Barbie

Movie Name: Barbie
Year of Release: 2023
Director: Greta Gerwig
Starring: Margot Robbie, Ryan Gosling, Will Ferrell, America Ferrera, Michael Cera, Kate McKinnon, Ariana Greenblatt, Rhea Perlman, Alexandra Shipp, Emma Mackey, Issa Rae, Simu Liu, Hari Nef, Sharon Rooney, Ritu Arya, Ana Cruz Kayne, Scott Evans, Ncuti Gatwa, Kingsley Ben-Adir, Helen Mirren, Jamie Demetriou, Will Merrick, Andrew Leung, Lucy Boynton, Rob Brydon
Genre: Comedy
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

After the phenomenal "Lady Bird", and the unnecessary adaptation of "Little Women" (which was watchable, but didn't necessarily add anything to Gillian Armstrong's 1994 version or even the previous adaptations), writer/producer/director Greta Gerwig is back with what has turned out to be the big sensation of the film world in 2023. The narrative focuses of course on Barbie, the stereotypical one, who alongside other Barbies live in Barbieland, a matriarchal society populated with different variations of Barbies, Kens and also discarded (and somewhat ostracized) Barbies. Ken is constantly trying to ingratiate himself with Barbie, who refutes his advances. Barbie's days are fairly repetitive, until one morning everything starts taking a dark turn. She worries about death, develops bad breath, has concerns over cellulite, and doesn't even walk on her toes. She resorts to Weird Barbie to figure out what's going on with her. She tells her she must go go the real world, and find the child playing with her in order to lift whatever is plaguing her. Ken stows away and decides to go with her. When they both arrive in the real world, they have some issues adjusting, but eventually Barbie uncovers Gloria and Sasha, a mother and daughter, who are behind her existential pains. Mattel executives in the meantime are trying to locate Barbie in order to send her back, and Ken has uncovered that patriarchy seems to suit him just fine, and goes back to Barbieland to explain those theories to other Kens. Barbie decides to bring Gloria and Sasha back to Barbieland, in order to explain why Barbies and their principles stand for something, only to realize the place has changed quite a bit.

What's been interesting about Greta Gerwig's films thus far, and even her most interesting acting performances, have been the fact that they focus on women who aren't afraid of finding their own voice, of speaking their own mind, even if that instantly renders them as "difficult" or "different". This unapologetic aspect of "Lady Bird" and even "Little Women" made those films so watchable, as did her ability to give her characters dimension: her heroines weren't simply a teenager vying to leave Sacramento with the ambition of becoming an artist, or a young woman rebelling against a typically male centric profession in the 19th century, they were also people coming to terms with who they were (growing up after all). "Barbie" tries a similar approach, in a pink colored hue, with a stylized and quasi musical stance to it, but for all the cacophony of color and visual stylings, it's a film that never feels jolted with a spark of vivacity and humor as much as her prior features did. The film plays with its own artificiality, almost like winking an eye at what's taking place and addressing the audience on the joke ("Yes, this is all pink and silly, don't you know?") and with Ryan Gosling's silliness ("Oh Ken"), but simultaneously tries to deliver important messages that while well intended and very pertinent, simply don't align with the rhythm of the film itself. For a film that calls itself a comedy, I personally found very little to be comical, and some aspects of the film seem to be battling itself out (the whole aspect of the Mattel executives, with the underserved Will Ferrell in particular, was difficult to witness). Even Margot Robbie who is a fantastic actress, seems a bit lost in this world, and I kept expecting her to drop the facade at some point and tell the audience "What's up everyone, it's me Tonya or Harley Quinn or Sharon Tate": this role needed more of the whimsicality, goofiness and airiness that Anna Faris brought to "The House Bunny", which in a way, ends up treading on similar topics, but with far more humor than this film (and yes, I am aware that "The House Bunny" also treads on sensitive topics and is directed from a male driven perspective). It ultimately feels that the filmmakers knew this was going to be a difficult topic to tackle, which could go in many directions (and people could pick on it for a series of reasons), and for the most part the directions were indeed showcased. They just weren't very funny. 

Nyad

Movie Name: Nyad
Year of Release: 2023
Director: Jimmy Chin, Elizabeth Chai Vasarhelyi
Starring: Annette Bening, Jodie Foster, Rhys Ifan, Jeena Yi, Luke Cosgrove, Erica Cho, Karly Rothenberg, Ethan Jones Romero
Genre: Drama
Score out of ten (whole numbers only): 5
Watch it on Netflix

Synopsis and Review

The directing duo of Jimmy Chin and Elizabeth Chai Vasarhelyi have made a name for themselves as documentary filmmakers. They won the Academy Award for "Free Solo" and since then they released the well received "The Rescue" and the not so well received "Return to Space" and "Wild Life". "Nyad" is their first foray into narrative driven features, and follows the life of Diana Nyad, and her best friend Bonnie Stoll, in a phase of their lives where they go through the arduous process of getting Diana to swim in the open waters from Cuba to Key West, Florida. Diana tried to get that feat accomplished at an earlier age, and wasn't able to do so, but at the age of 61 (in 2010), she decides to try again, recruiting Bonnie to help and coach her through the process. They go through a series of trials, with Diana falling short of accomplishing her feat, but in no way deterring her from continuing, and in the process also alienating her team. After 4 unsuccessful attempts, and when it seems she has pushed everyone away, Diana finally manages to swim across, with the help of Bonnie, and her loyal team, even if her accomplishment isn't certified. 

The synopsis for this film is an adequate description of what it focuses on, in the sense that there isn't much nuance or much reach beyond that description. It's a rather threadbare type of narrative, where the filmmakers are very interested in detailing the process of the swim, across its various attempts, and the impact that it has on Diana Nyad's physical and mental health, and of course on her team's disposition and willingness to continue that journey, but there isn't much to say other than that. The narrative tries to illustrate the justification Diana finds in herself to pursue that goal so ferociously, of how that was shaped in her childhood by her father and her coach, but the film's main storyline and the character arc itself simply don't coalesce. It's not so much that the central character isn't very likable or even pleasant, it's more the fact that nothing much of what makes this person/character what she is, has some perspective or dimension for the entirety of the film. For instance, we realize Diana and Bonnie were in a relationship years before, but nothing is ever revealed much about why they're alone, or for that matter, what does Bonnie even aim to do with her life, other than being consumed by Diana's goals. The whole focus of the film is the constant challenge to get through the act of swimming in the open waters, and that in itself just doesn't provide a sufficiently robust dramatic dimension to make this an interesting feature. It's not just the event that holds an audience's interest, it's the characters that inhabit it, and that's something the script and the directors didn't give enough attention in this film. What ultimately makes this watchable are the two lead actresses, Annette Bening and Jodie Foster, both worthy of any superlative adjectives that can be imparted on any working actor these days. They do turn flimsy to gold, and they do arrest our attention, but the film in itself doesn't have much to hang on to: the screenwriter simply doesn't do much with the material, and the filmmakers simply illustrate what's on the page, not really transcending it. The production team is impeccable, including Alexandre Desplat's score and Claudio Miranda's cinematography. It's watchable, and definitely well acted, but these actresses deserved a better film. 

