Widows

Movie Name: Widows
Year of Release: 2018

Director: Steve McQueen

Stars: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Liam Neeson, Robert Duvall, Jacki Weaver, Carrie Coon, Garrett Dillahunt, Lukas Haas, Brian Tyree Henry, Daniel Kaluuya, Jon Bernthal, Manuel Garcia-Rulfo, Coburn  Goss, Molly Kunz, Adepero Oduye, Matt Walsh, Kevin J. O'Connor

Genre: Drama

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

After winning the Academy Award in 2013 for "12 Years a Slave", artist/director Steve McQueen is back, this time around with the adaptation of Lynda La Plante's "Widows" mini-series, which originally made its debut in 1983.The film follows the story of Veronica, Linda and Alice, whose husbands, alongside an additional member, are all killed following a robbery that goes terribly awry. All women have very little knowledge of their husbands dealings and proceedings, but suddenly get thrown into this criminal life, when the people who were robbed, want their money back, and give them a month to do so. The women have nothing to their name, and basically leverage a notebook left behind by Veronica's husband, to set up a heist, which will pay off their debt, and set them up comfortably. As all of them adjust to their lives as widows, the political tissue of the city of Chicago is being played, something that has ties to the occurrences surrounding the failed heist.
Steve McQueen has made a directorial career marked by intelligent and diverse themes, since "Hunger", which put him on the map. "Widows" may be his most commercial endeavor, but it's a film with plenty of layers to savor and digest. It's an interesting treaty on Women (and whatever roles they've been expected to follow in society), the systemic corruption that touches politics, how grief and guilt permeates through relationships and finally, an entertaining (and somewhat brutal), crime caper. The film is also deftly shot, not glamorizing violence, but instead aiming to provide a realistic canvas where all this action and challenging relationships take place. The film benefits from a terrific cast, with Elizabeth Debicki, Colin Farrell (and those eyebrows) and Liam Neeson all creating memorable characters. The cinematography from Sean Bobbitt is impeccable, as is the score from the fantastic Hans Zimmer. A very good film, from a strong voice in cinema.

Badlands

Movie Name: Badlands
Year of Release: 1973
Director: Terrence Malick
Starring: Martin Sheen, Sissy Spacek, Warren Oates, Ramon Bieri, Alan Vint, Gary Littlejohn, John Carter, Dona Baldwin
Genre: Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review:

Director Terrence Malick made his feature directorial debut with "Badlands", which premiered in October of 1973. The film follows the story of Kit and Holly, a young couple who are living in South Dakota in the late 1950s. Kit is working menial jobs, while Holly is in high school. They become enamored of each other, much to Holly's father disapproval. When Kit tries to take Holly away, the situation escalates and Kit shoots him. Kit plans and decides for both of them to escape the small town, burning Holly's house in the process in order to create an alibi. They soon become hunted for the crime, something that makes violence quickly escalate in succession. 
Terrence Malick who was quickly hailed as one of the most interesting film makers of the 70s, based on this film and the following, the beautiful "Days of Heaven", has by now made a name for himself as one of the most stylistic and unique directors working these days. Even if his latest films feel shallow and inconsequential, and are indeed miles away from what he accomplished with "Badlands". The film builds the relationship between this doomed couple without much sensationalism - the relationship slowly unfolds, with the director allowing for both characters to be flushed out. As the violence escalates, it's interesting how Terrence Malick makes it part of the story being told, but not the core of that same story (this isn't after all, a different version of Oliver Stone's "Natural Born Killers", still a fantastic satire on the cult of violence). The film already features a lot of traits that would become staples in Terrence Malick's work, namely the communion of Man and Nature, and the poetry that can be found in the latter. It also captures a humane and heartfelt relationship between the leads, excellently portrayed by Martin Sheen and Sissy Spacek (Spacek was a relative newcomer, but Martin Sheen had been acting for quite some time). The central relationship defines the core of the film, with the young lovers escaping throughout isolated fields in South Dakota, as they try to make their way to Texas. It's a beautiful film, excellently shot, with a clearly defined storyline, peppered with humor, warmth and brutality. Worth watching.

