Elephant

Movie Name: Elephant
Year of Release: 2003
Director: Gus Van Sant
Starring: Alex Frost, Eric Deulen, John Robinson, Elias McConnell
Genre: Drama
Score out of ten (whole numbers only): 9
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Synopsis and Review:

Gus Van Sant continued his idiosyncratic career with one of his most celebrated films, the Palm D’Or Winner “Elephant”, which was preceded by the more commercial feature “Finding Forrester” (2000) and the more experimental “Gerry” (2002). “Elephant” is inspired by the events and occurrences that took place in Columbine, CO, where two teenage students went on a murdering spree, and killed 12 students and one teacher, before ultimately committing suicide. The film follows the events taking place in a high school, focusing on different students, some of whom are suddenly thrust into this dramatic occurrence, where two students come to school with guns, chains and explosives, and start killing people arbitrarily. 

“Elephant” is a film that successfully  marries Gus Van Sant’s aesthetic and point of view, mostly by observing events unfold from multiple perspectives and simultaneously using the camera to capture a poetic tone to the existence of suburbia in America. As usual, he focuses his attention on younger subjects, with the film trailing different students, in order to provide some insight into who they are and what emotional and psychological baggage they are bringing into that school. The film doesn’t try to explain the events, but focuses more on documenting the events, and how a random explosion of violence can appear out of nowhere, when no one is expecting. It’s a film that culminates the perspective and point of view that Van Sant had already tackled in “My Own Private Idaho” and “To Die For”, and to some extent and in a parallel career, the same going for Larry Clark and his films “Kids”, “Bully” and “Ken Park”. These are all views into the lives of young people, how they deal with family lives, friendships and how alienated some of these universes produce disaffected people and interminable problems. It’s an interesting perspective, essentially because Gus Van Sant marries an observational style (almost documentary style), with a poetic tone that is perfectly captured by the late and celebrated cinematographer Harris Savides (with whom Van Sant had worked on “Finding Forrester”, “Gerry” and whom he would work with in the following “Last Days” and a few others until his sad passing in 2012). A fantastic film from a very unique director, always worth watching.

Dirty Pretty Things

Movie Name: Dirty Pretty Things
Year of Release: 2003
Director: Stephen Frears
Starring: Audrey Tautou, Chiwetel Ejiofor, Sergi Lopez, Sophie Okonedo, Benedict Wong, Zlatko Buric
Genre: Drama, Thriller
Score out of ten (whole numbers only): 7
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Synopsis and Review:
Following the well received “High Fidelity”, director Stephen Frears quickly changed gears again, this time around partnering with writer/director Steven Knight, for what turned out one of the greatly reviewed films of the year, “Dirty Pretty Things”. The film follows the story of Okwe, a Nigerian physician, currently working multiple jobs in London, since he is an illegal immigrant. Okwe works as a hotel receptionist, and also practices some medicine, in order to make ends meet. The hotel where he works is a center for all sorts of under the radar activities, most of them under the tutelage of Okwe’s manager, Juan. On a particular occasion Okwe discovers a human heart blocking a toilet in a recently vacated room, and he slowly uncovers a sinister trafficking behind the façade of the peaceful hotel. Stephen Frears is a reference name in the British film industry since he shot to prominence in the 80s with the celebrated “My Beautiful Laundrette” and “Prick Up Your Ears”, which he quickly followed with the acclaimed “Dangerous Liaisons”. Since then he has had his fair share of successes and misfires, “The Queen” and “Mary Reilly” respectively, but “Dirty Pretty Things” ranks as one of his best reviewed films. The film recaptures the grittiness of his earlier work, showcasing the not so pleasant reality that lies behind the glitz and glamour of London life. The trails and tribulations of migrant workers, and the criminal underworld, are represented without glamour, instead opting for somewhat direct approach to the proceedings. The film also benefits from a phenomenal cast, from the always great Chiwetel Ejiofor, to the underrated Audrey Tautou, the menacing (and credible) Sergi Lopez and the always reliable and talented Sophie Okonedo. It’s a film anchored in the traditional British realism approach, featuring the always beautiful cinematography from Chris Menges, and the score from Nathan Larson. A very good film worth watching.