Bones and All

Movie Name: Bones and All
Year of Release: 2022
Director: Luca Guadagnino
Starring: Taylor Russell, Timothée Chalamet, Mark Rylance, Kendle Coffey, André Holland, Chloe Sevigny, David Gordon Green, Michael Stuhlbarg, Jessica Harper, Sean Bridgers 
Genre: Drama, Horror
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Director Luca Guadagnino has stayed steadily busy since his underrated "Suspiria" came out in 2018. He has shot a variety of short feature films, tackled the series "We Are Who We Are" and already has two films ready to be released. "Bones and All" is an adaption of the book by Camille DeAngelis, with a script by his usual collaborator David Kajganich, and it follows the narrative of Maren, a teenage girl who lives with her father Frank in the Maryland area. Maren is a cannibal, something that is a genetic aspect of who she is, and her father has been the "cleaner" of whatever situations unravel as a result of her nature. He decides to leave her after she turns 18 and does so in the middle of the night, leaving her some cash and a cassette tape explaining his decision and giving her some guidance. She decides to go seek her mother, who abandoned the family when she was but an infant. She decides to go to Minnesota, since it is listed as her own birthplace and she assumes her mom is still living there. She decides to take the bus to get to her destination, but as she begins her journey she encounters situations and people that challenge what she has experienced thus far. Firstly she meets Sully, who introduces himself as a fellow "eater", and they both end up sharing a feast, though Maren quickly grows weary of him and boards the greyhound bus to continue her journey. Next she comes in contact with a young man named Lee, who is also another "eater", who decides to help her locate her mother. Lee has a past of his own, but they both become close, and eventually fall in love. Maren tracks down the home of her maternal grandmother, who lets her know that her mother has been in a psychiatric hospital for years. When she finally visits and meets her mother, she suddenly realizes the solutions she seeks are not there. 

What has now become a trait or central motif for Luca Guadagnino's films, is a narrative thread where his lead characters go through a journey of finding out who they actually are, where they come to terms with their true nature, no matter what the cost of that acknowledgement actually is (even if it means alienating family, lovers and confidants). That has been the case for Tilda Swinton's character in "I Am Love", Dakota Johnson's character in "Suspiria" and even "A Bigger Splash", and even Timothée Chalamet's character in "Call Me By Your Name". This is something that is also present in "Bones and All", where Maren is on a journey of finding out who her mother is, but in reality is seeking out answers that may explain why she is the way she is, something that justifies her own nature. She eventually finds love in the process, but not before actually coming to terms with her own uniqueness. Luca Guadagnino is a stylistic director, in parallel with being one who is able to build universes that are perfectly illustrative of a certain time period and locale, for instance, this time around he focuses in Middle America during the 1980s (in "Suspiria" it was Berlin of the 70s). He also manages to find beauty in the shots he captures, echoing at times the alienation or isolation of his characters by representing the emptiness and desolation of the spaces in which they move. In "Bones and All" as Maren and Lee become closer, it's interesting to witness their closeness, their interactions and even the spaces in which they move themselves into, all of which becomes sunnier and brighter. It's a road movie, that is somehow much more than that, a geographical journey that is echoed in an internal journey of self discovery for Maren, and to a certain extent with Lee. The characters could have benefited of a bit more attention, particularly the supporting ones (Maren's mother alone could have deserved an entire chapter of her own), but the narrative is arresting and compelling nonetheless. The cast is uniformly solid, led by Taylor Russell, Timothée Chalamet, Mark Rylance and Chloe Sevigny. The cinematography from Arseni Khachaturan is stunning, as is the score from Trent Reznor and Atticus Ross. A very good film from a very interesting author worth watching. 

Saltburn

Movie Name: Saltburn
Year of Release: 2023
Director: Emerald Fennell
Starring: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Archie Madekwe, Paul Rhys, Carey Mulligan, Alison Oliver, Dorothy Atkinson, Shaun Dooley, Reece Shearsmith
Genre: Drama, Thriller
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

After scoring an Academy Award for "Promising Young Woman" (best original screenplay), writer/producer/director Emerald Fennell is back with a decidedly different narrative. The film focuses its attention on Oliver Quick, who attends Oxford University. He struggles a bit to find his footing in that environment, and soon enough becomes friends with the charismatic, affluent and popular Felix Catton. Felix responds to Oliver's apparent economic challenges and also family and domestic troubles that seem to plague Oliver's existence. When Oliver announces his father's death, Felix invites him to spend the Summer at his family's estate, named Saltburn. There he meets Felix's parents, Sir James and Lady Elspeth, alongside Felix's sister Venetia and his American cousin Farleigh. Oliver quickly ingratiates himself with Felix's parents, and his obsession with Felix himself increases. As games of seduction escalate, Sir James and Lady Elspeth plan a party for Oliver's birthday. However, Felix unexpectedly decides to take Oliver for a visit with what he assumes to be his estranged mother. Turns out both Oliver's parents are alive and well, haven't had any issues with each other and live in a respectable suburb. Felix is repulsed by Oliver's lies and wants him to leave after the celebratory party. However Oliver has different plans. 

"Saltburn" brings to mind a few other films/tv-series immediately as the narrative unfolds. The most obvious reference is of course the character of Tom Ripley from Patricia Highsmith's books, which was adapted to the screen several times, starting with 1960's "Plein Soleil" with Alain Delon, and one the most recent ones being "The Talented Mr. Ripley" from Anthony Minghella, with Matt Damon as Ripley. Another literary property that pops up immediately is the adaptation of Evelyn Waugh's "Brideshead Revisited", which was a showcase for Jeremy Irons and Anthony Andrews in the early 80s. All this to say, this film doesn't necessarily set anything particularly new in motion or treads any sort of unexpected territory. The writer/director has something to say about the disaffected behaviors of the higher class or the extreme affluent, but that's something that Paul Mazursky for instance did so well in "Scenes from the Class Struggle in Beverly Hills", and with far more humor and irreverence. This film is somewhat successful in creating a particular universe in which the Catton's live, a bit like a bauble of a reality, self contained and also at odds with the modern world, but it's simply not enough to move the narrative forward, nor are they at the center of the narrative. Oliver as the morally and sexually ambiguous center of the narrative is meant to be the disruptor, but unlike Terence Stamp in Pier Paolo Pasolini's "Teorema/Theorem", his character is never given much substance, and he ends up being a rather underwhelming presence for most of the film (even his Alex Forrest moments lack gravitas). What is left of this film is essentially a decal from what others have previously done, to a better effect, with some interesting stylistic moments thrown in for good measure, and with some unnecessary scenes that are meant to elicit some surprise, but mostly come across as shallow. The cast tries their best to bring these characters to life, carrying the nonsense of the narrative as much as they can, but Rosamund Pike, Richard E. Grant and Jacob Elordi are the most memorable actors of the cast (Barry Keoghan who was so fantastic in Yorgos Lanthimos "The Killing of a Sacred Deer" looks and feels too old to be playing this character). The production team is excellent, with particular highlights going to Linus Sandgren's cinematography, Anthony Willis' score, and production design by Suzie Davies. It's a puzzling film, and not for the right reasons. Hopefully the next film from this author will be a more focused one. 

