Spider-Man: Homecoming Review

Starring: Tom Holland, Michael Keaton, Jon Favreau, Zendaya, Donald Glover, Marisa Tomei, Robert Downey Jr, Jennifer Connelly, Jacob Batalon, Laura Harrier, Tony Revolori

Contents:

Opening

Peter Parker / Spider-Man

Iron Man, Happy, and the Avengers

Aunt May

The Vulture

The Twist (Spoilers)

Karen

A John Hughes Superhero Film?

Donald Glover

Diversity

The Problem with Setting Up

If you're feeling franchise fatigue with this series, you're not alone. In the time I have been alive there have been three different Spider-Mans and six movies. After the reboot failed miserably with The Amazing Spider-Man 2, Sony handed the web-slinger's rights back over to Marvel in a co-production agreement. Spider-Man finally joined the Avengers in Civil War last year and he will return for Infinity War next year. This version of the web-slinging hero is played by Tom Holland, who was an actual teenager during filming. He is the most authentic version of Peter Parker that I have seen. He seems like a kid playing a kid and it seems to come naturally to him. This is the most fun I have ever seen Spider-Man have, and it harkens back to the cartoons I grew up with as a kid. Peter Parker has a special place in my heart and it is really meaningful to see him in this way. However, I have to push that beaming fanboy aside and acknowledge some serious issues this movie has. I love Spider-Man and I want nothing but to love this movie. Yet it took maybe 45 minutes before I figured out if I even liked the film. This movie has some pacing issues and it focuses too hard on getting its ending correct so it can set up a future movie. This is the issue Marvel is facing these days and it's the same problem that tanked The Amazing Spider-Man 2. They still have not learned from their mistakes. Before I get too much into this problem, I am going to break down more of what I liked and what I didn't like in this NON-SPOILER review below.

Peter Parker / Spider-Man

Tobey Maguire was never Spider-Man to me. Andrew Garfield perfectly captured the angst of the character, yet it was clear by the second film that he didn't possess the playful side. Tom Holland arrives with the complete package. I saw a little-known film called The Impossible at Railroad Square five years ago. In it, Holland plays the son of a family caught in the 2004 Indonesia tsunami with the kind of heart one doesn't expect a child actor to have. I knew he was destined for greatness if only he found the right agent to take him there. His dramatic chops are at play in some of Peter's key scenes, but he also possesses the wide-eyed wonder that makes him relatable. He reacts as you and I would if we suddenly woke up with superpowers. I think that Homecoming succeeds when it focuses on Holland's Peter because it grounds it in the present day. Too much of this movie is crafted on setting up the future.

Iron Man, Happy, and The Avengers

I was worried that this would be Robert Downey Jr weaseling his way into another solo movie. However, this is surprisingly not a Spider-Man / Iron Man team-up film as the trailers would suggest. In all actuality, he's nothing more than a cameo. I appreciated this angle rather than having him dominate screen time because I'm a little tired of Iron Man at this point. I think it's sad that Marvel did not trust Homecoming to sell tickets alone so they had to attach RDJ to the ad campaign to sell tickets. Happy, on the other hand, became the character I never knew I missed. Jon Favreau brings such joy to this role that it is a pleasure to watch him act. It just made sense that Happy would be the liaison between Peter and Tony. As for the Avengers references, it seemed a little too TV for me. I haven't been a fan of the Marvel or DC TV shows because they just seem like commercials to me. Seeing glimpses of the tower and hearing names dropped here and there felt a little too scripted for my taste, and it made the film lose its focus.

Aunt May

I'm searching for a way to say "milf" professionally. Anyways, that is the angle with Aunt May and it's jarring but a lot of fun. For someone used to seeing Aunt May as a feeble old lady, it's shocking to see Marisa Tomei's sexy and fun performance. As this franchise reboots time and time again, Aunt May seems to get younger with each iteration. She didn't have a big role in the film, but what she did was very noteworthy. She seemed like the reasonable age to be Peter's aunt and mother-figure. She actually helped guide him through situations he could not do on his own. We assume she's a widow yet we have no mention of Uncle Ben so she seems like her own woman and has her own story. They took a gamble and I think it paid off.