Hot Shots

Movie Name: Hot Shots

Year of Release: 1991

Director: Jim Abrahams

Stars: Charlie Sheen, Cary Elwes, Valeria Golino, Lloyd Bridges, Jon Cryer, Kevin Dunn, William O'Leary, Bill Irwin, Bruce A. Young, Heidi Swedberg, Kristy Swanson

Genre: Comedy

Score out of ten (whole numbers only): 6
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Synopsis:

Director Jim Abrahams made a name for himself as part of the directorial group, where he worked in tandem with Jerry and David Zucker (the ZAZ acronym). This group was responsible for the classics "Airplane", "Top Secret" and "Police Squad"/"Naked Gun". By the early 90s Jim Abrahams had also ventured as a standalone director, with the films "Big Business" and "Welcome Home, Roxy Carmichael". "Hot Shots" was a return to his spoof and more slapstick roots, focusing this time around in poking fun at the machismo of Tony Scott's successful "Top Gun". The film follows the story of Topper Harley, a young hotshot pilot, who has been suspended from the army's pilot program following some reckless behavior. With a new captain in place, Topper is recruited back, in order to test a new program being established, all the while battling his family issues, mostly derived from the unfortunate accident that ended his father's career, himself a pilot. In order to assist him with this journey, is the beautiful therapist, Ramada Thompson, who has been involved with one of Topper's rivals. As they go through the events leading to the main exercise, strange occurrences pop up, leading all of them to the suspicion that something else may be going on.
"Hot Shots" drinks heavily from the same fountain which made "Airplane" such an irreverent and funny film. The film pokes holes at the whole young macho mythology behind "Top Gun", while using different lines of the screenplay to also stage the hilarious nonsense that has always dominated the ZAZ films. Even if the film doesn't hit all the spots that "Airplane" managed to successfully put in place, it's still a film filled with hilarious moments, from the spoof of Adrian Lynne's "9 1/2 Weeks" to Steve Kloves' "The Fabulous Baker Boys". The cast is uniformly game for all the events taking place, from Charlie Sheen, Cary Elwes, Valeria Golino and the always fantastic Lloyd Bridges. A fun film worth revisiting.

Alien vs. Predator

Movie Name: Alien vs. Predator

Year of Release: 2004

Director: Paul W. S. Anderson

Stars: Sanaa Lathan, Raoul Bova, Lance Henriksen, Ewen Bremmer, Colin Salmon, Tommy Flanagan, Joseph Rye, Agathe de La Boulaye, Carsten Norgaard, Sam Troughton, Kieran Bew

Genre: Action, Horror, Sci-Fi

Score out of ten (whole numbers only): 3
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Synopsis:

After the cold reception experienced by Jean Pierre Jeunet's "Alien Resurrection", the studio behind the franchise, decided to tackle an adaption of the comic book that had been created in 1989, that married two of the studio's properties: the Alien creature and the Predator. Director Paul W. S. Anderson, then coming off the success of "Resident Evil" was chosen to direct and write the screenplay for the feature. The film follows the events of an expedition in the Arctic, under the funding of Charles Weyland, the CEO of  the Weyland Utani company. This expedition aims to discover the origins of a pyramid buried in the ice. Unbeknownst to the the group, the pyramid is indeed ancient, but it is used as a stage for the Predator creatures to lure humans to be used as hosts for the Alien creatures, so they can go through a battle, which functions as a rite of passage for their young warriors. The group of humans going through the expedition soon realize the events taking place, and try to escape both menaces.
Paul W. S. Anderson's approach is one where his technical dexterity, sadly does not marry adequately with the stories and screenplays he creates. "Alien vs. Predator" is no exception: the group of characters is quickly forgettable, in detriment of the real allure, which comes in the shape of the Alien and Predator creatures. Unlike the films of Ridley Scott, James Cameron or David Fincher, the creatures are quickly presented and showcased, leaving little to the imagination. It removes a lot of the finesse that always dominated the series - the ever evolving game of shadows, of hide and seek, of suggesting more than gratuitously showing the monster, is not on display here. The human component is mostly fodder for the creature counterparts, both of which go on a game of non stop destruction. It's a film that tries to drink from its iconic progenitors, but is sadly devoid of the refinement, concept and ultimately execution of those films. The cast is quickly forgotten, even the reliable Lance Henriksen and the talented Ewen Bremmer. A missed opportunity.

