Cruella

Movie Name: Cruella
Year of Release: 2021
Director: Craig Gillespie
Starring: Emma Stone, Emma Thompson, Mark Strong, Joel Fry, Paul Walter Hauser, John McCrea, Emily Beecham, Kayvan Novak, Kirby Howell-Baptiste, Jamie Demetriou
Genre: Comedy, Crime
Score out of ten (whole numbers only): 6
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Synopsis and Review:

The Disney studios continue to go through their classic properties, uncovering tales to be told, focused on well known antagonists of classic animated stories, something they did with "Maleficent" which originated from "Sleeping Beauty", and now with "Cruella" from "101 Dalmatians". This tale is a prequel and focuses on the story of a young girl by the name of Estella, who is born with quite a unique streak of hair, and a clearly defined sense of style to match it. Estella reveals a flair for fashion from an early age, and following a disastrous experience in a local school, her mother decides it is time to move to London, where Estella will have a much more fertile ground to grow. Sadly as they decide to get some help with the move, Estella's mother dies in a vicious situation. Forced to escape on her own to London, Estella quickly teams up with two other young street kids, and they all manage to grow up in each other's company by grifting and pickpocketing (in London of the 1960s). Estella eventually manages to get a job with The Baroness, the most well known and posh Fashion Designer in London, and through sheer talent, impresses the impossibly rigid designer. As Estella discovers The Baroness was involved in the death of her mother, she decides to wreak havoc on the Designer's life and collection, bringing to life an alter ego of hers, which she always had as a child: Cruella, the over the top persona, who only follows her instincts and never apologizes. As Cruella and her team start taking over the fashion and cultural world in London, The Baroness is fuming, deciding to stop at nothing to destroy this emerging new voice.

Craig Gillespie is an interesting director who continues to surprise. Following his wonderful "I, Tonya", "Cruella" is somewhat of a safer and sanitized view of what unbridled passion and lust for power will do to anyone. However, even if this tale is somewhat of a safe view of these topics, it's also an interesting exploration of an iconic character, and just as importantly, a somewhat superficial view of the point of view of women in the fashion industry in the 60s, and also women as leaders of business at a time where they didn't have that much of a voice. There's definitely a bit of a struggle to this film, trying to balance the fact that it has a message to say, with being light entertainment and ultimately a Disney film. For all the darkness that it tackles, namely those young orphans growing up on the streets and resorting to crime to survive, it's a film that tries to bring levity to its narrative, by inserting a series of animals throughout the narrative, and some slapstick to the supporting entourage of Cruella. Production wise the film is flawless, with impeccable cinematography from Nikolas Karakatsanis, production design from Fiona Crombie and beautiful costume design from Jenny Beavan (and Tom Davies). The cast is also phenomenal, with Emma Thompson and Paul Walter Hauser in particular bringing their characters to life in indelible ways. While not exactly memorable, it's nonetheless a watchable film, which could have benefited from a far better screenplay. 

The New Mutants

Movie Name: The New Mutants
Year of Release: 2020
Director: Josh Boone
Starring: Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt, Henry Zaga, Adam Beach, Thomas Kee, Colbi Gannett
Genre: Action, Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Much like Joe Wright's "The Woman in the Window", Josh Boone's "The New Mutants" also had a very colorful story before actually premiering in 2020 (its original premiere date was in 2018). The film is an adaptation of the Marvel comic book, and belongs to the same universe in which the X-Men characters exist (this comic book offshoot of the X-Men had its first run in 1982). This adaptation, brought to life courtesy of co-writer and director Josh Boone, takes a decidedly different turn, and opts for a darker, akin to a horror film approach. The film introduces us firstly to Dani Moonstar, a young Cheyenne Native American woman, who witnesses her entire reservation being devastated. She is taken to an empty hospital, run by the mysterious Dr. Cecilia Reyes, who informs her she is a mutant. Turns out, there are a few more patients in the hospital after all, including Sam Guthrie, Illyana Rasputin, Roberto da Costa and Rahne Sinclair. They all have their specific mutations, the same going for the Dr. Reyes herself. They can't leave the premises of the hospital, since there's a restraining force field generated by the Dr. which prevents them from doing so. They all believe they are being trained to become part of the X-Men, but the intentions of Dr. Reyes, and the organization sponsoring the research is far more sinister. As the young group of teenagers starts being confronted & attacked with menacing visions and creatures, Dr. Reyes deducts that Dani is creating these, and decides to euthanize her, as per orders of her employers. However things take a darker turn from that moment on.

