailed when these powerful entities start popping out of nowhere and wreaking havoc everywhere they go. They go by the name of Elementals, and Peter is caught in a dicey situation in Venice, but much to his surprise, an unexpected ally by the name of Mysterio pops up. Peter who has questioned his Iron Man legacy, and what he has been left behind with, decides to trust this person, and grant him access to the technological legacy from Tony Stark. But people aren't always what they seem, and Peter learns it the hard way.
Jon Watts has quickly and deftly learnt how to handle big budgets and large canvas storytelling, since this latest iteration of Spider-Man is a surprisingly limber and enjoyable film, even more so than the first one. The film manages to have the right amount of teenage angst and relationship development, combined with the more typical super hero action set pieces, which are quite impressive in this case. The film also benefits from the fact that the cast is uniformly completely at ease in this environment and inhabit these roles with a sense of ease and relaxation, which makes the film more enjoyable and definitely less contrived. It's a film that also wears its heart proudly, deals with the aftermath of loss, all the while showcasing thinly veiled nods to the spirit of John Hughes (the European vacation, the high school rivalries). If the whole cast is uniformly good, high marks should be given to Jake Gyllenhaal, who once again proves just how interesting of an actor he has become, with his character going through a very interesting and nuanced transition. The cinematography from Matthew J. Lloyd is solid, as is the score from Michael Giacchino. An entertaining film worth watching.

JFK

Movie Name: JFK
Year of Release: 1991
Director: Oliver Stone
Starring: Kevin Costner, Tommy Lee Jones, Gary Oldman, Sissy Spacek, Donald Sutherland, Jay O. Sanders, Kevin Bacon, Joe Pesci, Sally Kirkland, Jack Lemmon, Ed Asner, Laurie Metcalfe, Vincent D'Onofrio, Wayne Knight, Michael Rooker, Gary Grubbs, Walter Matthau, Pruitt Taylor Vince, John Candy, Jo Anderson, Dale Dye, Martin Sheen, Brian Doyle-Murray, Beata Pozniak, Ron Jackson
Genre: Drama, Thriller
Score out of ten (whole numbers only): 8
Watch it on Amazon

Synopsis and Review:

The same year he released "The Doors", director Oliver Stone came out with the powerful "JFK". The film is an adaptation of the book by Jim Garrison and Jim Marrs, and it follows the story of New Orleans District Attorney Jim Garrison, whose life (and everyone else's) is altered with the assassination of President John F. Kennedy in 1963. In the aftermath of that dramatic event, and following the assassination of suspect Lee Harvey Oswald, Garrison starts investigating what lies behind those occurrences. Garrison and his team start collecting evidence and different sources of information, which start defining a massive conspiracy to bring about the events that took place. 
"JFK" at the time of its release was surrounded in controversy, for the theories that it demonstrated and for the way that Oliver Stone showcased his thoughts on that subject matter. Conspiracy theories aside, what is left is a taut thriller, one that amasses a variety of narrative threads, into a courtroom drama that is filled with twists and turns, all directed with a stylistic virtuosity, that has rarely been that well executed (and that the director has never been able to replicate ever since). The central narrative, anchored on Jim Garrison's journey is somewhat stunted (he comes across as a Frank Capra hero, with his long suffering wife by his side). We never really understand or know much about this character, but Kevin Costner manages to imbue him with a purity and idealism that is reminiscent of James Stewart. The supporting cast is extensive and impressive, with Gary Oldman, Kevin Bacon and Joe Pesci creating memorable characters. The cinematography from Robert Richardson is phenomenal as is the score from John Williams. A fantastic film worth watching.

Annabelle Comes Home

Movie Name: Annabelle Comes Home
Year of Release: 2019
Director: Gary Dauberman
Starring: McKenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga, Michael Cimino, Samara Lee, Sade Katarina, Steve Coulter, Natalia Safran
Genre: Horror, Mystery, Thriller
Score out of ten (whole numbers only): 6
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Synopsis and Review:

The prolific "Conjuring" universe continues its expansion, this time around with another chapter in the "Annabelle" doll story. The film is the feature directorial debut for writer Gary Dauberman, who has written all the entries in the series thus far (on top of being responsible for the screenplays for "It" and "The Nun"). The film takes place in the 1970s, after Ed and Lorraine Warren take possession of the Annabelle doll and bring her to their home, in order to safely guard her in a controlled environment. While investigating a case, Ed and Lorraine have to leave town and leave their young daughter Judy with the sweet and responsible babysitter, Mary Ellen. Mary Ellen's best friend, the strong willed and emotionally bruised Daniela, decides to come to the Warren's home, since she has read about them, and personally wants to make contact with her recently deceased father. Against Judy's recommendations, she goes through the house, discovers Ed's keys, and accesses the room where all demonic artifacts are kept. What they collectively start experiencing defies logic and what is unleashed threatens their very existence.
Most of the "Conjuring" cinematic experience has been defined by films that are anchored on the definition of environments and the suggestion of horror. James Wan's "The Conjuring" is a lesson in economy of narrative, inventive stylistic choices, and character development that though taut and succinct, still allows for characters to be engaging and dimensional. "Annabelle Comes Home" takes its time for the events to start unfolding, which allows for the characters and their relationships to be shaped. Sadly, the characters are very much like clichés, and don't have that much to define them, which renders their relationships somewhat shallow. The director finds a way to balance this with a strong definition of a menacing atmosphere that becomes more oppressive as the film advances. There's tangents to what Tobe Hooper and Steven Spielberg created with "Poltergeist", though this film discards the family angle, focusing more on the abilities and uniqueness of Judy, the central character who is convincingly portrayed by McKenna Grace. The supporting cast is equally strong, particularly when the fantastic Vera Farmiga and Patrick Wilson are around. The cinematography from Michael Burgess is impeccable, as is the score from Joseph Bishara. Worth watching.