Us

Movie Name: Us
Year of Release: 2019
Director: Jordan Peele
Starring: Lupita Nyongo, Winston Duke, Elisabeth Moss, Tim Heidecker, Shahadi Wright Joseph, Evan Alex, Yahya Abdul-Mateen II, Anna Diop, Cali Sheldon, Noelle Sheldon, Madison Curry, Ashley McKoy, Napiera Groves
Genre: Horror, Mystery
Score out of ten (whole numbers only): 8
Watch it on Amazon

Synopsis and Review

Following the commercial and critical success of his feature debut, "Get Out", writer/producer/director Jordan Peele followed up with an equally riveting film, that was once again just as celebrated as his first. "Us" focuses its narrative on Adelaide Wilson. We first encounter her as a child in an amusement park with her parents. There's a considerable amount of tension in her parents relationship, and Adelaide wanders off once they're focused on other things. She finds herself in a spook house, where the reflections scare her, until in one of the reflections she realizes there's another little girl, looking just like her, staring back. The story jumps forth a few decades, and Adelaide is now married, has two children, and her family is on its way to their Summer home. They meet with their friends at the beach, and Adelaide is a bit weary of the whole situation, and mostly just wants time for herself. They get back home and when it's nighttime, and as everyone is about to turn in for the night, Jason warns everyone there's a family standing in their driveway. That family, all dressed in red jumpers, come roaring inside their house, and much to Adelaide and her family's surprise, the strangers look exactly like them. They're replicas of them. Adelaide's replica starts explaining who they are, and what they intend to do, and while that happens the original one is focused on finding ways to escape, since she suspects there's a sinister motive behind the invasion.

One of the most interesting things about Jordan Peele's feature films, is the fact that he manages to create unexpected turns in the narrative without ever making those turns feel like they're the point and purpose to the feature itself. Some have criticized M. Night Shyamalan for instance, for making his feature films revolve around a key narrative ploy that is revealed towards the third arc of his narrative, however Jordan Peele has managed to deflect that criticism by creating an environment that is seemingly conventional and familiar, only to quickly be destabilized with the introduction of what can only be described as an extreme occurrence. These odd occurrences have happened on all his features thus far, starting with "Get Out", "Us" and the more recently "Nope". "Us" is particularly well crafted, since essentially Jordan Peele guides us to a reality that lies on the other side of the mirror, just like Alice in Wonderland. The mirror that Adelaide witnesses at the beginning of the feature, is an adequate metaphor for what happens subsequently, only the events that unfurl are far more emotionally and physically painful. The surreal aspect of what happens in the narrative, in no way diminishes its impact, and the fact that the central family, all families as it turns out, are threatened and in danger. The film could have benefited from slightly more established supporting characters (in particular Winston Duke's character), but Lupita Nyongo carves a fantastic performance by embodying two sides of the same person with enough nuance, highlighting aspects of self preservation, fear, and love. It's a complex role, and as our host/narrator, she does a remarkable job of taking us through all the nightmarish occurrences, and what she'll do preserve herself and her family. The supporting cast is equally strong even if their characters lack as much substance as the lead, including Elisabeth Moss and Tim Heidecker as the token friends, and Shahadi Wright Joseph and Evan Alex as Adelaide's children (and as their doppelgangers). The production team is equally solid, including Michael Abels' score, Michael Gioulakis' cinematography and Ruth de Jong's production design. A good film worth watching. 

Asteroid City

Movie Name: Asteroid City
Year of Release: 2023
Director: Wes Anderson
Starring: Jason Schwartzman, Scarlett Johansson, Tilda Swinton, Tom Hanks, Jeffrey Wright, Edward Norton, Liev Schreiber, Hope Davis, Bryan Cranston, Rupert Friend, Maya Hawke, Steve Carell, Hong Chau, Matt Dillon, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Jeff Goldblum, Sophia Lillis, Adrien Brody, Bob Balaban, Fisher Stevens, Rita Wilson, Zoe Bernard, Sebastian Stephens, Steve Park
Genre: Comedy, Romance
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

After the well received "French Dispatch", which took some time to the screens due to Covid 19, writer/director Wes Anderson quick set in motion his next feature. The narrative focuses on the staging of a play by a famed playwright by the name of Conrad Earp. In the play, a youth astronomy convention is taking place in a fictional desert town named Asteroid City. One of the central characters in the play is war journalist Augie Steenbeck, who arrives with his 4 children in tow, including his teenage son Woodrow. Another person in town is Midge Campbell, a famous actress, who is also traveling with her teenage daughter Dinah (both Woodrow and Dinah are expected to be honored at the convention). A variety of other characters make their way into town, due to the convention, with all of them staying in a local motel. The locale is the target of an actual alien visit, upon which everyone in town is placed under strict quarantine. The events from Asteroid City become national news. In the interim the process of creating the play takes on different journeys, as Conrad becomes romantically involved with his lead actor. Conrad writes the play with the help from a local acting school and recruits cast members from it.