Director Josh Boone made a name for himself with the adaptation of John Green's book, "The Fault in Our Stars", which paved the way for him to tackle this material. The film has a distinct look and feel from most of the X-Men film series, including the films by Bryan Singer, Matthew Vaughn, James Mangold, Brett Ratner and Gavin Hood. The film collects quite a bit of inspiration from the "A Nightmare on Elm Street" series of the 1980s, in particular the Chuck Russell directed episode, "The Dream Warriors". Sadly, and unlike the films that it emulates, this one lacks humor and much dimension to any of its lead characters. Dr. Reyes, the character who walks the fine line of being a helper and a villain, in particular, fails to have any actual depth to her, appearing as somewhat of a host to the events taking place, but not much is ever really known about her (or for that matter, about the remaining characters). In its quest to be different, the creative team behind this tale, forgot that the characters need to have a background, some motivations, and do more than just act scared throughout the narrative. It's a surprisingly threadbare film in terms of narrative, never truly creating an iconic villain, nor for that matter, never truly illustrating the potential of these characters, all of which have very distinct and unique backgrounds. The cast tries their best to bring some life to these characters, in particular Alice Braga and Anya Taylor-Joy, but for all their effort and talent, this tale always feels stunted and somewhat lifeless. A wasted opportunity. 

Oxygene/Oxygen

Movie Name: Oxygene/Oxygen
Year of Release: 2021
Director: Alexandre Aja
Starring: Melanie Laurent, Mathieu Almaric, Malik Zidi, Laura Boujenah, Eric Herson-Macarel, Marc Saez
Genre: Sci-Fi, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Director Alexandre Aja is back, following his adventure in the Florida area with massive alligators which resulted in his feature "Crawl". This time around he goes back to his home country, France, and returns with one of his most interesting films. The film follows the story of Elizabeth Hansen, whom we initially discover waking up in a tight pod, with all sorts of devices connected to her. She has seemingly no recollection of how she got there, however the AI running the high tech operations, indicates she has limited oxygen, and therefore limited time to live before she ultimately dies. Elizabeth frantically tries to understand where she is, how she got there and how she can sort the situation she finds herself in. As pieces of her memories start coming back, in random order, she starts realizing she has/had a husband, and she is a scientist. She eventually manages to make outside contact with different people, and while they give her different directions, she eventually connects with someone who has the ability to answer the questions she's posing. However those answers may not be what she was looking for. As her time is running out, and she finally understands the journey she is on, she has to rely on her skills and ingenuity to save herself.

Claustrophobic tales of a single character trapped in somewhat unescapable situations, can make for some tense thrillers. Going back to Roman Polanski's examination of someone losing their grip on reality in "Repulsion", to the more recent exercises such as Rodrigo Cortes's "Buried", these are usually tales where the lead character has to trace back his/her steps, to uncover their narrative for us the audience, in a way that we progressively discover who this character is, and simultaneously empathize with the predicament they find themselves in. "Oxygen" has traces of Stanley Kubrick's "2001" (then again, which modern sci-fi film doesn't), but manages to create its own identity, by effectively building this sleuthing narrative, where the trapped character is somewhat of a detective, piecing together clues, in order to understand her current and quite possibly fatal predicament. It's a film that smartly uses the tight space to build a sense of claustrophobia and urgency, which is emphasized by its sterile environment, responses, and even how the environment itself responds aggressively to the central character. Even if the film fails to add much dimension to Elizabeth, or for that matter, to the few characters who surround her, it's nonetheless effective in establishing its premise and developing the scenario. Melanie Laurent continues to be a talent to admire, and in this film she vividly brings to life a wide breadth of emotions, ranging from sheer panic, to a progressive awakening, to finally a firm resolution of establishing the path of her own life. The cinematography from Maxime Alexandre is impeccable, as is the score from Robin Coudert. Worth watching.