Ralph Breaks the Internet

Movie Name: Ralph Breaks the Internet
Year of Release: 2018
Director: Phil Johnston, Rich Moore
Starring: John C. Reilly, Sarah Silverman, Gal Gadot, Jack McBrayer, Jane Lynch, Alan Tudyk, Alfred Molina, Ed O'Neill, Ali Wong, Taraji P. Henson, Timothy Simons, Rich Moore, Dianna Agron, Brad Garrett, Nicole Scherzinger
Genre: Comedy, Animation, Family
Score out of ten (whole numbers only): 7
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Synopsis and Review:

After the success of "Wreck it Ralph" in 2012, writer/director Rich Moore, with Phil Johnston by his side, brought back the sequel to the adventures of Ralph and Vanellope. The film takes place 6 years after the original, with life in the arcade being quite tranquil, until Ralph decides to throw a wrench on Vanellope's game, "Sugar Rush". The outcome of that forces them both to venture into the internet, where they have to seek out e-bay, in order to get Vanellope's game back to work. However in the process of doing so, they end up being exposed to different online games, which allows Vanellope to see the world beyond Sugar Rush, something she always dreamed of. This in turn saddens Ralph, who yearns for things to stay the way they always have been. In a clumsy attempt to keep Vanellope to himself, he deploys a virus on the internet, threatening its very existence.
If "Wreck it Ralph" was a take on nostalgia underlying video games of the past and how unlikely friendships are established, this sequel takes that step a bit further, focusing the narrative on personal growth, and the fears that come with change. It's a film that is cleverly written, underlying the message of empowering and supporting your friends and their dreams, even if that means seeing less of them: the cost of altruism and real friendship. It's a film that is populated with humor, references to modern technology, the silliness and darkness that lies within that universe, all of this wrapped up in referential humor to Disney itself and the characters that have existed in these narratives/stories. The film is stunningly well animated and is aesthetically impeccable (even if a bit over saturated), also featuring a talented array of actors providing the crucial voice work. John C. Reilly is great as usual, but he gets great support from the always hilarious Sarah Silverman. A good film worth watching and savoring. 

Anna

Movie Name: Anna
Year of Release: 2019
Director: Luc Besson
Starring: Sasha Luss, Luke Evans, Helen Mirren, Cillian Murphy, Lera Abova, Nikita Pavlenko, Anna Krippa, Eric Godon, Andrew Howard, 
Genre: Action, Thriller
Score out of ten (whole numbers only): 2
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Synopsis and Review:

Director Luc Besson is back with another action/thriller feature, something he has been producing for the past two decades through his EuropaCorp studio (where he has produced the "Taken" and "Transporter" franchises, to name but a few). "Anna" follows the story of young Russian woman in the 90s, who after losing her parents and an early adulthood filled with bad boyfriends/relationships, is given a chance to get a job as a spy. She's trained and is immediately put through a tough assignment where she is tasked with killing a highly protected target. Following her successful endeavor, she's immediately tasked with more missions which take her to Paris, where modeling is her cover up. As her missions get more dangerous, the more anxious she becomes to break away from that life and go on her own way. However her Russian handlers have other plans, something that comes to a halt, when their American counterparts get involved, and offer Anna a different deal. It's up to her to handle both parts and figure out a way to get out of that deadly world.
It's inevitable that "Anna" draws comparisons with the classic "Nikita", which further cemented Luc Besson's career back in 1990 (and which was remade in the US by John Badham under the title "Point of No Return"). They both have strong female leads, women thrust into positions where they have to make the best of their training, intelligence and whatever else resource they have, in order to escape dicey, and potentially lethal situations. "Anna" unlike "Nikita", feels like a very distant and poor cousin of that film. None of the characters have any depth, nuance or much of a personality, including the always excellent Hellen Mirren, who can't do much with her "handler" character (who looks very much like the Jeanne Moreau/Anne Bancroft characters from "Nikita"/"Point of No Return"). The time jumps and the structure of the film itself is one of the few things that avoids making this endeavor fall into a profound repetitiveness. The film also borrows quite heavily from David Leitch's "Atomic Blonde", including the choreographed fight scenes and the romantic entanglements/attachments of the central character. The film falters on the originality of the script, but even more so on the central casting of Sasha Luss as Anna. She's terribly cast, and is half awake throughout most of the film, has no chemistry with any of the cast members and generally feels like she's completely oblivious to everything taking place (unlike Charlize Theron, who made "Atomic Blonde"'s Lorraine feel like a lethal and tired agent in an deadly/unfriendly locale). The main cast is somewhat lost, with Luke Evans and Cillian Murphy having little to do, but the cinematography from Thierry Arbogast is excellent as always. This is by far a minor effort from an interesting director.