As the years have gone by, and Wes Anderson has further cemented his universe, it's interesting to witness the direction which some of his features have taken. Comparing his earlier endeavors such as "The Royal Tenenbaums" or even "The Life Aquatic with Steve Zissou", with "Asteroid City" while still bearing similar DNAs, they also feel like distant relatives. One of the biggest issues with "Asteroid City" is the fact that while impeccably rendered and put together, it's a feature that is easier to admire than to love. Easier to admire in the sense that this film is a stylized endeavor, almost like a piece of performance art, where every little aspect of the film and what's taking place feels timed to a rhythm that the author has established. Nothing is left to casual or unexpected. And this in itself does make the film something to admire, in the sense that the universe this author creates is very much his own, he has a point of view that he ferociously pursues, illustrates and controls. As an audience member, this proposition can take many directions, in the sense that a viewer can embark on this journey, or simply feel distracted by what's taking place without realizing its purpose, since it's difficult to create an emotional connection with the feature itself. These characters, and there's a vast array of them, feel very much like puppets being told what to do and what to recite by their creator, with some actors being more successful at embodying the character, versus others who almost become decals of the Wes Anderson style (delivery itself). There is humor, as it's usual in Wes Anderson's films, but unlike "The Grand Budapest Hotel", where there was a formidable energy afloat, on par with a brilliant central performance from Ralph Fiennes, this film in particular becomes trapped of the narrative devices the director has set in motion. The staging of the play, of which its creation is also staged/illustrated, doesn't entirely work, and not because of the difference in styling, but because of the artificiality of it all. And in a way, that's probably one of the things Wes Anderson aims to create or illustrate: a level of artifice, tied with a certain period piece, which is all part of his aesthetic and point of view. Many authors bask in the universe they create, for instance Woody Allen who during the late 70s, all of the 80s and most of the 90s, dabbled in his own universe without compromising or deviating from his point of view or type of narratives he illustrated. With "Asteroid City" it feels like Wes Anderson created this perfectly manicured microcosms, but one that leaves no room for actual characters to exist. The phenomenal cast bring these puppets to life, but what's more memorable about this film is the whole construct that the production team puts together. Robert Yeoman's cinematography, Alexandre Desplat's score, Milena Canonero's costume design and Adam Stockhausen's production design. It's an interesting feature and it's watchable one for sure, but it isn't nearly as satisfying as prior features from this director.

Wonka

Movie Name: Wonka
Year of Release: 2023
Director: Paul King
Starring: Timothée Chalamet, Calah Lane, Olivia Colman, Tom Davis, Paterson Joseph, Matt Lucas, Mathew Baynton, Freya Parker, Keegan-Michael Key, Jim Carter, Rakhee Thakrar, Sally Hawkins, Rowan Atkinson, Hugh Grant, Rufus Jones, Natasha Tothwell, Rich Fulcher, Colin O'Brien, Sophie Winkleman, Dominic Coleman, Charlotte Ritchie, Phil Wang, Robyn Rose
Genre: Adventure, Comedy, Musical
Score out of ten (whole numbers only): 7
View Trailer

Synopsis and Review

After making a name for himself with the "Paddington" series, writer/director Paul King has ventured into illustrating the adventures of another iconic literary character, in this case Willy Wonka, one of the creations of Roald Dahl (who created this character specifically in 1964 as part of the book "Charlie and the Chocolate Factory"). This particular take on the character is in a way a prequel to the adventures Wonka subsequently has with Charlie Bucket and all the other children. This narrative focuses on young Willy Wonka who arrives on a thriving European city after exploring the world for a while. He's eager to start his own chocolate shop, something that he was influenced by his mother. Though he initially strikes a chord with the people of the city, he is also met with resistance from the three main chocolatiers who monopolize that business and who want to keep it that way. Willy, in need of a place to stay, ends up signing a contract with the sneaky Mrs. Scrubitt (mistakenly drawn in by her henchman, Bleacher). The contract basically forces him into hard labor, something he soon realizes has been her tactic with a series of people who are trapped in her web of deceit. Willy becomes fast friends with everyone, in particular with the young Noodle, who has been with Mrs. Scrubitt since she was a baby, doing hard work all the time. Noodle has no idea of who her parents are. They devise a plan which allows Willy to start selling Chocolate all over town without getting caught, and they also manage to do so thanks to the collective skills from his newfound friends, and Mrs. Scrubitt victims. However the Chocolate mafia isn't willing to give up so easily, and they resort to shady tactics to get back at Wonka.

"Wonka" takes a different approach to what Tim Burton and Johnny Depp did with their "Charlie and the Chocolate Factory" adaptation (which was also delightful). Paul King deliberately crafts a musical that traces the tribulations Willy Wonka has to go through, but also one that emphasizes the delight his creations bring to the city and its inhabitants. It's a film that is just as visually enchanting as Tim Burton's version of this universe was, but in this case the narrative is more focused on how an idealistic young man can change the world simply by sweetening it with chocolate (and other treats). While the central character here, Wonka, is described as a hero who is seeking to reconnect with his lost mother, but also someone who is ambitious and confident in his talents (at first glance), the remainder of the characters are actually very similar to the ones that typically pepper Roald Dahl's storylines. For instance, Mrs. Scrubitt seems like a decal from Ms. Trunchbull from "Matilda", while Noodle can actually pose for a similar type of hero as Charlie Bucket, Matilda or Sophie (from "The BFG") actually were in their respective storylines. All this to say, most of the supporting characters are indeed sketches, but they're sketches with something unique to them, something that gives them some dimension and relevance. They all make a good support for the magic Willy is trying to impart on the city. Paul King is successful in creating this particular universe, one that feels frozen in time, but also instantly recognizable: he creates a fantasy scenario of a city that could have easily existed in the 1940s or 1950s (when Roald Dahl was experiencing much of what inspired his stories). The musical numbers are superbly choreographed, and feature wonderful music and lyrics (the songs hail from the partnership of Neil Hannon and Joby Talbott, who have been working together for years on Hannon's musical project, The Divine Comedy). The cast is uniformly excellent with Timothée Chalamet creating an idealistic and hopeful character with ease and charisma, with wonderful support from Olivia Colman, Jim Carter, Matt Lucas and Hugh Grant. The production team is equally fantastic, including Chung-hoon Chung's cinematography, Nathan Crowley's production design, and Lindy Hemming's costumes. Worth watching. 

Rebel Moon

Movie Name: Rebel Moon
Year of Release: 2023
Director: Zack Snyder
Starring: Sofia Boutella, Michiel Huisman, Ed Skrein, Doona Bae, Charlie Hunnam, Djimon Hounsou, Staz Nair, Ray Fisher, Fra Free, Cleopatra Coleman, Stuart Martin, Ingvar Sigurdsson, Alfonso Herrera, Cary Elwes, Anthony Hopkins, Jena Malone, Corey Stoll
Genre: Action, Adventure
Score out of ten (whole numbers only): 2
Watch it on Netflix

Synopsis and Review

Zack Snyder is back, continuing his deal with Netflix after the somewhat mediocre "Army of the Dead" (and after being excised from Warner Bros. and their DC comics universe). "Rebel Moon" focuses its story on Kora, whose real name is Arthelais, and has been working as a farmer in a remote planet since being rescued by the father figure Hagen. Her community is breached by a ship commanded by Atticus Noble. Atticus and his men are part of The Motherworld, an empire that is now ruled by Balisarius, someone who is intent on keeping expanding the footprint of that empire through war and conquest. Atticus lands on the planet looking for supplies, but also is aware the community has sold some of its crops to the rebellion. After killing the leader of the community, Atticus leaves with the promise of returning to seize all crops. Kora eventually reveals herself to be a highly skilled and trained military officer, and embarks on a journey with another man from the community to seek warriors who can help the community defend themselves from the return of Atticus. They manage to get the help of Kai, a smuggler who introduces them to a series of highly skilled individuals, all with a motivation to fight back the empire, but everyone isn't who they appear to be.