Death Becomes Her

Movie Name: Death Becomes Her

Year of Release: 1992

Director: Robert Zemeckis

Stars: Meryl Streep, Bruce Willis, Goldie Hawn, Isabella Rossellini, Ian Ogilvy, Adam Storke, Michelle Johnson, Sydney Pollack, Mary Ellen Trainor, Nancy Fish

Genre: Comedy

Score out of ten (whole numbers only): 6
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Synopsis:

After finishing the "Back to the Future" trilogy, director Robert Zemeckis tackled a very different type of comedy, this time around a dark comedy around the concept of eternal life. The film follows the story of three main characters, Madeline Ashton, a fading actress trying to recapture her fame, a childhood friend of hers, the meek Helen Sharp, and her fiancee, the plastic surgeon Ernest Menville. Madeline manages to scoop and marry Ernest, much to the despair of Helen. After years of estrangement, Helen re-surfaces, and looks stunning, while Madeline has progressively gotten older (and her marriage to Ernest has virtually disintegrated). Madeline in her pursuit of beauty, discovers a serum, provided by the enigmatic Lisle. She claims that her serum will keep her forever young. What she discovers, as well as Ernest, is that the potion hides some extra secrets that none of them were expecting.
"Death Becomes Her" is indeed a minor film in the rich career of Robert Zemeckis, but it is a satire filled with hilarious moments, featuring a campy turn from the always phenomenal Meryl Streep. Zemeckis has built a career based on mixing smart concepts with a polished and impeccable technical execution, which makes his films always engaging. "Death Becomes Her" is a satire focused on the myth of eternal youth, particularly in Hollywood, where plastic surgery is a regular commodity. However the film manages to make that satire particularly biting, by placing these youth-seeking characters as zombie-like creatures. It's a light film, without much dimension to the characters, other than the surreal premise. But it does feature some impeccable set pieces, including a great opening musical with the fantastic Meryl Streep, and some impressive visual effects, which earned the film the respective Oscar in 1992. A funny, yet quickly forgotten film from a very talented film maker.

Breakfast on Pluto

Movie Name: Breakfast on Pluto

Year of Release: 2005

Director: Neil Jordan

Stars: Cillian Murphy, Stephen Rea, Liam Neeson, Brendan Gleeson, Ruth Negga, Gavin Friday, Bryan Ferry, Dominic Cooper, Steven Waddington, Ian Hart, Eamonn Owens, Laurence Kinlan

Genre: Drama, Comedy

Score out of ten (whole numbers only): 7
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Synopsis:

