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Saturday, March 25, 2017
Logan Review
Starring: Hugh Jackman, Patrick Stewart, Boyd Holbrook, Stephen Merchant, Dafne Keen
Seventeen years ago, we were gifted with the movie X-Men, released on July 14, 2000. It would be the first in a wave of superhero films, adapted from both Marvel and DC comics, whose success has unquestionably dominated the US entertainment industry. And while Robert Downey Jr didn't put on his Iron Man suit until 2008, Hugh Jackman put his claws on in 2000. He's played Wolverine for seventeen years, and Logan is the ninth and final time he's playing the beloved character. Building off of the success of Deadpool last year, Logan is similarly rated R. It's a bleak look at the world of mutants unlike any film, and the darkest superhero movie ever made. Rather than taking the title from the name of the hero we all know, this film is titled Logan. It's stripped down. Logan never dons the costume of the hero we're familiar with, rather he is a regular man struggling with problems we know too well. In Logan, we follow an aging Logan as he tries to nurse his mentor, the former Professor Charles Xavier, whose telepathic mind is dying from dementia. Sounds upbeat, right? While carrying out his routine, he comes across a girl, a young mutant with similar immortality and metal claws, who has a bounty on her head. Xavier persuades Logan to help escort her to safety across the Canadian border, and the three set out on a dangerous road trip where Xavier tries to teach Logan final messages on what it means to be part of a family. The film is a heartbreaking swan song to the most endearing superhero movie character of our generation, and an extremely affecting drama about a man who wanted nothing but to be ordinary, and has been cursed with his superpower.
Logan feels so authentic because of what we have become accustomed to with the superhero genre. It's loud, it uses CGI and it typically has thin (but well-constructed) scripts. Logan has action scenes that feel genuine. The stakes feel real despite the surreal landscape. The characters feel like complex figures. Our introduction to Xavier isn't as he is clad in suit atop his pristine wheelchair. We first meet him, hands quivering, as he bounces his wheelchair in a fit of dementia, spewing a story of nonsense and screaming at Logan as he tries to force medicine into him. It's a stark departure from the powerful character we've come to know, and sets the tone for the film. I really enjoyed the development for Xavier's character. He's usually such a beacon of hope and light, and he is actually quite selfish. His actions actually put a lot of people in danger, and judging by what he did in the past, he really doesn't care much for what he does going forward. It's as if Logan cares for Xavier, and Xavier only cares for himself, which is a huge departure from Xavier's kind disposition. For what it's worth, Logan was the same hardy character that we're used to, except he swore a lot more. I loved X-23, and I thought she was able to convey a lot of emotion with very little dialogue. I thought her fight choreography was insane. I thought Boyd Holbrook's villain had a great intro but he fell flat for me, and I didn't like that it had a Dark Knight Rises style bait and switch. There is a secret villain that I won't spoil, but the execution of the twist and how he played into the ending was really something brilliant.
Logan's biggest flaw comes in its rating. Its R rating allows it to have a gritty realism, but it also gives them the green light for copious amounts of blood spurting from every orifice. In Deadpool this blood splattering is comedic because of the tone. But when Logan is so depressing and dark, the blood and gore becomes very overwhelming. By the film's last half hour, I was fed up with the blood and it stopped having an effect. The stakes felt less dire as a result. Another flaw is continuity. At one point, there is a massive jump cut and time jump that was so jarring. Logan falls asleep and then just wakes up in their destination with little explanation, and I felt that was very sloppy writing. This same writing was an issue for the entire final act. The movie has an ultimatum and many characters state this promise over and over, yet it doesn't carry through with it. It's like the movie abandons the very rules that it set, and that really bothered me. I just didn't believe that all of the villains suddenly decided that their goals had changed.