The Vulture

When it comes to villains, Marvel usually misses the mark. While DC has some of the best villains ever dreamed up, Marvel has fallen short with all but Loki. Recent efforts of last year such as Doctor Strange and Civil War also provided lackluster villains. Luckily, Marvel has decided to start casting Oscar-caliber actors and it's paid off brilliantly. Kurt Russell became arguably the studio's most serious villain, and Cate Blanchett in Thor: Ragnarok looks to be a deliberate move by the studio to fix the common criticism. Smack in the middle is Michael Keaton, who has been enjoying a renaissance of his career since his Oscar nomination in Best Picture winner Birdman. Ironically, he's a bird-man here as well, playing the Vulture. His background is brilliant, as he is depicted as a literal vulture who cleans up superhero debris from cities and his motivation is realistic. He isn't really a "bad guy" per se, rather a man driven to an extreme who has made the wrong decisions. The Vulture feels like one of the scariest villains Marvel has offered audiences. He threatens children and attempts to murder them. Keaton definitely delivers, and he outmatches every actor he shares a scene with. I've been a huge fan of where his career is gone, and it seems like he is still making great choices.

The Twist
WARNING: SPOILER ALERT

Click below at your own risk.

The point where I respected this movie came in a rare instance of shock and awe. For most of the film I was trying to figure out if I liked the direction of the characters and the pacing. I had almost made up my mind for the positive when I was hit with a huge twist. Peter is going to the homecoming dance with the girl of his dreams, and is on his way to pick her up. When he answers the door he realizes in shock that the Vulture is her father. The way this scene builds up is interesting, as there is no buildup. It comes so far out of left field that I would challenge anyone to come forward and say they saw this coming. Peter's love interest was black, and my mind would have never guessed that he was in an interracial marriage with a mixed race daughter. The idea of it hung in my mind and I commend the movie for its brilliance. What follows is a tense car ride in which the Vulture takes what his daughter is saying and slowly pieces together that Peter is Spider-Man. Historically, Peter's secret identity is one of his character's most important aspects, and to see his enemy discover him is terrifying. It was unexpected, but the best Vulture scene was in a car without a costume.

Karen

Peter gets an AI courtesy of Tony named Karen. She acts much like Jarvis did for Iron Man, providing him with all kinds of gadgets and tactical advice. Karen is voiced by Oscar winner Jennifer Connelly, who is actually Paul Bettany's wife (Bettany voiced Jarvis and appears as Vision). This is a very cool nod and Karen has some of the funniest scenes in the film. However, I think a major problem was how sexual they made her out to be. She seemed to have a lot of romantic advice for Peter and her tone was often concerning to me. For artificial intelligence, she seemed to have a specific agenda in mind and if he's a kid, this is kinda crossing the line. I've seen Ex Machina, so female AIs will always leave a bad taste in my mouth.

A John Hughes Superhero Film?

Peter Parker's been in high school before, but Andrew Garfield and his co-stars were far too old to give an authentic view of what high school really is. In Homecoming, they have younger actors, but they make a very interesting choice in how they depict high school. Their version is ripped straight from the reels of John Hughes' classic films. From the social hierarchy to the camaraderie between different groups to the accented color palette, this is a John Hughes vision of a superhero movie. The actors should fit perfect caricatures of Hughes' casts, yet none of them really connect. Peter's love interest Liz seems like a stepping stone and not a dire interest. His friend Ned is often rude and annoying, and not trustworthy. It seems like Peter's right-hand man will always be his girlfriends, and I honestly am interested to see how they handle a new Mary Jane. Flash Thompson doesn't seem like a real obstacle to Peter, which is a shame because Tony Revolori needs a good role after his turn in The Grand Budapest Hotel.

Donald Glover

I really hope there are not any huge Donald Glover / Childish Gambino fans anxiously waiting to see him in a superhero movie. He says next to nothing and does even less. It's honestly a glorified cameo. I'm perplexed as to why they would cast someone with the mainstream heat and pure talent that Glover possesses and waste him. Actually, I have a pretty good idea, and this segues into my final two sections.