Following his well received features "The End of the Affair" and "The Good Thief", celebrated director Neil Jordan returned with another fantastic feature. "Breakfast on Pluto" is an adaptation of the novel by Patrick McCabe (whose book "The Butcher Boy", Neil Jordan also adapted in 1997 with great results), and follows the story of Patrick Braden, who goes by the name of Kitten. Patrick is abandoned by his birth parents, and raised by a small family who can't understand his real nature and identity - Kitten. Patrick makes good friends in the small Irish town where he grows, but the older he gets he realizes he is a woman in a man's body, and most of all, he longs to see and know his mom, who left him and moved to London. Kitten, with his outgoing personality and flair, quickly gets involved in multiple adventures, including ones that involve the IRA, but eventually does find himself in London. His pursuit of his mom's whereabouts intensifies even further, particularly when the priest from his old town, tracks him down and gives him precious information.
Neil Jordan is a unique talent, in the sense that his best films, reveal a sensibility that is touched both by his lyricism but also by understanding his roots (he's originally from Ireland). His work is also very much a direct reflection of his parallel work as a novelist. There's a flair for the fantastic and surreal that comes across in his films, which makes his entire film making history very rich and diversified (for instance, from the classic "The Company of Wolves" to the fantastic "The Crying Game"). "Breakfast on Pluto" manages to marry a lot of these interesting traits, in the sense that it contains the fantastical elements, while simultaneously rooting the film events in the troublesome occurrences that took place in Ireland and London during the 70s. It's a film that drops the audience in the middle of these events, with the charismatic Cillian Murphy carrying the film as the effervescent Kitten. The cast is uniformly great, from Liam Neeson, Brendan Gleeson, Stephen Rea, Ruth Negga and Gavin Friday, all of them making this fantastical story both humane, fun and captivating. Even if the fantastical elements at times feel needless, it's still a film that functions on its own terms, and one that manages to define a unique time frame, and populate it with credible and humane characters. A very good film from a very interesting director.

Cold Mountain

Movie Name: Cold Mountain

Year of Release: 2003

Director: Anthony Minghella

Stars: Jude Law, Nicole Kidman, Renee Zellweger, Natalie Portman, Philip Seymour Hoffman, Brendan Gleeson, Donald Sutherland, Giovanni Ribisi, Ray Winstone, Kathy Baker, Eileen Atkins, James Gammon, Charlie Hunnam, Ethan Suplee, Lucas Black, James Rebhorn, Taryn Manning, Emily Deschanel, Melora Walters, Tom Aldredge, Cillian Murphy

Genre: Drama, Adventure

Score out of ten (whole numbers only): 7
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Synopsis:

Director Anthony Minghella continued his streak of adapting prestigious literary material, following his adaptation of Patricia Highsmith's "The Talented Mr. Ripley" and Michael Ondaatje's "The English Patient". This time around the writer and director, adapted the book by Charles Frazier, one that follows the story of W.P. Inman, a carpenter living in North Carolina at the end of the 19th century. The young man falls in love with Ada, the daughter of the local preacher. As their relationship is starting to bloom, he goes to war. During those years away, Ada writes consistently, asking for him to return, all the while trying to stay afloat after the passing of her father. She eventually gets the help of Ruby Thewes, who moves in with her to help the management of the farm. Following a particularly brutal battle, Inman decides to return to Cold Mountain, but his path coming back is met with a series of obstacles and characters going through challenging times themselves.
Much like "The English Patient" had been a consummate story of a forbidden love that was denied existence, "Cold Mountain" veers in that same direction. It's however a film that keeps the lead characters apart for most of its duration, since on one hand, the film trails Inman's journey back to Cold Mountain, and on the other, it trails Ada's resourcefulness at the farm. The film manages to add further definition to the lead characters by showcasing the tribulations and challenges the lovers encounter, while simultaneously allowing for the supporting characters to bring a vivacity and a vibrancy that the film lacks in certain sections. Renee Zellweger is particularly well cast as the spunky Ruby, someone who is borderline anecdotal, but who is grounded by Zellweger's warmth and versatility. The entire cast of the film is stellar, as is the fantastic production design of the film from Dante Ferretti, cinematography from John Seale and the score from Gabriel Yared (the team that had been working with Minghella since "The English Patient"). It's an ambitious and somewhat stilted film, but nonetheless impeccably well built and acted. Worth watching.