Halston

TV Show Name: Halston
Year of Release: 2021

Creators: Sharr White

Directors: Daniel Minahan

Stars: Ewan McGregor, Rebecca Dayan, David Pittu, Krysta Rodriguez, Gian Franco Rodriguez, Bill Pullman, Sullivan Jones, Maxim Swinton, Molly Jobe, Rory Culkin, Megan Gerald, Sietzka Rose, Eric T. Miller, Jason Kravits, Shawna Hamic, Mazin Akar, Jarrod Spector

Genre: Drama

Score out of ten (whole numbers only): 5
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Synopsis and Review: 

Following a few documentaries on the life of celebrated fashion American designer Roy Halston, Ryan Murphy has produced a mini-series tracking his ascent and his demise, for Netflix. The mini-series introduces glimpses of Halston's childhood in Iowa, before focusing on his first glimpse of fame, when as an employee of Bergdorf Goodman's he designs the hat which is worn by Jacqueline Kennedy on the President's inauguration in 1961. When the hat daze fades away, he secures the financial backing of Estelle Marsh, a millionaire who allows him to open his first store. As he starts designing his first collections, his ambitions cement further and further. By 1969 he launches his ready to wear collection, and he becomes tremendously popular, something that is also aided by his close relationship and friendship with Liza Minnelli. His personal relationships however suffer, as he is unable to open up, be vulnerable and create meaningful attachments with the partners he has. During the 70s he is able to expand his empire, across a variety of products and venues, but simultaneously so does his partying and excessive drug usage. As the 80s start and new designers come into play, he decides to sell his brand and form an association with JC Penney, which is the beginning of the end. His behavior, his mercurial temper, who isolated him from his long life friends, is kept in check by the organization, that eventually pushes him out of the brand itself. As he himself comes to term with the AIDS epidemic, he decides to quietly move away from NY and go to California and spend time with his family.

"Halston" as one can witness from the documentaries focused on his persona can attest, had an over the top life, particularly during the 70s, where stunning clothing, mixed with high style partying and larger than life celebrities, all mixed in to form a swirl of energy and decadence. The mini series manages to a large extent to bring some dimension to the character, largely due to Ewan McGregor's impeccable performance, which adds layers of vulnerability, mixed with anger, narcissism and longing, more so than the show wants to focus on. The mini series for the most part, captures the loose feel of the 70s quite well, the same going for the sexual liberation, and progressive impact of the fashion world, but it ultimately fails to register more deeply since the characters, aside from Halston, are nothing more than mere sketches. His relationships with his partners are barely focused on, as are the relationships he establishes or fails to establish later in his career with his employers. That last part in particular, could have played as a tragedy in itself, as a King of his domain, who is progressively shunned, shut out of his kingdom, only to find himself alone. While the narrative manages to give an interesting glimpse of the ascension Halston goes through, the downfall is illustrated rather rapidly and without much consequence to it. There's an overall superficial look at the veneer of this personality, without trying to really capture what went beyond the facade. The supporting cast of the show is equally solid, with David Pittu, Krysta Rogriguez, Gian Franco Rodriguez and Bill Pullman, providing a good compliment to Ewan McGregor's charismatic centerpiece. From a directorial perspective, the series is somewhat generic, but does manage to showcase the impeccable production design from Mark Ricker. Watchable, but forgettable.

Army of the Dead

Movie Name: Army of the Dead
Year of Release: 2021
Director: Zack Snyder
Starring: Dave Bautista, Ella Purnell, Omari Hardwick, Ana de la Reguera, Nora Arnezeder, Garret Dillahunt, Tig Notaro, Theo Rossi, Matthias Schweighofer, Hiroyuki Sanada, Raul Castillo, Huma Qureshi, Samantha Win, Richard Cetrone, Michael Cassidy
Genre: Action, Horror
Score out of ten (whole numbers only): 4
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Synopsis and Review:

Director Zack Snyder is back, following his period of adapting comic book characters for DC films (which included "Man of Steel" and "Batman vs. Superman: Dawn of Justice"). The film follows a group of individuals who are assembled together under the guise of a heist proposal. The herculean challenge is not only getting through the vault and getting the money out, but primarily surviving the conditions and the city where that vault lies: Las Vegas. Vegas has been overrun by zombies, some of which are fast, tribal and with a strategy of their own. The group is led by Scott Ward, a former mercenary, and the proposal for the heist comes from Bly Tanaka, a Casino owner, who informs them those vaults have 200 million dollars, some of which they can keep for themselves. As Scott assembles his team, he is joined by his estranged daughter, whom he has a strained relationship with. As they venture into a destroyed Las Vegas, the group relies on their skills and experience to overcome the unexpected zombie scenario.