Overall I was very impressed by Logan. I think it was overhyped and is not, in fact, "The next Dark Knight". This is not nearly as concise a film as The Dark Knight and it should not be marketed as such. However, I do think it is the most realistic superhero film based on a Marvel property (The Dark Knight is DC), and I think Disney's Marvel brand should be nervous. Apocalypse aside, Fox's X-Men brand has churned out three sophisticated hits: Days of Future Past, Deadpool, and Logan. Deadpool just barely missed out on a Best Picture nomination. If you're a fan of Wolverine or the X-Men, you will enjoy Logan. If you like gritty realism, you'll enjoy it. If you much prefer the campy and fun Disney Marvel movies, you will probably think Logan is a little too much. At times, I was overwhelmed. This is not a movie I could watch on repeat, nor do I really feel like I want to see it again. But everything good about Logan is able to overpower those few narrative inconsistencies. I'm so sad to see Hugh Jackman and Patrick Stewart leave the franchise, but its an ending worthy of their talent.
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Sunday, March 19, 2017
Get Out Review
Starring: Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener
When I saw the trailer for Get Out, I wrote it off as stupid. I didn't understand the blend between comedy and horror. It didn't seem funny and it didn't seem scary. Months later, I've been proven wrong. Get Out is far from stupid; it's actually one of the smartest movies I've seen. The premise is simple: black man goes with white girlfriend to meet her parents, and finds they're not very accepting. It's a premise that is all too familiar for some American families, yet Get Out goes that extra mile to portray a racist family to the extreme. It's so bizarre and horrifying, yet it could be happening in your neighborhood. It's the realism that makes it so eerie. This film has earned a 99% and has only one negative review. That is what persuaded me to reassess my feelings about Get Out and go to the theater. I was surprised by how much thinking I did during the film, and how alert I was for its entirety. I was trying to pick up all the little hints before the inevitable twist. When the twist hit, I actually didn't see it coming, and I thought it was brilliantly executed. On the car ride home, I thought back and noticed all these other clues scattered throughout the movie to tip me off. This is a film by Jordan Peele (Key & Peele) yet I am so shocked that he is this talented of a writer and director. He's really crafted a gem of low-budget horror films.
There are so many horror movies that are too overly complicated. Split immediately comes to mind. That film was anchored by a strong performance by James McAvoy, but got a little too confusing and caught up in a lame ending. Get Out ends mid-scene, in the perfect spot. It doesn't explore how any character "feels" about the ordeal. It doesn't flash-forward a month to see what's changed. It ends when the plot ends, and in doing so, it's the horror/thriller that Split wishes it was. The entire plot is also very simple, yet is rooted in the political theme. It never points the finger at conservatism or Republicans (which is very mature) but instead just points out the obvious underlying race issues in the American South. I knew that the family was twisted, so I meticulously studied the actors for any clues to their behavior. I picked up on a few things, yet when the twist came, I was still unprepared. I spent hours after piecing bits together and I realized all the things I didn't pick up on. This is a brilliantly crafted thriller that demands multiple viewings. It's so smart, and it really makes you use your brain to put the puzzle pieces together.
I resist giving Get Out a perfect score because it has some continuity errors. There are certain things and foreshadowing events that physically do not make sense. I know I'm supposed to let certain things slide and turn my brain off a little. I give it a huge pass for the twist (which also physically does not make sense in today's world) so I need to hold it accountable for the little things. I can't spoil anything because it's really important to go into this movie blind. Still, it's very commendable that a low budget blockbuster has only a few flaws. A lot of time and effort went into this film to make it full of symbolism and virtually flawless. If you're looking for a movie that will creep you out and make you think, Get Out is the movie for you.
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Friday, March 10, 2017
Best Female Performances of 2016
This is all leading up to my Top Movies of 2016, which will be published in the weeks to come.
HONORABLE MENTION: Meryl Streep- Florence Foster Jenkins- Florence Foster Jenkins
Once again, Meryl Streep was nominated for an Oscar. It's her record-breaking twentieth nomination, which speaks volumes about her talent as an actress. I missed Florence Foster Jenkins in theaters, so I attributed her inevitable nomination with her powerful speech at the Golden Globes, where she reprimanded President Trump. Upon seeing the film on DVD, I was reminded how outstanding she really is. Her performance as a socialite dying of syphilis with a dream of singing (and a blissful lack of awareness as to how awful she is) was truly inspiring. Her accent is spot-on and her antics perfection. Whether you agree with her speech or not, you cannot deny Meryl has talent.