Mission: Impossible - Fallout

Movie Name: Mission: Impossible - Fallout
Year of Release: 2018

Director: Christopher McQuarrie

Stars: Tom Cruise, Henry Cavill, Simon Pegg, Ving Rhames, Rebecca Ferguson, Michelle Monaghan, Alec Baldwin, Sean Harris, Angela Bassett, Vanessa Kirby, Wes Bentley, Kristoffer Joner

Genre: Action, Adventure, Thriller

Score out of ten (whole numbers only): 8
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Synopsis:

Following his previous successful foray into the "Mission: Impossible" series (with "Rogue Nation"), writer & director Christopher McQuarrie returns with the strongest entry in the series so far, "Fallout". The film continues to follow the pursuits of Ethan Hunt, and his IMF team. This time around, Ethan finds himself trailing the events from the last feature, with his foe Solomon Lane playing a crucial role in establishing the menace that threatens to destroy millions of lives. Ethan crosses paths with Elsa, but this time around has a new unexpected member on his team, the violent Walker, who is under the orders of the CIA to take him down should things don't pan out the way they anticipate. The challenge lies in preventing large nuclear devices from exploding, while simultaneously uncovering the identity of a mole who is potentially sabotaging Ethan's endeavors from within.
Much has been said about Tom Cruise and the accident he suffered while shooting this film, since the actor makes a point of performing  much of his own stunts. The realistic aspect of the action scenes of this film is just one of its top performing aspects: the film is smartly and deftly written, interweaving aspects of Ethan's personal life with the way the threats are presented to him and the team. As the stakes rise, so do the perils and situations the whole team finds themselves in - it makes for a gripping, tense and highly satisfactory film, one that doesn't reduce itself to the perilous stunts, though they are highly effective. This is a film that is perfectly built, almost like clockwork, with each situation seamlessly integrating into the next, with all the actors playing these characters almost like a second skin. There's a level of comfort and camaraderie between these players, which makes for a very entertaining film. The cinematography from Rob Hardy is tremendous, as is the editing work of Eddie Hamilton. A very entertaining film worth watching.

Cidade de Deus/City of God

Movie Name: Cidade de Deus

Year of Release: 2002

Director: Fernando Meirelles (Kátia Lund)

Stars: Alexandre Rodrigues, Leandro Firmino, Phellipe Haagensen, Douglas Silva, Jonathan Haagensen, Matheus Nachtergaele, Seu Jorge, Alice Braga, Emerson Gomes, Edson Oliveira, Roberta Rodrigues, Luis Otávio, Maurício Marques

Genre: Crime, Drama

Score out of ten (whole numbers only): 8
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Synopsis:

Following a career directing commercials and documentary films, director Fernando Meirelles really made a name for himself with the well received "Cidade de Deus/City of God". The film follows the story of the crime proliferation at the favelas that surround Rio de Janeiro's cosmopolitan area. The film specifically follows the dual story of the narrator, the young Buscapé, and the criminal Zé Pequeno. We witness Buscapé growing up, and simultaneously we view the evolution of the criminal life of the favela through his eyes, all the while managing to stay away from it, and finding a job as a photographer for one of the big newspapers of the city. We also witness the ruthlessness and increase in violence that Zé Pequeno embarks on, with this thirst to dominate the crime world of the favelas, and how it touches so many other groups within that society.
What is so interesting about Fernando Meirelles' work is the fact that the director has a stylistic and aesthetic point of view that is strong and shaped by his previous career as a commercials and documentary features director. There's a definite aesthetic perspective, that is married with this urgency to keep stories rooted in reality and capturing the immediacy of what surrounds the characters. "Cidade de Deus" manages to perfectly capture the evolution of life in the favelas (slums) of Rio de Janeiro from the 70s onwards, showcasing the altering habits, but also how characters get progressively influenced by the surrounding environments, while others manage to rise above and seek new opportunities. It's a film that is filled with energy, intelligence, heart and a sensuality, something that permeates the events and characters of the entire film. It's a snapshot of a part of the Brazilian society, that while focused on specific events of a particular area, also allows us viewers, to have a perspective to the evolution of life in one of the biggest cities of South America. It's a fantastic film, one that propelled Fernando Meirelles to more ambitious and visible projects (something he's still pursuing with uneven results, from the great "The Constant Gardener" to the mediocre "360"). Definitely worth watching.