Zack Snyder tackled zombie films previously, with his feature directorial debut, the remake of George A. Romero's "Dawn of the Dead". Unlike that film, this one sprinkles some additional dimension to the humans who are dealing with the zombie outbreak, in the shape of Scott's fractured relationships with both his daughter, and a former lover he has on his team. It also spins a "Ocean's Eleven" type of heist, only this time around, with the challenges coming in the shape of a destroyed city overrun with fast thinking zombies. All of these elements could have worked together efficiently, but once again there's a lack of understanding in how to showcase characters and their inner challenges, without resorting to cliches or being somewhat overly sentimental. This film could have benefited from a more straightforward approach to character definition, particularly given the eclectic aspect of the group that is put together, but sadly there isn't much to any of them, whereas the zombies, who are somewhat akin to what Francis Lawrence did in "I Am Legend", never feel as truly menacing or numerous as they did on "Dawn of the Dead" for instance. The cast tries their best to bring life to these characters, particularly Dave Bautista who is playing more of a straightforward role this time around, with good support from Tig Notaro and Garret Dillahunt, sadly it's simply not enough to make this film as exciting and gripping as it should be. It's a minor feature in the zombie genre. 

Those Who Wish Me Dead

Movie Name: Those Who Wish Me Dead
Year of Release: 2021
Director: Taylor Sheridan
Starring: Angelina Jolie, Nicholas Hoult, Aiden Gillen, Jon Bernthal, Finn Little, Jake Weber, Medina Senghore, Tyler Perry, James Jordan, Tory Kittles, Howard Ferguson Jr., Ryan Jason Cook
Genre: Action, Thriller
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Taylor Sheridan made a name for himself as a celebrated writer, firstly with Denis Villeneuve's "Sicario", and also with the award nominated, "Hell or High Water", from director David Mackenzie. His directorial career has been a bit more modest, and this film is actually his third feature, following the well received "Wind River". This time around the film is an adaptation of the book by Michael Koryta, and focuses on the lives of two central characters, the first being a young boy by the name of Connor, and the second a survival expert by the name of Hannah. Connor is on the run in the woods of Montana, after witnessing his father being murdered. A larger conspiracy is being played out, and the people pursuing him want to make sure everything is cleaned up efficiently and with no witnesses. His only help comes in the shape of Hannah, a survivor expert, who is dealing with her own demons, after failing to save a few forest firefighters in a particular harsh situation. Together they must overcome ruthless pursuers who stop at nothing to erase all evidences of the conspiracy taking place.

"Those Who Wish Me Dead" had the potential to be a taut and brisk B-movie with great acting talent, sadly the film lacks the commitment and energy that Steven Soderbergh brought to "Haywire" for instance, or for that matter, Leigh Whannell brought to "Upgrade". During the film's condensed duration, the characters are briefly introduced and contextualized, just enough to understand their motivations, how & why they battle each other out for survival. One of the main issues with the film however, is the fact that in pursuing varied supporting stories and characters, it fails to capitalize on its main thread, particularly the dangers that await Hannah and Connor. That resolution of that particular narrative thread is quickly handled, without much suspense or tension for that matter. It's another case, where the material itself didn't necessarily marry with the perspective/point of view of the director, and the final output feels rushed and with a series of cliches that render the film watchable, but ultimately forgettable. The cast is filled with stellar performers, with Angelina Jolie once again giving the central character a vivid dimension, with solid support from Aiden Gillen and Nicholas Hoult. The cinematography from Ben Richardson is solid, as is the score from Brian Tyler. Passable but sadly not memorable. 

Pepi, Luci, Bom Y Otras Chicas del Monton/Pepi, Luci, Bom and Other Girls Like Mom

Movie Name: Pepi, Luci, Bom y Otras Chicas del Monton/Pepi, Luci, Bom and Other Girls Like Mom
Year of Release: 1980
Director: Pedro Almodovar
Starring: Carmen Maura, Alaska, Eva Silva, Felix Rotaeta, Cecilia Roth, Kiti Manver, Julieta Serrano, Assumpta Serna, Carlos Tristancho, Blanca Sanchez, Agustin Almodovar
Genre: Comedy
Score out of ten (whole numbers only): 6 
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Synopsis and Review:

"Pepi, Luci, Bom y Otras Chicas del Monton" is director Pedro Almodovar's feature directorial debut, following a series of shorts he created in the 70s. The film focuses on the story of three women, starting with the rebellious Pepi. We first witness her going through her hobbies, until a policeman interrupts her day, checking her apartment for pot. When she tries to bribe him with oral sex, he rapes her. Seeking revenge, Pepi arranges for her friend Bom and her band to beat up the policeman. Turns out they end up beating up the policeman's twin brother. Still intent on her revenge, Pepi befriends the policeman's wife Luci, who is somewhat of a masochist. She eventually becomes Bom's lover, much to the irritation of the policeman. As the three go about enjoying the cultural life of Madrid, Pepi eventually has to find a job since her father stops sponsoring her life. She becomes a writer for advertising spots. The humiliated policeman however, is on the prowl once more, and manages to kidnap Luci and punishes her so severely she finds herself in the hospital. 