Quote: "People may say I couldn't sing, but no can ever say I didn't sing."
HONORABLE MENTION: Taraji P. Henson- Katherine Johnson- Hidden Figures
Quote: Yes, they let women do some things at NASA, Mr. Johnson. And it's not because we wear skirts, it's because we wear glasses."
#10. Emilia Clarke- Lou Clark- Me Before You
Quote: "I know we can do this. I know it's not how you would have chosen it, but I know I can make you happy."
#9. Ruth Negga- Mildred Loving- Loving
Ruth Negga gave the most subtle performance of any nominee this year. I wish that Loving received more attention, but there is no denying that Negga is the star, and possibly the breakout movie star of the year. As Mildred Loving, she illustrates a tender portrait of a woman standing by the man she loves despite the prejudice surrounding them. She's strong-willed yet not outspoken. She just longs for a normal family life. One of the greatest scenes in the film is when she explains she will not move from Virginia just because interracial marriage is illegal. She was raised here. She will raise her children in the fields where she grew up, where they have the same backyard. It's a very moving performance that is acted beautifully. She seems like just an average person, but she is so much more.
Quote: "We may lose the small battles, but win the big war."
#8. Nicole Kidman- Sue Brierley- Lion
There is no doubt that Nicole Kidman is one of the greatest actors working today. However, it'd been six years since she'd been nominated. Lion became her newest awards vessel, as her portrayal of an adoptive mother letting go of her son garnered immense acclaim. Kidman plays Sue Brierley, the mother of protagonist Saroo. She struggles to raise Saroo and his more difficult brother over the years, and this culminates in a heartbreaking scene in which Saroo tells her he is leaving to find his real mother. Kidman's performance doesn't even seem like acting, it comes off as one of the most accurate portrayals of a mother the silver screen has seen. If you're a mom or if you have a mom, you'll be moved by Kidman's performance.
Quote: "To have a child, there's no guarantee we'd make anything better, but to take a child that's suffering like you boys were; to give you a chance in the world. That's something."
#7. Amy Adams- Dr. Louise Banks- Arrival
Quote: "Language is the foundation of civilization. It is the glue that holds a people together. It is the first weapon drawn in a conflict."
#6. Michelle Williams- Randi Chandler- Manchester by the Sea
Michelle Williams is an actress to watch. She doesn't do many roles, and whenever she's in a project you know she will deliver. She was even the best part of the very flawed Oz the Great and Powerful. With Manchester by the Sea, she earns her fourth Oscar nomination, and I'm wondering what she has to do to win. As Randi, she has very little screen time. In her very short time she manages to strike a very powerful chord, and she left me in tears. She plays a heartbroken mother and a woman who is struggling with her feelings. She has hated her ex-husband for so long. Yet in the powerful climax of Manchester by the Sea, she seeks reconciliation. It's a completely irrational request given the circumstances. But anyone who has grieved will recognize her longing to escape and return to comfort. She throws the f bomb around like it's nothing, yet her acting is in subtlety and nuance. She's a broken woman, and she delivers one incredible scene where her heart is laid bare for us.
Quote: "I said a lot of terrible things to you. My heart was broken, and I know yours is too."
#5. Natalie Portman- Jackie Kennedy- Jackie
Natalie Portman is a pretty terrifying method actress. From her strong commanding role in Closer and her terrifying descent into madness in Black Swan, she dives into the psyche of her roles. Which is why her performance as First Lady Jackie Kennedy in the days after JFK's assassination feels more like we're watching the real thing than a movie. Portman's face, her voice, her hair, and her movements perfectly mimic the real life Jackie. I've only seen Jackie in clips and read about her, but Portman completely transcends any expectation I had for her acting. It's actually pretty jarring, but it's incredibly effective.
Quote: "I believe the characters we read on the page become more real than the men who stand beside us."