Mary and The Witch's Flower

Movie Name: Mary and The Witch's Flower

Year of Release: 2017

Director: Hiromasa Yonebayashi

Stars: Ruby Barnhill, Kate Winslet, Jim Broadbent, Ewen Bremmer, Lynda Baron, Louis Ashbourne Serkis, Morwenna Banks, Teresa Gallagher

Genre: Animation, Adventure

Score out of ten (whole numbers only): 7
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Synopsis:

Director Hiromasa Yonebayashi's most recent feature marks a departure for him, in the sense that is also the debut feature for the new animation studio, by the name of Studio Ponoc. The film is based on the novel by Mary Stewart, and follows the story of young Mary Smith, a young girl living in the country with her great aunt. In one of her expeditions throughout the woods, she comes across some magical plants, and also an abandoned broomstick. She suddenly sees herself traveling across the skies towards a magical school by the name of Endor, where she meets the headmistress Madam Mumblechook and the genial Doctor Dee. They both assume Mary to be a precociously talented witch, not realizing she's just a young girl somewhat lost. They do notice she knows where the magical flowers are, and they stop at nothing to get the information of their location from Mary.
Director Hiromasa Yonebayashi trained at Studio Ghibli, under the tutelage of Hayao Miyazaki, something that is apparent in this film (which was also apparent in one of his previous directorial efforts "The Secret World of Arrietty"). The young hero of this film feels somewhat similar to Kiki, from "Kiki's Delivery Service", but without as much charm and defined personality. The central character in this film feels very reactive and without much of an arc, something that was always fully realized in Hayao Miyazaki's films. It is nonetheless a beautiful film to look at, visually stunning, with great voice work coming from Ruby Barnhill, Kate Winslet and Jim Broadbent. Definitely worth watching.

Charlie's Angels: Full Throttle

Movie Name: Charlie's Angels: Full Throttle

Year of Release: 2003

Director: McG

Stars: Drew Barrymore, Cameron Diaz, Lucy Liu, Bernie Mac, Crispin Glover, Demi Moore, Rodrigo Santoro, Justin Theroux, Robert Patrick, Shia LaBeouf, Matt LeBlanc, Luke Wilson, John Cleese, Robert Forster, Eric Bogosian, Carrie Fisher

Genre: Comedy

Score out of ten (whole numbers only): 1
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Synopsis:

After the success of the first installment of "Charlie's Angels", which debuted in 2000, a sequel was quickly geared up. This time the story focuses on another case the Angels have to tackle. They must retrieve rings containing encrypted information that reveals the new identities of every person in the Federal Witness Protection Program. In parallel with the case, the Angels are all dealing with the evolution of their personal lives, as some are having family visiting, while others are moving in with their respective partners. All this comes to a halt when they realize that someone they revered may be behind all these assassinations.
Director McG who made a name for himself directing music videos, brings the same type of approach and finesse to the sequel to his feature debut. "Charlie's Angels: Full Throttle" is very much like an extended music commercial, filled with quick edits, glossy cinematography, loud soundtrack and no character development. The film feels like something devised and conceptualized by a teenager, wanting to mix what he deems "sexy", "attractive" and "edgy". There's enumerable fight scenes, clearly influenced by the "Matrix", the attractive trio of actresses in skimpy outfits, and of course humorous situations created by the fact that the film winks an eye at the conventions of macho action films. Sadly the main opponent in the film, portrayed by Demi Moore, adds little to no substance - most of her menace comes from posing with a gun and long flowing hair. This is a film that is so vapid, that even looking at it as a piece of fluff, ends up giving it more meaning than the film actually has. It's a low, albeit glossy, point for the careers of everyone featured on this film.