Shot in the span of two years, with very limited budget, "Pepi, Luci, Bom..." was a development of the short story Almodovar had written under the title "General Erections". The film itself is demonstrative of the counter-culture and punk attitude which permeated Spain's cultural life right after the abolishment of Franco's dictatorship in 1975. Unlike the more tightly woven narratives the director would craft in his subsequent films, this one feels very much like a collection of vignettes, destined to illustrate the lives of these women, who are trying to find their place in life, while being liberated and also owning their choices. It's a film where some of the traits of Almodovar's directorial career are already emerging, namely the focus on women's narratives, and how they manage to overcome the strict limitations men force or impose on them, married with his quirky and delirious sense of humor. The cast features some of his long lasting accomplices, including Carmen Maura, Kiti Manver, Cecilia Roth and Julieta Serrano, who would continue to appear in his films throughout this career. While not as consistent as his later films, it's still a wonderful view into the mind of one of the most gifted film makers currently working.

Things Heard & Seen

Movie Name: Things Heard & Seen
Year of Release: 2021
Director: Shari Springer Berman, Robert Pulcini
Starring: Amanda Seyfried, James Norton, F. Murray Abraham, Natalia Dyer, Karen Allen, Rhea Seehorn, Michael O'Keefe, James Urbaniak, Cotter Smith, Ana Sophia Heger, Alex Neustaedter, Jack Gore, Marion McCorry, Kristin Griffith
Genre: Drama, Horror
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Directing team of Shari Springer Berman and Robert Pulcini made an auspicious debut with "American Splendor". This adaptation of the book by Elizabeth Brundage is their latest endeavor, and the one which takes them in the direction of the horror/suspense genre. The film takes place in 1980 and follows the story of a young couple, composed of Catherine and George Claire, who have a young daughter by the name of Franny. As George gets a teaching position in upstate New York, Catherine decides to give up her position as an Art restorer, and make the situation work for her and her family in the new bucolic surroundings. They buy a house which is filled with history, but also where much drama has occurred in the past. As the dynamics between the young couple surface, their strained relationship begins to become all the more apparent, as does George's infidelities and later on, more serious accusations. Catherine in the meantime starts noticing some odd occurrences in the house, until she notices some entity is there. As she and some newfound friends, understand more of the purpose of what is happening in the house, and what took place there, Catherine also realizes the situation and relationship she's in. As George's behavior becomes increasingly erratic, Catherine maps out her escape, without realizing her plans may have already been uncovered.

"Things Heard & Seen" has the makings of a truly interesting suspense film, which for instance in the hands of James Wan or Leigh Whannell, could have played with the tropes of the genre, and brought a fresh take on it. As it is, Shari Springer Berman and Robert Pulcini, opt to make a film that is mostly illustrative and fairly conventional, never truly showcasing much about the central characters and their inner workings. The film is not taut enough to have a B-film approach to it, and does not possess much of a distinct point of view to render it as a prestige film (if those even yet exist). It's a film that never really knows what it wants to be, one that never actually creates an unsettling environment such as Ari Aster's "Hereditary" for instance, and therefore it fails to have conviction in what is trying to say. Even if the epilogue tries to take the narrative into another dimension, it's just too late and ultimately doesn't add the dimension it should. The cast for the most part does not work: Amanda Seyfried and James Norton don't share much familiarity with each other (or chemistry for that matter), and ultimately F. Murray Abraham ends up being the one who adds heart and humanity to the film. While not a terrible film, it's ultimately a forgettable one.