"Rebel Moon" tries really hard to be a new version of George Lucas' "Star Wars", peppered with some hints of flavor of what the Wachowskis did with "Jupiter Ascending", with a dash of "Harry Potter" and even a hint of "Lord of the Rings". You'd think with such a rich tapestry of flavors, the overall confection would turn out far more elaborate than this, but the narrative has a difficult time finding a tone, and even building characters that actually have any motivation at all. The story of the renegade soldier who wants to move past a checkered and brutal past can make for a great narrative, however Kora is flatly described, and apparently her single motivation in the film is to a) escape the ships from the industrial complex and then suddenly b) find a couple of warriors to tackle the entire empire. While flimsy character development can at times be compensated by establishing a compelling universe in which the characters live in, Zack Snyder fails to give this universe and its characters much personality or distinctiveness. While pillaging narrative aspects from better films, he failed to realized that there needs to be some coherence in the storytelling that is being presented to the audience. So while we have the introduction of characters like Kai, the pseudo Han Solo, and the group that is created, which almost feels like a less interesting version of Joss Whedon's "Firefly", the subsequent group is rapidly put together, with little to no explanation to what makes these characters actually worth paying attention to or even caring about. The film feels like a rapidly assembled sketch/decal from other templates, all tossed in together, but with no consistency amongst themselves. Visually the film also lacks polish and sophistication, which is surprising, considering this director has made a name for himself more as a stylist than as a gifted storyteller. The visual effects look unpolished. The cast is a bit all over the place, with a highlight going to Sofia Boutella, who tries her best to bring Kora to life, with good support from Corey Stoll, while Doona Bae (who usually works with The Wachowskis), is sadly lost on this mishmash of a film. Charlie Hunnam who is typically a one note performer, manages to keep that streak intact, while Ed Skrein, who has now become the official new Michael Wincott, simply needs to find better roles. Anthony Hopkins who has a brief voice role, manages to bring more humanity and dimension to a character that is literally animated, when compared to the rest of the cast. The production team is also unmemorable, including the cinematography from Zack Snyder himself (just bring back Larry Fong), score from Tom Holkenborg and production design from Stefan Dechant and Stephen Swain. This is just not a very good film all around. 

The Boy and the Heron

Movie Name: The Boy and the Heron
Year of Release: 2023
Director: Hayao Miyazaki
Starring: Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Luca Padovan, Robert Pattinson, Florence Pugh, Mamoudou Athie, Tony Revolori, Dan Stevens, Barbara Goodson, Denise Pickering, Melora Harte, 
Genre: Animation, Adventure, Drama
Score out of ten (whole numbers only): 10
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Synopsis and Review

The genial Hayao Miyazaki has returned after the magical "The Wind Rises", with what can be considered another one of his all time masterpieces (and a companion to "Spirited Away"). The narrative focuses on 12 year old Mahito, whose mother is killed in a hospital fire in Tokyo (this during the Pacific War in 1943). His father who works for an air munitions factory, marries his late wife's younger sister Natsuko. Mahito and Shoichi (his father) soon move to the countryside to be close to Natsuko, who is pregnant. Mahito has a tough time adjusting to his new life, and has some trouble in school. He injures himself purposefully, which turns out to put his life in danger. While recovering Mahito notices a heron keeps coming by, and talking to him. Mahito in the meantime has uncovered a tower nearby that is supposedly off limits, and that his family had blocked access to, due to its strange nature. In the meantime Natsuko becomes ill, and soon disappears. All the maids in the property, start seeking her out, the same going for Natsuko. Mahito and one of the maids eventually wander off to the Tower, where the magical heron appears once more, but this time Mahito fires an arrow through his beak, which transforms him into a diminutive birdman. A wizard appears and orders the birdman to guide Mahito and Kiriko (the maid) in their quest for Natsuko.

Watching a Hayao Miyazki film is a unique experience, where one is literally transported to a universe that is very much his own. His films have long maintained a common thread throughout them, where they typically take place during wartime, or in the aftermath of war, where the world has been scorched, and people have to survive in a world that is nothing like it used to be. Nature has taken over, and in a way, is teaching humans to live more purely and without savagery. In these stories, technology is also one of the roots of evil, something that can be witnessed in "Future Boy Conan", "Nausicaa" or even "Castle in the Sky". These films of course tie with the director's own childhood experiences of living in aftermath of World War II. Another undercurrent of his features is the spiritual world (or fantastical), and how it can profoundly impact characters' destinies. That has been the case for instance of "Spirited Away", "Porco Rosso" or even "Howl's Moving Castle", all features which deal with ghosts, magicians and alternate realities. These are realities that at times are demonstrative of the grotesqueness of humans, but where kindness is always rewarded, as is selflessness. All these topics are perfectly coalesced in "The Boy and the Heron", where the film has various layers to consume, a family that has to rebuild itself in the aftermath of a tragedy, a devastating war, and a spiritual world nearby, that is far more than it seems. It's a film where the central hero once again has to redeem himself, emotionally mature up, and salvage his family, all this in a universe that is unaware of. It's a journey populated with phenomenal characters and details, one that never cease to impress. Mr. Miyazaki once again proves why his universe is so uniquely crafted and why the narratives he creates are simultaneously humorous, emotional, thrilling, and ultimately unforgettable. The animation is of course stunning, and this is a film worth savoring over and over. 

Love and Monsters

Movie Name: Love and Monsters
Year of Release: 2020
Director: Michael Matthews
Starring: Dylan O'Brien, Jessica Henwick, Michael Rooker, Ariana Greenblatt, Dan Ewing, Ellen Hollman, Tre Hale, Pacharo Mzembe, Amali Golden, Te Kohe Tuhaka, Tasneem Roc, Thomas Campbell, Joel Pierce, Melanie Zanetti, Bruce Spence
Genre: Action, Adventure
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

Originally slated to be released in the movie theaters back in 2020, "Love and Monsters" was one of the features who fell victim to changes in release schedules due to Covid 19, eventually being released on video on demand in 2020 and subsequently internationally by Netflix in 2021. The narrative follows the story of Joel Dawson who is also the narrator of the feature. He's the one who introduces what has happened to the planet and why people are for the most part living in underground bunkers. Turns out there was a massive asteroid on its way to Earth, however a plan to bomb it was carried through, resulting on its destruction. However the fallout residues from the asteroid resulted in alien particles becoming embedded in the Earth's ecosystem, which generated mutations in cold-blooded animals. These evolved into massive monsters who virtually destroyed most of humanity. Joel who at the time of these events was living in Fairfield, California, had a girlfriend by the name of Aimee, and they got separated, as Joel attempted to escape with his parents, and Aimee tried to rescue hers. 7 years later, Joel is living in one of the bunkers with other survivors. He's the only one not partnered, he's the cook for the group, but he's well liked and loved by everyone in the group. While attempting to communicate with other colonies in other bunkers leveraging a radio, Joel realizes Aimee is still alive and not that far from where he currently is. Even with his limitations and lack of experience in being outside of the bunker, he decides to go and check on her. While everyone on the bunker asks him not to go, he embarks on the journey, and soon finds himself in trouble, only to be salvaged by a stray dog, whom he soon realizes is named Boy. As they both continue their journey, they find more survivors and more dangers. 