Something's Gotta Give

Movie Name: Something's Gotta Give
Year of Release: 2003
Director: Nancy Meyers
Starring: Diane Keaton, Jack Nicholson, Frances McDormand, Keanu Reeves, Amanda Peet, Jon Favreau, Paul Michael Glaser, Rachel Ticotin
Genre: Comedy
Score out of ten (whole numbers only): 5
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Synopsis and Review:

After her first successful directorial outings, Nancy Meyers hit her stride with "Something's Gotta Give", which made its debut  late 2003 to considerable commercial and critical acclaim. The film follows the story of Harry Sanborn and Erica Barry. They initially meet when Erica's daughter, Marin, comes for a visit, and Harry is the man she's dating. When a medical emergency lands him in the Hospital, Erica ends up being the one taking care of him. What is a casual acquaintance, becomes something else, as they both become enamored of each other, though Harry has a habit of dating much younger women. "Something's Gotta Give" is a film that lives primarily by the presence of the actors that the director has successfully cast. Nancy Meyers has by now created a body of work, that is primarily dominated by an environment and universe where everyone is wealthy, caucasian and whose houses always look like they just came out from a House & Garden magazine. It's an artificial world, one that only gets a dash of life due to the fantastic actors that keep popping up. In this case, the film focuses on the double standards that exist in the relationships between older men and younger women, and on the opposite rulings that surface when older women date younger men. It's a theme lightly touched (during a very appropriately lit dinner setting), but one that allows for the actors to be relaxed, and maintain a flow that feels easy and mature. Diane Keaton in particular has never been better - her performance is one filled with nuance, warmth and humor. Jack Nicholson is very much himself, and the supporting cast doesn't have much to do, aside from looking great (which they do). The cinematography from the late and great Michael Ballhaus is stunning. It's a film that is light and airy, unoffensive, but also instantly forgettable, save for the performances of its leads. 

Being There

Movie Name: Being There
Year of Release: 1979
Director: Hal Ashby
Starring: Peter Sellers, Shirley MacLaine, Melvyn Douglas, Jack Warden, Richard Dysart, Richard Basehart, Ruth Attaway, David Clennon, Fran Brill
Genre: Comedy, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Celebrated director Hal Ashby, who had a string of successful films, both critically and commercially, during the 70s (including "Coming Home" and "Shampoo"), capped that decade with the well received "Being There" which premiered at the end of 1979 and went on to win (and be nominated for) a series of awards during the following year. The film follows the story of Chance, a gardener, whose whole life has been spent in his employer's estate, and whose daily chores are centered around watching television and taking care of the garden. Chance doesn't know how to read and write and is very unaware of the way of the world. When his employer passes away, he resumes his life, up until a team of attorneys appears at the house, and informs him he must get out. Chance doesn't know where to go, and finds himself on the streets of Washington DC, perplexed by everything and everyone. He is accidentally hit by the car of Eve Rand, who decides to bring him home to her estate, where her elderly husband lives in permanent care (due to flailing health). Both Eve and Ben, her husband, assume Chance's name is Chauncey Gardiner, and are dazzled by what they think are his metaphors and ways to interpret reality and the challenges that come from it. 
Hal Ashby films were always interesting character studies of individuals at odds with reality. Either politically aware, or coming from hardened social backgrounds, or in this case, from a sheltered and secluded existence. The film plays out like a fable, one where Chance is the representation of the lost innocence, someone who's pure at heart, and who views the world through television, but who isn't part of the world. A so-called savior, who is also someone untouched by the darkness of the world and of the most vile human behaviors. A lot of this of course has some parallels with Robert Zemeckis' "Forrest Gump", but while in that film the main character was sufficiently self aware to understand his short comings, Chance is almost completely oblivious to what surrounds him (and his effect on others). It's an interesting premise, even if not an entirely accomplished one. The performances from the supporting cast are enticing and heartfelt, particularly Shirley MacLaine and Melvyn Douglas, a couple separated in age, but not in disposition or even in love/affection for each other. Peter Sellers' Chance is portrayed flatly, emotionless, and almost robotic. It's a curious interpretation and performance for what innocence is suppose to be and behave like. It's an interesting film, even if not totally accomplished in what it sets out to unmask and reveal. 