The Woman in the Window

Movie Name: The Woman in the Window
Year of Release: 2021
Director: Joe Wright
Starring: Amy Adams, Gary Oldman, Wyatt Russell, Brian Tyree Henry, Jennifer Jason Leigh, Julianne Moore, Anthony Mackie, Fred Hechinger, Tracy Letts, Jeanine Serralles, Mariah Bozeman
Genre: Crime, Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Right after the well received "Darkest Hour", director Joe Wright tackled the adaptation of the book by A. J. Finn, "The Woman in the Window". Much has been reported on the fact that the film was ready to premiere in 2019, but was continuously pushed to new release dates since it didn't quite test well with audiences. It finally got its premiere courtesy of Netflix, and it features a fantastic cast. The film follows the story of Anna Fox, a child psychologist, who is also agoraphobic, and due to that stays at home all the time. We first come to notice her while she's in a therapy session, where she also discusses her reliance on medication and her tendency to drink way too much. During the course of a week we come to witness her daily habits, which includes talking with her husband, or soon to be ex husband, who has custody of her daughter. She rents the basement of her Harlem townhouse to a young man by the name of David. One day of the week she notices new neighbors moving to the townhouse across from her. She soon meets the young son of the couple who has moved in, and they quickly establish a friendship. On Halloween night, as her house becomes the target of some frustrated partiers, she gets rescued by a woman, who tells her she's the mother of the young man she befriended. They have a nice evening, which doesn't prepare Anna for what she witnesses the following night. Jane, whom she spoke with, is brutally stabbed and murdered in the townhouse across from her, and as Anna furiously tries to go and help her, she's unable to do so. Upon reporting the incident, the family and police appear, with Jane, who turns out to be a completely different woman. As Anna's credibility and sanity hang by a thin thread, she tries to uncover what has happened.

"The Woman in the Window", unlike Curtis Hanson's "The Bedroom Window", has the ambition of being something more akin to a prestige film, and that's where it ultimately fails. The material for all its smartness, it's ultimately a suspense story, and the film itself, plays out fairly flatly and without much suspense or effective tension. For a film that references so many wonderful features in itself (Hitchcock's "Spellbound" shows up for instance), this one never truly manages to give the characters much dimension. It's a puzzling film, not so much for the narrative that it unfolds, but mostly because it has so many wonderful actors, without much to do. Aside from Amy Adams's Anna Fox, who actually has some dimension to her, due to the traumas she's been through, and eventually her arc & redemption, most of the supporting roles are primarily archetypes, without much motivation, nuance or for that matter, resonance. Gary Oldman, Jennifer Jason Leigh, Julianne Moore, Anthony Mackie, Tracy Letts, Brian Tyree Henry, all great performers, sadly have mostly walk on roles, and the film doesn't utilize much of their skills or talent to add further enticement to the narrative. The cinematography from Bruno Delbonnel is beautiful, and Amy Adams is as always captivating, but the film lacks a more distinct approach, one that takes this somewhat pulpy material, and brings it to life more memorably (much like Anatole Litvak's "Sorry, Wrong Number" for instance, who knew how to create effective tension). A waste of talent and efforts.

The Spirit

Movie Name: The Spirit
Year of Release: 2008
Director: Frank Miller
Starring: Gabriel Macht, Samuel L. Jackson, Sarah Paulson, Eva Mendes, Scarlett Johansson, Dan Lauria, Seychelle Gabriel, Eric Balfour, Louis Lombardi, Johnny Simmons, Richard Portnow, Stana Katic, Paz Vega, Jaime King, Dan Gerrity, Michael Milhoan
Genre: Adventure, Crime
Score out of ten (whole numbers only): 2
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Synopsis and Review:

Author Frank Miller had a very successful first foray into directing when he co-directed "Sin City" in 2005, alongside Robert Rodriguez. For his first solo outing, he decided to adapt the comic book series from Will Eisner focused on the character,  "The Spirit", a series which successfully ran in newspapers between 1940 and 1952. The film follows the story of Denny Colt, a former police officer, who now has seemingly unstoppable powers and can always escape death. He goes by the name "The Spirit", and has become a protector and somewhat of a vigilante in the city where he lives. His main antagonist, who seemingly has similar skills goes by the name of Octopus. The Octopus and his associates are intent on getting a chest which contains the blood of a demi-god, in order to perfect an immortality serum, which Octopus previously devised and tested on Denny and on himself. As he tries to achieve his nefarious goals, The Spirit is the only one with enough stamina and resources to battle this seemingly unstoppable villain.