"Love and Monsters" is Michael Matthews sophomore directorial effort, following his debut with "Five Fingers for Marseilles". The film which is written by the duo of Brian Duffield (who has in his filmography the Natalie Portman fronted "Jane Got a Gun" and also "The Babysitter") and Matthew Robinson (who has worked on "The Invention of Lying" and "Dora and the Lost City of Gold"), while not the most original in its premise, manages to create a somewhat sweet and uplifting narrative from what could have easily become a re-hash of "Zombieland", only with monsters. The central hero has to come to terms with growing up and standing up for himself, since his bunker family has sheltered him from the world and from its challenges. This unexpected hero journey isn't uncharted territory of course, but Michael Matthews manages to illustrate the narrative with little pretension, peppering it with influences that at times brings to mind Ron Underwood's "Tremors" and Steven Spielberg's "AI". However and while the film is certainly sweet and quasi Disney-centric in its narrative, it could have certainly benefited from additional character development, some additional humor, and some edginess, considering the film takes place in a world where everything seems to have turned toxic or dangerous. Sadly these undernourished aspects of the film also result in making it less memorable: the protagonist is the sensitive guy with no real life experience, nor romantic one for that matter, with motivations that are quite limited, and the supporting characters become a cluster of clichés with no discernible traits amongst themselves (Aimee is the beautiful love interest, who is taking care of elderly survivors). The transitions between the external shots and the in-studio ones are also a bit demonstrative of a lack of consistency in terms of tone, with the in-studio work almost bringing to mind futuristic/Mad Max/New Age combo, that doesn't really gel with slightly darker/edgier look of the outside world. The cast isn't particularly memorable, save for the always iconic Michael Rooker (just give this gentleman his own show already), the same going for the production team, though the visual effects are solid for a film of this budget. It's watchable but ultimately a forgettable endeavor. 

May December

Movie Name: May December
Year of Release: 2023
Director: Todd Haynes
Starring: Natalie Portman, Julianne Moore, Charles Melton, Andrea Frankle, Gabriel Chung, Elizabeth Yu, D.W. Moffett, Charles Green, Chris Tenzis, Cory Michael Smith, Kelvin Han Yee, Mike Lopez 
Genre: Drama
Score out of ten (whole numbers only): 8
Watch it on Netflix

Synopsis and Review

After the stupendous "Carol", Todd Haynes tackled "Wonderstruck" and "Dark Waters", both features which while critically well received, were also somewhat muted in their audience response. That has changed with "May December" which had its debut at the Cannes Film Festival of 2023, where it was immediately greeted with good reviews, upon which Netflix bought it for distribution. The film which features a script by Sammy Burch (from a story co-authored with Alex Mechanik), and was on the Black List (for best unproduced scripts) focuses its narrative on the story of two women who come into each others' lives for very different reasons. Elizabeth is an actress who comes to Savannah, GA, to meet Gracie, a woman who years before was incarcerated for having a romantic relationship with one of her students, who was 13 at the time (Gracie was 36). Gracie who was married when the liaison occurred (and had children with her then husband), gave up the life she had built, in order to be with Joe (her student). Gracie and Joe have been together for more than twenty years and have had 3 children. Elizabeth ingratiates herself in the life of the Yoos, since she's about to play a fictionalized version of Gracie in an independent film. She reassures everyone she intends to portray their story honestly. As Elizabeth researches more about Gracie, she starts uncovering the impact that the controversial relationship had in the community, and on the people in their family and friendship circle. Elizabeth starts realizing that while Gracie is for the most part polite and welcoming towards her, everyone she talks to gives a slightly different version of her personality and of who she is. Joe in the meantime is also having his fair share of self-doubt, of where he is in his life, particularly since all his children are about to leave his house, he is only 36, and has only been in a serious relationship that has been tainted by controversy and also Gracie's control. 

"May December" is of course informed by the episode which occurred in the 1990s involving Mary Kay Letourneau and her underage student, Vili Fualaau. The script however takes a smart angle when it comes to depicting these events, by making them the backdrop for the investigation that Elizabeth embarks on. By placing Elizabeth as the narrator or the host for the narrative, it allows us to understand and view who Gracie and Joe are from the outside, as opposed to being a first hand retelling of what exactly took place. It also allows for a better understanding of the web of relationships that were impacted by their relationship, which started illicitly. What is very commendable about the way Todd Haynes illustrates this narrative, is the fact that all central characters are playing to a certain extent a role. While Elizabeth is indeed the actress researching her role, Gracie and Joe are themselves playing roles in their own lives and relationship. Gracie is passive aggressive, controlling and not necessarily the warmest person, but tries to embody the character of the loving housewife and mother, while Joe is trying to play a content husband, but everything about him screams lack of maturity, lack of conformity, fear for what's coming next and the lust for a liberty he hasn't experienced. It's a film that is made of layers, one that illustrates how characters details get progressively uncovered by interactions with others, by how different characters perceive them and their actions. And while Elizabeth is indeed the actress immersing herself in the lives of others, crossing lines that she probably shouldn't, there's a certain calculated aspect to everything she does. Sadly the script doesn't veer much in her direction, and that ends up being the biggest fault in this narrative. Very little is captured of Elizabeth and her aspirations, beyond what she's witnessing of these other people's lives. The cast is truly fantastic, with a knockout performance from Natalie Portman who is seemingly sweet, but also manipulating and almost machiavellian in her dealings, with great support from Julianne Moore who makes Gracie into someone not necessarily likable, and definitely more than meets the eye. Charles Melton is equally good as the young father who's coming to terms with his own crossroads in life, and what his next steps are going to be. The production team is solid, featuring the cinematography of Christopher Blauvelt and score from Marcelo Zarvos. A good film from a very talented filmmaker. 