Scary Movie 3

Movie Name: Scary Movie 3
Year of Release: 2003
Director: David Zucker
Starring: Anna Faris, Regina Hall, Simon Rex, Leslie Nielsen, Queen Latifah, Eddie Griffin, Anthony Anderson, Kevin Hart, Drew Mikuska, Charlie Sheen, Jeremy Piven, Pamela Anderson, Jenny McCarthy, Denise Richards, Camryn Manheim, George Carlin, Timothy Stack
Genre: Comedy
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Celebrated director David Zucker (responsible with his brother Jerry and Jim Abrahams for the classics, "Airplane!", "Police Squad" and "The Naked Gun"), returned to the nonsense comedy that made him famous, by tackling the franchise started by the Wayans brothers. "Scary Movie 3" finds our hero, Cindy Campbell, now a TV reporter, dealing with a series of seemingly unrelated menaces. There are odd crop circles appearing outside of Washington DC, and there's also a menacing video tape, that will kill anyone who watches it after 7 days. Cindy witnesses as the tape takes her best friend, Brenda Meeks, and has to join forces with George, the young man she has fallen in love with, and in whose farm (and his brother's) those enigmatic crop circles initially popped up.
David Zucker, alongside his team of writers, leave absolutely nothing unturned as it tackles and spoofs a series of films, from "The Ring", "The Matrix", "Signs" and "8 Mile", to name but a few, to weave a tapestry of nonsense and misconceptions, that are most of the times quite hilarious. The film isn't as brilliantly devised as "Airplane!" was, even if that classic referenced most of the disaster films of the 70s. Instead, "Scary Movie 3" focuses on recent films to ridicule, but also mounts a standalone narrative that is irreverent, politically incorrect, and destructive. It pans out quite a few times, making the film both riotous when successful, and somewhat flat when it doesn't. Thankfully the film does feature more of the hilarious moments, with a lot of them coming courtesy of the fantastic Anna Faris, who is truly possessed of a great comic timing and delivery. The rest of the cast is in it wholeheartedly, making this film one of the best in the series. Worth watching and worth a chuckle.

Fantastic Beasts: The Crimes of Grindelwald

Movie Name: Fantastic Beasts: The Crimes of Grindelwald
Year of Release: 2018

Director: David Yates

Stars: Eddie Redmayne, Johnny Depp, Jude Law, Katherine Waterston, Ezra Miller, Alison Sudol, Callum Turner, Dan Fogler, William Nadylam, Zoe Kravitz, Victoria Yeates, Wolf Roth, Kevin Guthrie, Poppy Corby-Tuech, David Sakurai, Derek Riddell, Claudia Kim, Olivia Popica, Jamie Campbell Bower