"The Spirit" is a film that stylistically instantly takes us back to "Sin City". The highly stylized look, including colors, costumes, cinematography, production design, combined with the voice over that is utilized, are all elements that were also utilized in the adaptation of Frank Miller's own work. "The Spirit" however has tonal issues, with the narrative trying to adhere to the conventions of the classic film noir, while also allowing the villains and supporting characters to be overly cartoonish (and over the top in the process). Another core issue with the film is the fact that none of the characters have much dimension to themselves, including the central hero. "The Spirit" is for the most part a wooden, cardboard character, without much charisma, save for the fact that he is apparently immortal. Also for all the supporting female roles that the film showcases, and apparently the relationships that are established between the hero and quite a few of them, the film lacks sexiness, or that matter, actual humor. In the end the film never really convinces as a noir upgrade, or a different take on a graphic novel: it mostly feels a bit kitsch, and not deliberately so. The fantastic cast is sadly unable to save the film, though Sarah Paulson does manage to escape with her dignity intact, which cannot be said for most of the team assembled. The cinematography from Bill Pope is impeccable, as is the score from David Newman. This was a missed effort, from a great author/writer. 

Indiana Jones and the Last Crusade

Movie Name: Indiana Jones and the Last Crusade
Year of Release: 1989
Director: Steven Spielberg
Starring: Harrison Ford, Sean Connery, Denholm Elliott, John Rhys-Davies, Alison Doody, Julian Glover, River Phoenix, Michael Byrne, Kevork Malikyan, Robert Eddison, Richard Young
Genre: Adventure, Action
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Steven Spielberg had two films come out in 1989, the first being the third chapter of the adventures of the iconic Indiana Jones, and the second being "Always", the remake of the Victor Fleming film "A Guy Named Joe". This new adventure of Indiana Jones takes place in 1938, and takes a deeper look at who Indiana Jones actually is, by showcasing a bit of his younger days and adventures, and also introduces the character of his father, also a professor of Archeology, Dr. Henry Jones (senior). The film focuses on the research Henry Jones senior has been doing most of his life, more specifically on the crusades and the mythical Holy Grail. Indiana gets looped in on this when his father disappears, and he has to suddenly trace his steps across Europe, at a time when the Nazi movement is spreading rapidly. Turns out the Nazis are very interested in Henry's maps to the potential location of the Grail, something that Indiana left in the good care of their mutual friend, Marcus Brody. He eventually discovers and saves his father, but they have to head to North Africa in the pursuit of Marcus, who has been abducted in the meantime by the Nazi army. As Indiana races to save Marcus, and retrieve his father's materials, they suddenly see themselves having to overcome unexpected obstacles to come out of the whole ordeal alive.

Following the uneven tone of "Indiana Jones and the Temple of Doom", director Steven Spielberg worked with screenwriter Jeffrey Boam (who had worked on Joe Dante's "InnerSpace" and Joel Schumacher's "The Lost Boys", to name but a few), to make the film decidedly more humane, yet still filled with action. And for the most part the film manages to be successful in this combination of action and character development, even if for the most part, the supporting characters are largely cartoonish. The winning aspect of the film ends up being the familial relationship that is developed between Indiana Jones and his father, a relationship that is filled with bickering, some resentment, and lots of humor. The film also gives a dash of insight into the youth of Indiana Jones with an adventure in his teen years, with the character embodied by the late River Phoenix. Though this episode is mostly illustrative, never giving actually much insight into why Indiana Jones became the character he is, the rest of the film does manage to bring some dimension to him. The action set pieces are as usual impeccably shot and conceived, and while this film doesn't reach the heights and impeccable timing of the first film, it still has plenty to enjoy, particularly in the third act of the film. The cast is once again fantastic, with Harrison Ford leading the group, with great support from Sean Connery, Denholm Elliott, River Phoenix and John Rhys-Davies. The production team is also impeccable, with the returning team of composer John Williams, cinematographer Douglas Slocombe and production designer Elliot Scott. An entertaining film always worth revisiting.

Indiana Jones and the Temple of Doom

Movie Name: Indiana Jones and the Temple of Doom
Year of Release: 1984
Director: Steven Spielberg
Starring: Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri, Roshan Seth, Philip Stone, Roy Chiao, David Yip, Ric Young
Genre: Adventure, Action
Score out of ten (whole numbers only): 6
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Synopsis and Review:

After the resounding critical and commercial success that met "Raiders of the Lost Ark", as well as Steven Spielberg's immediately subsequent film, "ET, The Extra Terrestrial", the director decided to continue the adventures of Indiana Jones, but actually going back in time to the events which unfolded in the first film. In this sequel, which takes place in 1935, Indiana is firstly engaged in a dicey situation with some gangsters in Shanghai. He has a young sidekick with him by the name of Short Round, and he soon collects another partner in the shape of lounge singer, Willie Scott. As they escape Shanghai, and soon have to devise a way to overcome a potentially fatal plane crash, they all find themselves in a remote area of Northern India. As they try to get back to a bigger city, they are tasked by the inhabitants of a small village with figuring out what is happening with their children, who have seemingly all disappeared in the area of Pankot Palace. Indiana and his posse are informed that there are sinister forces operating in that Palace, and that he must find a way of bringing back the children. As Indiana and his group set about solving the mystery, what they eventually uncover is far more sinister than they had originally envisioned.