Reptile

Movie Name: Reptile
Year of Release: 2023
Director: Grant Singer
Starring: Benicio Del Toro, Justin Timberlake, Alicia Silverstone, Eric Bogosian, Domenick Lombardozzi, Frances Fisher, Ato Essandoh, Michael Pitt, Karl Glusman, Mike Pniewski, Matilda Anna Ingrid Lutz, Catherine Dyer, Thad Luckinbill, Michael Beasley, JC Capone, Sky Ferreira, James Devoti, Amy Parrish
Genre: Drama, Crime
Score out of ten (whole numbers only): 6
Watch it on Netflix

Synopsis and Review

Another Netflix release, "Reptile" is the feature directorial debut from Grant Singer, who has a considerable career directing music videos for well known artists, including Ariana Grande, Troye Sivan and Sky Ferreira. The narrative focuses its attention on police detective Tom Nichols. He and his partner Dan Cleary, get involved in the case of a murder of a young woman who is the girlfriend of a well known local realtor (in the Maine area where they are). Will Grady the realtor, is distraught and confesses to the detectives that he couldn't marry the victim, Summer, since she was still legally married to someone else. Will in the meantime gets accosted by Eli Phillips, a person who was impacted by some dealings Will's family has had in the past, and who has kept a close eye on everything they've done ever since. Test results come back from Summer's forensics, which indicate she was intimately involved with her estranged husband, something that one of her friends confirms. When Tom and Dan go to his house with a warrant, he tries to escape and steals Dan's gun in the process, however Tom manages to shoot back and ends up killing him. Turns out the house where Sam Gifford was had a considerable amount of drugs in hiding. As Tom is commended for his actions, he suspects that there is more to the case than what has been uncovered thus far. Eli shows up unexpectedly at his house and Judy, Tom's wife, manages to control the situation, but in reality Eli's intention is to provide Tom with a flash drive which proves that Summer was caught up in a shady situation where Will and his mother were in reality laundering drug money. However the trail of corruption and crime doesn't stop there.

"Reptile" is an interesting feature, one that at times brings to mind the work of Sidney Lumet, particularly films such as "Prince of the City" or "Q&A". What Grant Singer is able to do with this feature, which also benefited from Benicio Del Toro's contribution on the script as a side note, is the fact that a tapestry of various characters and also contexts is successfully illustrated. The director is able to illustrate both the procedural work the detectives are going through, with the more intimate and familiar occurrences that take place in their personal lives, which gains more importance since they all form a close cluster of friendships and family ties. While the murder itself is a catalyst that jumpstarts the overall drama, what makes the film take an interesting turn is indeed the fact of how the relationships of all these professionals bleed beyond their professional interactions and actually impact their personal ones. What is less successful in this feature is the fact that for all the precision that it places into the conspiracy behind all of the events of the narrative, all the characters are bland, poorly outlined and ultimately repetitive. Some of the aspects of the film have been showcased to a better extent in the works of Martin Scorsese, Brian De Palma and even Barry Levinson, therefore the characters all come across as underdeveloped and not as interesting as they should actually be. The director doesn't push or impart a particular point of view on this genre, at least not in a similar vein to what Denis Villeneuve did with "Prisoners" or even "Sicario". The narrative keeps its momentum primarily due to the cast that features a strong array of talent, in particular Benicio Del Toro, with strong support from Alicia Silverstone, Erig Bogosian, Michael Pitt and Domenick Lombardozzi, all of whom manage to bring to life characters that are all broadly described. Justin Timberlake and Karl Glusman sadly have little to do, and Timberlake in particular fails to find much nuance in his character. The production team is a solid one, particularly the cinematography from Mike Gioulakis, and production design from Patrick M. Sullivan Jr.. It's a watchable film, one that while not bringing anything new to the table, is nonetheless worth watching. 

Leave the World Behind

Movie Name: Leave the World Behind
Year of Release: 2023
Director: Sam Esmail
Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha'la, Kevin Bacon, Farrah Mackenzie, Charlie Evans
Genre: Drama, Thriller
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

Sam Esmail who has steadily built a name for himself with the shows "Mr. Robot" and "Homecoming" has finally released his feature sophomore directorial effort, and has done so by adapting the novel from Rumaan Alam, a finalist for the National Book Award in 2020. The narrative focuses on the Sandford family, comprised of parents  Amanda and Clay and their children (teenagers), Rose and Archie. They live comfortably in Brooklyn, but one day Amanda spontaneously decides to rent a house in Long Island and take the whole family for a vacation. The house Amanda has rented is stunning, and the following day while the family is enjoying the beach, Rose notices that an oil tanker in the distance seems to be moving in their direction. Things take a turn for the unexpected when that tanker runs ashore. The family escapes and gets back to the house, only to realize that the television is no longer working, nor is their Wi-Fi. Later that evening, when Rose and Archie have already gone to bed, Amanda and Clay are interrupted by two people who show up at the house. It turns out to be a father and his daughter, and they introduce themselves as G.H. Scott and Ruth. G.H. mentions that the house is theirs and that a blackout in the city made them come that way (traffic issues and so on). While Amanda wants to revisit the renter's contract (until she realizes there's no internet), Clay is more forgiving and allows the couple to spend the night. The following day Clay goes into town to get a newspaper, something that may indicate what has happened with the blackout, while G.H. goes to one of the neighbor's houses to enquire what's going on. The neighbor's house is in shambles, and when he investigates a bit more around the area, he realizes he's on a crash site for an airplane. G.H. quickly escapes the scene when another airplane starts coming in the same direction and he barely has time to take refuge in the house as it crashes, much like the previous one. 

"Leave the World Behind" is one of the rare Netflix films that actually delivers on quality across the board. The output of Netflix produced feature films is all over the place, but mostly and primarily on the mediocre side, so this has been an unexpected delight. Sam Esmail crafts a great adaption of the novel with the same name, introducing an interesting array of characters who slowly peel away at their own layers and who progressively show who they are, particularly in such an extreme scenario. And that's one of the great things the director manages to stage so perfectly, the combination of almost a theatrical piece, where characters unveil themselves to each other, very much like a character piece, but combined with a cataclysmic event, where all their lives are at stake, where their fears are heightened, and their quest for survival is toppling everything else. Another very smart thing about this feature lies on the progressive disclosure that occurs during the narrative, where the context of what is actually happening is slowly presented, the same going for the impact that it has on the characters and their relationships (and also how these characters morph and adapt to the circumstances in which they find themselves in). And while there are some borderline clichés the film touches upon, particularly when it comes to its characters, it's still a very smartly conceived film, one that doesn't fall trap to typical destroy-cinema type of tropes, opting instead for a more microcosms type of analysis, dealing with very relevant concerns that exist these days. The cast is all uniformly fantastic, with Julia Roberts, Mahershala Ali, Ethan Hawke and Kevin Bacon crafting indelible performances, with good support from the younger actors, in particular Myha'la and Farrah Mackenzie. The production team is also impeccable, featuring the great cinematography from Tod Campbell, score from Mac Quayle, and production design by Anastasia White. A good film worth watching. 