Genre: Drama, Music

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

Director David Yates and Writer/Producer J.K. Rowling are back with another tome in the series that they have started two years ago. Following the occurrences of the first film, we first encounter Grindelwald arrested, and about to be transported elsewhere. He manages to flee, and sets his sights on finding Credence, in the hopes he can fight his nemesis, Dumbledore. Dumbledore, in the hopes of thwarting his plans, enlists the assistance of Newt Scamander, who is still under international travel ban, due to the problems that occurred in NY. He, alongside Jacob, manage to escape under the radar to Paris, where they meet Tina, also on the trail of Credence. Their search leads them to an almost fatal confrontation with Grindelwald.
What has always made the Harry Potter universe so rich, was the fact that it was peppered with so many distinct characters, but ultimately that it was guided by the narrative surrounding the young hero, who had to vanquish his foe in order to survive. "Fantastic Beasts" is at this point suffering multiple malaises: on one hand the central figure, Newt Scamander, is a charming yet lackluster central figure (something that the overacting from Eddie Redmayne doesn't really help, with a series of ticks that are more distracting than exactly endearing). Another serious issue is the lack of balance in terms of narrative and style - the Harry Potter films managed to keep, to a certain extent, the visual effects bonanza at bay, to a certain extent. The Fantastic Beasts series is starting to look and feel completely artificial, which in itself, could be interesting if the film was a futuristic tale, but when trying to capture Paris in 1927, it looks mostly hollow and devoid of character (much like the characters that inhabit it). Finally, the characters that are being portrayed, feel wafer thin, more so than in the first film, with some having literally nothing to do (in this case, Dan Fogler's Jacob is completely lost in this sequel). The assembled and very talented cast doesn't have much to do - aside from the talented Johnny Depp who imbues some menace and panache to the events, everyone else seems a bit lost (and even baffled by the events taking place). At this point, this series would really benefit from a different point of view - much like what Alfonso Cuaron did with "Harry Potter and the Prisoner of Azkaban", a talented film maker that can shake this established formula. If anything, to give this series the uniqueness that marries the universe that is trying to capture, with the magic at its core.

The Normal Heart

Movie Name: The Normal Heart
Year of Release: 2014
Director: Ryan Murphy
Starring: Mark Ruffalo, Matt Bomer, Taylor Kitsch, Jim Parsons, Joe Mantello, Julia Roberts, Alfred Molina, BD Wong, Stephen Spinella, Jonathan Groff, Sean Meehan, Adam B. Shapiro, Finn Wittrock, Denis O'Hare, Corey Stoll, Frank De Julio, William DeMeritt
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Prolific writer/producer/director Ryan Murphy followed his big budget adaptation of the Elizabeth Gilbert book "Eat, Pray, Love" with this adaptation of the play by celebrated author and activist, Larry Kramer. Originally written in 1985, the film follows the story of Ned Weeks (a fictionalized version of Larry Kramer), who in the early 80s is already known and celebrated as a writer, and who is openly gay. As the film starts, Ned is traveling to Fire Island in order to celebrate the birthday of one of his good friends. The film starts chronicling the evolution of the AIDS virus in the early 80s, before it was identified as such, and how public authorities denied any assistance and even acknowledgement of the virus which was eradicating such large numbers of young men. Ned witnesses this, and as his shock and fury increase, the response of his friends and co-activists doesn't echo his sentiments and approach. Things get worse, when Ned's partner, Felix, is diagnosed with the virus, and Ned has to witness his rapid decay, without being able to do much for his assistance. 
"The Normal Heart" is a powerful film that depicts the harsh realities of what was living with AIDS in the early 80s, particularly in New York, and particularly surrounding the stigma of the ailment, and the lack of support most medical facilities and activists had when it came to helping those in need. It's a film that covers some of the same subject matters that Norman René captured so perfectly in "Longtime Companion", Roger Spottiswoode captured in "And The Band Played On" and even Jonathan Demme did with "Philadelphia". What's so specific about "The Normal Heart" is the way it captures Ned Weeks' incessant pursuit of acknowledgement, his cry-outs for attention, for everyone to focus and pay attention to an epidemic that is rapidly killing thousands of gay men. What's also interesting about the film, is that the characters are not portrayed sanctimoniously - everyone on the group of characters surrounding Ned are deeply human, flawed and at times, exasperating (much like Ned himself). It's a film that is ambitious, but manages to deftly capture the reality of what was living with such a destructive ailment in the early 80s, at a time when the government and all institutions refused to acknowledge not just the virus, but most importantly, the people suffering from it. The performances from the entire cast are uniformly great, with highlights going to the stupendous Mark Ruffalo, Matt Bomer, Alfred Molina, Jim Parsons and Julia Roberts. A good film worth watching and revisiting.