"Indiana Jones and the Temple of Doom" is simultaneously one of the most exciting films of the series, and yet also one of the most unbalanced. The film's main problem is finding its tone, and that of course is mostly due to the script having some issues with the characters and narrative around it. On one hand the film introduces a child as a sidekick, seemingly to showcase the lead character's heart and parental ability, and yet, it places the child in dire situations, some of which are painfully intense. The female lead, is not as well developed as Karen Allen's Marion (from "Raiders of the Lost Ark"): Willie is essentially portrayed as the comic relief, the fish out of water, and Kate Capshaw literally has nothing much to do with that character. The intro sequence in which the film has a musical sequence reminiscent of a Busby Berkeley, is where she manages to shine the most, since for the most part of the film, we never know much about her, aside from her histrionic reactions to everything that takes place. The film manages to have iconic action set pieces, impeccably shot and edited, but the darkness of what the narrative is suggesting, namely child labor in horrifying conditions, a religious cult with human sacrifices, is portrayed simultaneously without sufficient heft and an actual sense of consequence. This renders some of the events taking place as cartoonish, more so than the preceding film, which though anchored in adventure and thrills, always made sure that the characters were somewhat grounded in some sense of reality. Though definitely unbalanced, the film features a solid performance from Harrison Ford, and impeccable work from cinematographer Douglas Slocombe, composer John Williams and production designer Elliot Scott. Though not as iconic as the first feature, it's still worth watching, from a genial film maker. 

Raiders of the Lost Ark

Movie Name: Raiders of the Lost Ark
Year of Release: 1981
Director: Steven Spielberg
Starring: Harrison Ford, Karen Allen, Denholm Elliott, John Rhys-Davies, Paul Freeman, Ronald Lacey, Alfred Molina, Wolf Kahler, Anthony Higgins, Vic Tablian, Don Fellows, William Hootkins
Genre: Adventure, Action
Score out of ten (whole numbers only): 8
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Synopsis and Review:

The wonderful Steven Spielberg followed his expensive misfire "1941" with the first adventure of the much celebrated and iconic Indiana Jones. The character and narrative was ingeniously devised by George Lucas and Philip Kaufman, with a screenplay by the fantastic Lawrence Kasdan. The film which takes place in 1936, focuses on the adventures of Indiana Jones, an archeology teacher. We first encounter him in South America, going through a series of hurdles and obstacles in order to get a precious and invaluable artifact, only to lose it in the end to a less scrupulous rival in the Archeology field by the name of Belloq. Upon his return to America, Jones is informed by Army Intelligence, that the Nazis are excavating in Egypt, and that his former mentor is mentioned in their communications. He quickly deducts that they're looking for the Ark of the Covenant, which the Nazis believe will make their armies indestructible. He goes to Nepal, to uncover what has happened to Ravenwood, only to come face to face with his daughter, Marion, with whom he had a past relationship which ended badly. They eventually go to Cairo, where Jones has some additional help, however the Nazis are infiltrated everywhere, and they soon find unexpected obstacles.

"Raiders of the Lost Ark" is a film where the director clearly understands the spirit of the serials of the 1930s and 1940s, adding layers of humor, irreverence and sexiness to the action that occurs in the film. Steven Spielberg deftly showcases and establishes the lead characters, much like a very well made B-film, smartly combining the rebellious aspects of Indiana Jones, with his more academically inclined life, not to mention his convoluted relationship with Marion Ravenwood. The script also smartly weaves the events of the upcoming second World War into the action taking place, while also taking the leads into exotic locales, where danger lurks on every corner. The cast is also uniformly top notch, starting with the impeccable Harrison Ford, who has solid support from Karen Allen, Denholm Elliott, Paul Freeman, John Rhys-Davies and Alfred Molina. The whole production crew is fantastic, with highlights going to cinematographer Douglas Slocombe, score from the iconic John Williams and production design from Norman Reynolds. A classic always worth revisiting.