#4. Emma Stone- Mia Dolan- La La Land
Emma Stone won the Oscar, so why is she only #4. She is completely deserving of that award, but I don't think she's the best. I think rewarding her is capitalizing on an impressive career and giving her a vessel to become even more successful. In La La Land, she plays a struggling actress who lacks confidence. After failing audition after audition, she meets a charming dreamer played by Ryan Gosling, who helps her realize her worth and her talent. Her performance captures the attention of the audience with its sincerity. She's just a normal human being trying to find her way in life. While her singing and dancing isn't the most impressive in the history of musicals, they make her seem even more regular. It's easy for viewers to identify with Mia. Even when she made decisions that I personally disagreed with, I understood why she did, and I found myself unable to criticize her. We've all had heads full of dreams, and I cannot fault someone for their choices made to follow them. She's one of the most profoundly ordinary characters I've ever seen onscreen.
"Here's to the fools who dream, crazy as they may seem. Here's to the hearts that break. Here's to the mess we make."
#3. Naomie Harris- Paula- Moonlight
Naomie Harris almost didn't take the role of a lifetime. She initially refused to play Paula because she was afraid of promoting a stereotype of crack-addicted African Americans. She agreed once she realized the character was based in part off of director Barry Jenkins' own mother, and saw the complexity behind Paula. In Part I, Paula is trying to be there for her son Chiron, but we can see her slipping into a world of drugs. She has a fiery confrontation in which she suggests drugs are more important to her than her child. In Part II, she's disappeared. She assaults Chiron for money. She's barely holding it together. Her frame is wiry and her eyes dart around the room. In Part III, we see her in rehab begging for her son's forgiveness while also realizing she doesn't deserve it. Harris is the only tether between all three parts of Moonlight. While her role does not play into the theme of identity, her influence is all over who Chiron is, leaving us with a question: Would Chiron be happier if he had a loving mom? Harris plays a mother who can be abusive, but is the rare monster mom that the audience actually understands. Her performance is of a tragic figure, and evidence of the horrors of addiction that plague urban communities.
Quote: "I'm your mama. You ain't gotta love me. But you gonna know that I love you."
#2. Viola Davis- Rose Maxson- Fences
It's pretty well-known that Viola Davis is a tremendous actress. From her beloved role in The Help, to her ten minute nominated performance in Doubt, to her Emmy-winning role on How to Get Away with Murder, she nails every role. Even in Suicide Squad, she was a bright spot in a terrible movie. In Fences, she does so much acting. Seriously, she acts a lot. By that, I mean that she has a tremendous amount of lines and all of them are acted with immense power. There is one scene that is so commanding in which she finally snaps on her husband, played by Denzel Washington. If you've seen the trailer, you know the snotty-nosed scene I'm talking about. Anyone who can stand toe-to-toe with Denzel and act on his level deserves praise, but for him to outshine him is the true feat. While the film rises and falls with Denzel's Troy Maxson, it is the character of his wife that has the most compelling arc. We see how she grows accustomed to his mistreatment of her family and how she complies. Yet Davis is able to channel her fierce attitude that makes the audience wait for the moment when Rose is going to break free. It makes the buildup to that climactic argument astounding. Davis won the Tony when she played Rose on Broadway and she won the Oscar for playing her here. While I think she should have been a lead rather than supporting actress, she would have won in either category. It's a tour de force from one of the greatest actresses of the new millennium.
Quote: "I've been standing with you! I gave eighteen years of my life just to stand in the same spot as you! Don't you think I ever wanted other things? What about my life? What about me?"