Bohemian Rhapsody

Movie Name: Bohemian Rhapsody
Year of Release: 2018

Director: Bryan Singer, Dexter Fletcher

Stars: Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aidan Gillen, Allen Leech, Tom Hollander, Mike Myers, Aaron McCusker, Meneka Das, Ace Bhatti, Priya Blackburn, Dermot Murphy, Dickie Beau

Genre: Drama, Music

Score out of ten (whole numbers only): 2
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Synopsis & Review:

Following his latest directorial installment in the X-Men series, "Apocalypse", director Bryan Singer has tackled the biopic genre, focusing this time around, on the iconic rock band Queen. Of course this film has made headlines due to the fact that Bryan Singer was in reality fired from his directorial chair earlier in 2018, with Dexter Fletcher taking the mantle from him and directing the remainder of what needed to be shot. The film follows the story of the charismatic leader of the band, Freddie Mercury, as he gets acquainted with the band in 1970, then under the name of Smile. The band quickly evolves to the formation that made them so popular, and quickly signs a contract to release their debut album. Their chemistry is palpable, and so is their unconventional approach to music creation (and recording). Freddie's natural performing skills also become all too noticeable. In parallel we observe how Freddie becomes aware of his burgeoning homosexuality, and how that has a huge impact on his life, specifically his relationships with the band, family and friends. The film follows their ups and downs, till they reunite again for the Live Aid performance in 1985, at which time Freddie is already dealing with the AIDS virus and the mortal sentence, that at that time, was associated with it.
"Bohemian Rhapsody" is a film that feels trite, artificial and populated with every single music biopic cliche that is fathomable. The director(s) clearly wanted to check as many of these cliches as they could possibly do, namely: the misunderstood lead singer, the debacle with drugs, the promiscuity and fall from grace, the internal squabbles, the redemption, the coming to terms with their own truth. The film falters in delivering a portrayal of any of the band's team members as actual characters - they're all thinly developed, the same applying for Freddie, the main focus of the film. For someone as charismatic and as engrossing as Freddie Mercury was, there's never any real insight into what propelled him to be who he was. There's no real insight into what made him write the songs he wrote, or perform the way he did, or loved the men/women he actually pursued. The director tried to capture a wide canvas from when the band was created, all the way through 1985, at which point it basically replicates the performance Queen gave at Live Aid. It's a film where every single live performance feels deceptively staged and artificial, unlike what Bradley Cooper was able to capture with his recent "A Star is Born" for instance. Even Rami Malek's performance as Freddie Mercury lacks the irreverence, humor, energy and sexiness that Freddie Mercury always exuded. What made him such a great performer was the joy he managed to convey - the film, in an attempt to portray Freddie as someone haunted by his sexuality, highjacks that, making this character (and his obtrusive teeth) more of a shadow, and not a real person (not to mention his homosexuality is illustrated as a cliche from what gay people were perceived as in the 70s). There's questionable taste displayed throughout the film, with conflicting points of view emerging, between Bryan Singer's stylistic flourishes and Dexter Fletcher's contributions, with some transitions, meant to illustrate the 70s timeline, coming across as tacky and not so much as funny/irreverent. It's a sad waste of talent, and the film is a pale representation of the eclectic, rich, and iconic music produced by a talented group of musicians. A forgettable film from a director who has shown promise, but who stumbles more often than not.