Bruce Almighty

Movie Name: Bruce Almighty

Year of Release: 2003

Director: Tom Shadyac

Stars: Jim Carrey, Morgan Freeman, Jennifer Anniston, Philip Baker Hall, Catherine Bell, Lisa Ann Walter, Nora Dunn, Steve Carell, Eddie Jemison, Paul Satterfield, Sally Kirkland

Genre: Comedy

Score out of ten (whole numbers only): 4
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Synopsis:

Director Tom Shadyac and actor Jim Carrey are a partnership shaped in success. Before "Bruce Almighty" premiered in 2003 to huge success, the team had already worked on "Ace Ventura: Pet Detective" and "Liar, Liar". "Bruce Almighty" follows the premise that Bruce Nolan, a television reporter in Buffalo, NY, is profoundly unhappy with his life, despite his popularity and having a nice and supportive girlfriend. At one of his harshest and challenging days, Bruce rebels against God, who appears to Bruce, and grants him his powers. It's up to Bruce to handle God's responsibilities, and assess how he can do better.
Successful comedies manage to infuse every day actions and relationships with just enough satire to resonate with audiences and simultaneously entertain. At times comedies rely on slapstick, physical comedy to make a point across, and all those are things that Jim Carrey has perfected. He's a versatile performer, with enough depth to unveil the sadness behind the clownish façade, but also with the physical prowess to go into Jerry Lewis' territory (something he proved early on in his career with "Dumb and Dumber" and "The Mask"). "Bruce Almighty" has a flimsy and forgettable concept - but it does have a fantastic performer at the top of his game, one that is able to infuse every single frame of the film with an energy that is captivating and ultimately very funny. This of course does not make for a memorable film, or even a good film - "Bruce Almighty" is mostly a showcase for how Jim Carrey takes his every day heroes, and makes something truly transformational out of those run of the mill characters. Whereas "Dumb and Dumber" for instance took the concept of road movie, to highlight the antics of two best friends adrift in the world, "Bruce Almighty" operates within the constraints of a romantic comedy, and it's watchable due to Jim Carrey and the always charismatic Morgan Freeman. Those two performers make this mediocre film worth a watch.

Big Fish

Movie Name: Big Fish

Year of Release: 2003

Director: Tim Burton

Stars: Ewan McGregor, Albert Finney, Jessica Lange, Billy Crudup, Helena Bonham Carter, Alison Lohman, Marion Cotillard, Danny DeVito, Steve Buscemi, Missi Pyle, Robert Guillaume, Deep Roy, Loudon Wainwright III, Ada Tai, Arlene Tai, Matthew McGrory

Genre: Drama

Score out of ten (whole numbers only): 6
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Synopsis:

After his first big budget disappointment that came in the shape of the remake of "Planet of the Apes", director Tim Burton rebounded with the adaptation of the book by Daniel Wallace, "Big Fish". The film follows the adventures of Ed Bloom, particularly his young days, where he recounts his adventures always with a sense of wonder and hyperbole. His son, Will, never really understood him, nor forgave him for the time apart, and for all the stories he has always told. As Ed goes through his last days, Will has a chance to revisit a lot of the stories that were part of his father's usual storytelling, from his time at a circus, to him meeting the beautiful Sandra, who would become his mom.
"Big Fish" was hailed at the time of its premiere, as a return to form for director Tim Burton. It is definitely an improvement over his previous feature, benefiting from a fantastic cast, but it's still a diluted vision of what his best films have been able to showcase. Much of Burton's universe is centered around misfits and characters that can easily be perceived as monsters. His characters are possessed of a poetry and sensibility that at first glance is not perceived by the society around them. There's usually a heroine who digs deep enough to understand his heroes. His stories permeate dark humor throughout, and make them indelible, from "Edward Scissorhands", "Beetlejuice", "Ed Wood" and even "Charlie and the Chocolate Factory". "Big Fish" which is a familiar story of a son coming to terms with an absent father, has glimpses of his universe, with Ed Bloom's character being constructed as a magical storyteller, but for the most part, he comes across as a chronic liar. The film does have charm (the supporting characters give it a distinctive feeling), it's beautifully shot (courtesy of Philippe Rousselot), but it's at times overly saccharine and even a bit generic. The cast is uniformly good, with Albert Finney creating a strong performance. A somewhat forgettable film from a unique voice in film.