Insidious: The Red Door

Movie Name: Insidious: The Red Door
Year of Release: 2023
Director: Patrick Wilson
Starring: Patrick Wilson, Ty Simpkins, Rose Byrne, Sinclair Daniel, Andrew Astor, Hiam Abbass, Juliana Davies, Lin Shaye, Leigh Whannell, Angus Sampson, Steve Coulter, Peter Dager, David Call, Stephen Gray, Joseph Bishara, Robin S. Walker
Genre: Horror, Thriller
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

The always fantastic Patrick Wilson whose work includes such memorable performances in "Angels in America", "Little Children" and "Young Adult", has also maintained a long association with filmmaker James Wan, and they together have collaborated on two successful horror series, "The Conjuring" and "Insidious" (not to mention of course their collaboration on the DC Universe with the "Aquaman" films). This fifth chapter in the "Insidious" saga marks Patrick Wilson's feature directorial debut, working from a story cooked by Leigh Whannell and Scott Teems (with a screenplay by the latter). The narrative once again focuses on the story of the Lambert family, specifically Dalton who is now a young adult, ready to go to college. He and his father Josh have grown distant, as a result of what Josh calls a "fogginess", but also he has since divorced Renai his supporting wife (which has added a bit to that friction). They all meet once again for Josh's mother's funeral. Josh takes Renai's advice and volunteers to take Dalton to college since he's starting his freshman year. Dalton has become a talented artist and is going to be attending an art degree course. When the two are getting Dalton's things settled in the dorm room, they meet Chris Winslow the roommate, who turns out to be in the room by mistake, but nonetheless she and Dalton hit if off quite well. Dalton starts drawing some unexpectedly dark elements in his classes, and things he doesn't quite understand start occurring. He also starts asking more about what what happened in his childhood, when he was in a "coma" for close to a year. As he probes deeper he uncovers that what happened wasn't really a coma, but something that his father also has had to contend with, something involving a dark place called "The Further".  

This chapter in the "Insidious" series is a direct sequel to the second chapter which came out in 2013 (while the other two films in the series went in different directions and also focused on different characters). Sadly and for all of Patrick Wilson's good intentions and considerable talent, he's unable to do much with such a mediocre script (maybe it's time for Mr. Teems to really move on to something else, since all the scripts he has delivered including "Halloween Kills", "Firestarter" and "The Exorcist: Believer" have all been eviscerated by bad reviews). What was interesting about the series, and in particular about the first film, was the way Leigh Whannell and James Wan created a different universe, a scary one at that, by relying on the creation of a suspenseful and horrific parallel reality which coexisted with the one in which the characters lived. As it typically happens in most successful horror films, it placed a family unit as the target of something almost inexplicable, malevolent and seemingly unstoppable. It managed to bring an updated and yet darker dimension to Tobe Hooper's "Poltergeist" in a way to the 21st century, doing so with fewer resources but just as much imagination. "Insidious" wasn't revolutionary in terms of character development, at least for the genre, but it established the characters enough to allow the audience to understand the journey they went on. Patrick Wilson's chapter however, feels like an unnecessary take on a story that was already closed and fairly played out. And this chapter doesn't add anything in terms of knowing what these characters have been doing and what has happened to them since the last events, the same way that the introduction of "The Further" feels forced and ultimately uninspired. What salvages and ultimately makes the film watchable is the cast, with Patrick Wilson, the always fantastic Rose Byrne, Lin Shaye and Steve Coulter always making the characters compelling and watchable. The production team is solid, including Autumn Eakin's cinematography, Joseph Bishara's score and Adam Reamer's production design. It's watchable and forgettable, and ultimately doesn't add much to the series. 

The Boxtrolls

Movie Name: The Boxtrolls
Year of Release: 2014
Director: Graham Annable, Anthony Stacchi
Starring: Ben Kingsley, Jared Harris, Nick Frost, Richard Ayoade, Steve Blum, Dee Bradley Baker, Max Mitchell, Tracy Morgan, Nika Futterman, Pat Fraley, Fred Tatasciore, Isaac Hampstead Wright, Elle Fanning, Maurice LaMarche, James Urbaniak, Brian George, Toni Collette, Simon Pegg
Genre: Animation, Comedy
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

Following the success of both "Coraline" and "Paranorman", Laika studios followed suit with another unique endeavor, "The Boxtrolls", which premiered in 2014 to middling reviews and a tepid box office. The narrative of the film focuses on subterranean trolls, who live in the town of Cheesebridge in the country of Norvenia. Archibald Snatcher, an ambitious and ruthless citizen of that city strikes a deal with the city's leader to exterminate every boxtroll, as long as he can finally move socially upwards and become a member of the city's cheese-loving council. The boxtrolls unlike the rumors that have plagued them, are actually peaceful and ingenious creatures. They develop inventions with scrap and discarded items which the general population abandons. A human boy by the name of Eggs lives with them, and has been looked after by a boxtroll named Fish. As Eggs grows up he notices the disappearance of the boxtrolls at the hands of Archibald Snatcher. When Snatcher captures Fish, Eggs decides to come to the surface to save him. He realizes everyone's perception of the boxtrolls is distorted, and he eventually follows Winnie, Lord Portley-Rind's daughter, who desperately seeks her father's attention. Winnie informs Eggs of the location of Snatcher's headquarters, where he manages to save Fish, only for both to be captured once more in their escape.

What's always been a remarkable trait across all of Laika's films, is how well written all their narratives are. Going back to their start, "Coraline" was adapted from the Neil Gaiman story by Henry Selick, while Chris Butler authored "Paranorman". These features were not afraid to tackle some darker and somber motifs in their plots, even if their output has always been firstly intended for children. "The Boxtrolls" which is written by Irena Brignull, Adam Pava and Alan Snow, is the first of their features where there is a distinct lack of a central point of view for the hero of the narrative (and also where the central hero is uncertain, is it Eggs or is it the group of boxtrolls), which makes the overall thread murkier, on top of which the writers don't necessarily seem to know what do with the boxtrolls themselves. Meaning: they're not exactly depicted as funny sidekicks, nor are they depicted as the lead of the story, they mostly come across as an unfairly maligned group, who also refuses to change their own perception, independently of what happens to them. There's some sparkles of inspiration from Victor Hugo's "The Hunchback of Notre Dame" in here (the haunted pseudo monster who turns out to be sweet and kind), but the story fires in so many different directions (Eggs, Winnie, the boxtrolls, Archibald, Lord Portley-Rind), that it makes the narrative a disheveled porridge. Another problematic aspect of this narrative is the fact that the directors and writers ultimately fail to make any characters truly likable. This latter aspect is problematic, since there's an uneven balance in the narrative between the monstrosity of the villainous Archibald Snatcher, and the passivity of the boxtrolls and their pseudo savior embodied by Eggs. These aspects of the writing really undermine the appreciation of what is otherwise a very beautifully designed feature, one where the production team provides great craftsmanship, including art direction from Curt Enderle, production design from Michel Breton, August Hall, Paul Lasaine, and Tom McClure and also the score from Dario Marianelli. It's not by any means a terrible film, but it's a minor effort from a studio and creative team that has done remarkable work.