Pirates of the Caribbean: The Curse of the Black Pearl

Movie Name: Pirates of the Caribbean: The Curse of the Black Pearl
Year of Release: 2003
Director: Gore Verbinski
Starring: Johnny Depp, Geoffrey Rush, Orlando Bloom, Keira Knightley, Jack Davenport, Jonathan Pryce, Lee Arenberg, Mackenzie Crook, Damian O'Hare, Giles New, Angus Barnett, Kevin McNally
Genre: Action, Adventure, Fantasy
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Director Gore Verbinski followed his unexpected success "The Ring", with what turned out to be one of his biggest calling cards, the adaptation of a Disney themed ride, "Pirates of the Caribbean". The film follows the story of an unlikely duo, a resourceful blacksmith by the name of Will Turner, and the savvy and exotic captain, Jack Sparrow. They both join forces, since Will wants to retrieve the love of his life, Elizabeth Swann, from a morally bankrupt kidnapper, by the name of Barbossa, while Jack wants to retrieve the ship which Barbossa is currently using, his very own Black Pearl. What they both don't realize is that Barbossa and his crew storm the oceans under a terrible curse, and achieving their goals is going to be all the more challenging due to that.
"Pirates of the Caribbean" started what has turned out to be one of the most successful modern film franchises. Sadly as the series has progressed, its already thinly put together story and architecture has only become thinner and thinner (how many times can the same story be told - apparently 5 already). The film, as most in the series, showcases an impressive technical wizardry and production design, but it's a film where most characters are sketches, and where all action is filled with pyrotechnics or special effects to basically amplify what is a very thin concept. What has been the driving and differentiating force to these films has been the creative input of Johnny Depp. He's never been better in this series, as he was in this first film, where his take on the pirate with a heart of gold, is mischievous, anarchic, humorous and punkish. It's an iconic presence and performance, in what is an otherwise predictable and by the numbers action film, one that is nonetheless shot with a style indebted to Gore Verbinski's previous career as a successful commercials director (and his stylistic choices have always been impeccable throughout his career). The supporting cast is colorful, even if only Geoffrey Rush makes a character that is somewhat memorable. The cinematography from Darius Wolski is fantastic, as is the production design by Brian Morris. A somewhat entertaining film from an interesting director.

Suspiria

Movie Name: Suspiria
Year of Release: 2018

Director: Luca Guadagnino

Stars: Dakota Johnson, Tilda Swinton, Mia Goth, Chloe Grace Moretz, Ingrid Caven, Sylvie Testud, Malgorzata Bela, Angela Winkler, Alek Wek, Jessica Batut, Elena Fokina, Renee Soutendijk, Christine Leboute, Olivia Ancona, Majon Van der Schot, Doris Hick, Clementine Houdart, Vanda Capriolo

Genre: Thriller, Horror, Mystery

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

Director Luca Guadagnino continues his unique career path, following the astounding (and well deserved) success of "Call Me By Your Name". His new film is a remake, or a re-imagining, of the film by the same name which was directed by Dario Argento in 1977. The film follows the story of Susie Bannion, a young American woman, who comes to Berlin to enroll in a well known dance school. When Susie auditions, she immediately impresses the teaching body of the school with her innate capacity and expressiveness. Madame Blanc in particular, the head teacher and choreographer is captivated by her talents. Susie, with her quiet demeanor, quickly makes friends with Sara, another of the lead dancers. The school is still haunted by the disappearance of Patricia, another dancer/student, who apparently joined the RAF, but who has seemingly vanished, which leads her doctor/therapist to report the case with the police. Patricia mentioned in one of her last sessions that the school was in fact a coven of witches and that they were trying to seize her in some macabre ritual. Susie starts experiencing nightmares and visions, as the strange occurrences start piling up.
"Suspiria" is a film that is definitely going to cause some division among viewers. Much like the director's previous features, it's a film that perfectly/deftly marries his point of view, with a stylistic and aesthetic quality that is both memorable and impressive. In this case, the narrative takes place in Germany in 1977, back when both sides of the wall were still at odds, and when all sorts of political terrorism was still going on (something that the film depicts, by constantly showcasing the coups that are occurring on the news). The film very interestingly, marries the style and cinematography from German films from that timeframe, particularly the ones associated with talented film makers such as Rainer Werner Fassbinder (and his collaboration with the celebrated cinematographer Michael Ballhaus). The director initially builds the environment and the relationships between the characters, until the scheming and agenda behind the school's principals/workers becomes all too apparent. When the film finally comes to its epilogue, it really aims to respect the original, and be almost a bit too gruesome, but it is nevertheless done in tone with what the film has been building up to. It's a film that will leave a lasting impression, and which features two great performances by Tilda Swinton, and a revelatory one from Mia Goth (Dakota Johnson sadly, remains a very passive figure/performer, devoid of charismas). The score from Thom Yorke is effective, as is the beautiful cinematography from Sayombhu Mukdeeprom. A fantastic and inventive film from a truly unique voice in cinema.