Anything Else

Movie Name: Anything Else

Year of Release: 2003

Director: Woody Allen

Stars: Jason Biggs, Christina Ricci, Woody Allen, Danny DeVito, Stockard Channing, Diana Krall, Jimmy Fallon, Fisher Stevens, David Conrad, Kadee Strickland, William Hill

Genre: Comedy

Score out of ten (whole numbers only): 4
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Synopsis:

Following his 2002 feature, "Hollywood Ending", director Woody Allen returned with "Anything Else", a comedy headlined by Jason Biggs, then riding the wave of success propelled by "American Pie". The film follows the story of Jerry Falk, a young aspiring writer in New York. The film follows the misadventures of Jerry, from his previous relationship with Brooke, to the relationship with Amanda, one that has been peppered with a series of obstacles, namely her mom coming to live with them. All through these events, Jerry ends up relying on David Dobel, his older friend and mentor, who provides guidance and input on how he should handle these complications and challenges.
"Anything Else" is one of Woody Allen's mostly forgotten films, and one that upon debut was met with tepid reviews and feedback. It's a film centered on his typical universe: the central hero is a writer, living with a beautiful girlfriend. The relationship is flailing and all around them a series of supporting characters provide colorful characterization and feedback to the main events. The main role, usually played by Allen himself, is this time around given to Jason Biggs, who tries to replicate the mannerisms of Woody Allen. It's a film that doesn't bring anything new to the table in a career filled with classics, which is the case of Woody Allen. It has some insightful and funny puns, as is the case in most of his films, but the overall structure, character development and interactions, feels repetitive and tired. Christina Ricci is game and as always makes the best of the role she gets, but the film lacks bite and a stronger discernible trait to make it memorable. A lesser film from a great director.

Tau

Movie Name: Tau
Year of Release: 2018

Director: Federico D'Alessandro

Stars: Maika Monroe, Ed Skrein, Gary Oldman, Fiston Barek, Ivana Zivkovic

Genre: Sci-Fi, Thriller

Score out of ten (whole numbers only): 3
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Synopsis:

Streaming giant Netflix continues debuting content, this time around with a sci-fi feature, from a first time director. The film  by the name of "Tau", follows the misadventures of Julia, a young woman who lives by herself, in an unknown city in the near future. Julia resorts to scams to make a living, until she finds herself captured, and being tortured, with no knowledge of the reason and where she even is. She soon finds out her captor is named Alex, and he is using her and a few other individuals to test and gather data for technology he is developing. When Julia tries to escape, she finds herself detained by an AI entity created by Alex, named Tau. Julia slowly develops a relationship with Tau, with the intent of creating an ally that can help her escape what is most certainly a deathtrap.
"Tau" is built as a claustrophobic thriller, with the pending menace always hovering over the central character. It's a three part game, with one of the main characters being a AI, who responds to the relationship being established with Julia, the central heroine. The film and the screenplay falters in the development of the actual characters, since there's never much insight into who they really are and come from. The main opponent also comes across as under-developed, and sadly Ed Skrein does not have the skills to actually create a character that is simultaneously cold, intelligent and menacing. Where the film does manage to have some interest, is in the utilization of Gary Oldman's voice as Tau - the actor manages to imbue the artificial construct with just enough personality, and progressive humanity, that makes this small film somewhat interesting. Maika Monroe, following her performance in David Robert Mitchell's "It Follows", isn't as equally impressive in what could have been an arresting performance, if powered by a sense of urgency, dread and fear. The cinematography from Larry Smith is impeccable, as is the score from Bear McCreary. It's a quickly forgettable endeavor for all parts involved.