#1. Isabelle Huppert- Michéle Leblanc- Elle
There's a good chance you have no idea who this is. However, Isabelle Huppert won the Golden Globe for Best Actress and received a nomination at the Oscars for her performance. I predicted her to win as soon as I saw this little French thriller (I'm probably one of the only ones) because I was so blown away. Elle literally translates to "She", so as you can guess, the film centers around Huppert. The film opens with her being brutally raped in her home by a masked intruder, and it's a scene that is played back numerous times from different angles as Michéle relives her incident. Before the attack, she was a cutthroat head of a video game company having an affair with her best friend's husband. She's lonely, but she likes her loneliness. When she's raped, she becomes obsessed with finding out who did this to her, and is hell bent on her own form of twisted revenge. Yet at the same time, the assailant that returns to rape her also gives her a purpose in her lonely life. The two begin a game of cat and mouse, and the viewer actually questions if Michéle actually enjoys the attacks. Her backstory is one marred by tragedy. Her father is imprisoned for committing domestic terrorism, and she's largely missed out on a normal life. Not once did I ever feel sorry for Michéle because Huppert's icy performance never let me. She's hardened and complicated. When I felt like I was in her head, she did something that brought me back to square one. It's a confusing and complex performance that bewildered and bested me until the film's closing scene. Huppert was robbed of her Oscar, but the fact that a small foreign film even got a nomination should be enough to convince you that her work was worthy.
Quote: (in French) "Shame is not a strong enough emotion to stop us from doing anything at all. Believe me. I know."
Saturday, March 4, 2017
Split Review
Starring: James McAvoy
Split was a surprise success. I saw the trailers and I was mildly interested. Then like a perfect a storm, it become an overnight hit. In the dismal month of January, Split, a thriller about multiple-personality disorder, became a blockbuster. So I had to see it. I had friends tell me it was great, so I had pretty high expectations. Thus comes the problem with expectations: there is always a chance of disappointment. Split is a perplexing film. It's very good until the ending, which threatens the entire film. Yes, that is how awful I thought the ending is. The clever Shyamalan twist we've come to know and love in films like The Sixth Sense is nonexistent, with an oddly placed twist at the film's close. James McAvoy does an exceptional job. His ability to play multiple characters within a character is a peak in his already illustrious career. He's also basically the only character in the film, which means his talents are on full display. The female lead is not very compelling, and the focus is mostly turned towards McAvoy.
Split is an extremely tense thriller. The layers in the film are reminiscent of the multiple personalities of the main character. To have McAvoy be the protagonist and not the antagonist is a bold move. As a viewer, you never hate him. You actually feel for him as you follow along on his journey. An argument could be made that McAvoy isn't the protagonist, as his captive prisoner Casey is the more conventional horror movie lead. She also has a pretty tragic backstory, and the audience sympathizes with her. Then there is Dr. Fletcher, played by veteran stage actress Betty Buckley. Buckley previously worked with director M. Night Shyamalan on the horrible piece of trash The Happening (if you haven't seen it, consider yourself lucky) so it's great to see her working with the same director in a good role. She is subjected to some of the weirder lines in the film, and I'll address that below. Split is at its best when its at its most intense. The pace never lets up for the first 2/3, and its a constant guessing game for the viewer. I was trying to figure out what was going through McAvoy's head just like Dr. Fletcher was. I was taking careful notes of every scene, and I appreciated how smart Split was. That is, until the final act, where I felt it went off the rails.
I almost let the ending ruin Split for me. I had to really force myself to recognize how great the rest of the film was, and not let the ridiculous final act spoil a good film. I've talked with people who thought the ending was fine, but it was just too preposterous for my taste. A movie that was rooted in dark realism just throws caution to the wind, and moves into unbelievable territory. The premise is that this man has 23 identities, and the 24th (aka "The Beast") will reveal itself. The Beast is an invincible superhuman, and it just demolishes all logic. I could stomach the Beast, but then, right when you think it's going to end, the action starts up again. And I found myself wishing the Beast would just die already. It becomes pretty campy, and not the kind of horror/thriller I had imagined. I just couldn't wait for Split to end so I didn't have to see any more of it.
Oh, and the post-credits scene is a reference to a film that isn't even relevant to modern audiences, so I have no idea what Shyamalan is trying to do or why he thinks it's a good idea.
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Oh, and the post-credits scene is a reference to a film that isn't even relevant to modern audiences, so I have no idea what Shyamalan is trying to do or why he thinks it's a good idea.
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