Diversity

Diversity is a tricky thing to execute correctly, especially in movies as mainstream as superhero films. Homecoming has been the first film to try to have a completely diverse cast. Holland is white, but various other ethnicities (not just African-Americans) appear in the supporting cast. However, these actors have very little to do in this movie. It's honestly the Spider-Man / Vulture show, and everyone else is relegated to cameos. I expressed my dismay that Donald Glover was subject to this treatment but he's not alone. And here we arrive at the problem. Diversity for the sake of diversity is ridiculous. It pushes no new ideas forward and ultimately has nothing to offer. Simply put, it is wasting opportunities. I hope that Black Panther switches this up, because it has a mostly black cast simply because the source material's cast is black. Race-bending is an interesting idea but it has to be done correctly. If not, you'll end up with Homecoming's issue: a film that claims to be starting a conversation about the issue yet has nothing to say.

The Problem With Setting Up

My biggest problem with Homecoming is that these movies don't feel like complete thoughts anymore. There are easter eggs galore and references to events that have not even happened yet. I want to see grounded, realistic characters and a script that is focused on the present, not looking towards the future. Of course, providing any examples would give spoilers, but I read a review that called this film "Easter Egg: The Movie" and that is shockingly accurate. When it's good, it's good, but Marvel has its eyes on a prize far off in the future, and on a finish line that only seems to extend with every film.

Rating:

Wonder Woman Review

Starring: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen

If you're a diehard fan of the DC Extended Universe (aka Man of Steel, Batman v. Superman, Suicide Squad) you are in the minority. These movies have been torn up by fans and critics alike, and have failed to generate the kind of excitement and revenue Marvel consistently achieves. While Batman v. Superman was a cluttered mess, one light saved the film from being written off as garbage: Gal Gadot. Suddenly everyone was anticipating a Wonder Woman film, and fans desperately needed it to be good. Wonder Woman is the first major film with a female superhero as the lead, while simultaneously directed by a woman. Wonder Woman blew expectations out of the water when it opened with over $100 million and started off with a Rotten Tomatoes score in the high 90s. I've seen the film twice now, and both times it has managed to blow my mind. This film is so different than the cookie-cutter superhero films we are used to. It's artistic. It has vision. Marvel films are great, but this is the kind of quality entertainment action fans deserve. Even this early, I would argue Wonder Woman is possibly the best superhero movie since The Dark Knight in 2008. It isn't without its flaws, but it presents one of the most satisfying, well-crafted, and seemingly perfect action movies I've seen.

Gal Gadot

This has been mentioned numerous times, but I still feel it needs to be said. Gal Gadot is Wonder Woman. She transcends any acting ability and she becomes the character. It doesn't happen very often in superhero movies. By no means does Benedict Cumberbatch "become" Doctor Strange nor does M "become" The Hulk. I'd say the only other examples to compare Gadot to are Robert Downey Jr as Iron Man, and Heath Ledger as the Joker. Yes, that is how good she is as this character. She plays every note of Diana Prince's character superbly. From her humble beginnings, to her introduction to the human world, to her self-discovery and her discovery of the true nature of mankind, Gadot nails every emotion. Her facial reactions are powerful. Her physical acting is a spectacle. I believe that anything more is just rambling, so let it be known that Gal Gadot, even beauty aside, is the perfect Wonder Woman.

Wonder Woman

Gal Gadot aside, something needs to be said for Wonder Woman and the powers she has. She's a little overpowered, yet she feels authentic. Superman is basically a God, yet he seems alien and un-human. Diana is a Demigoddess, yet somehow she seems human. I'm not certain how immortal she is. I think while regular things can't harm her, bullets can still pierce her skin (Antiope took a bullet for her) and there seems to be actual stakes in her battles. Yet she also can deflect bullets so easily that it's kinda ridiculous how powerful she is. Her sword is pretty cool, yet as powerful as she believes it is, she never uses it casually. It'd make things so much easier. But hey, maybe she's saving it for Ares. Her lasso of truth is so well done. They even gave it an explanation I never asked for.

Chris Pine

Out of all the "Hot Hollywood Chris's",  Pine was my least favorite. Maybe it's because Evans, Hemsworth, and Pratt were at the forefront of Marvel, whereas Pine heads Star Trek (which I don't watch) and he's the love interest of a DC superhero I wasn't particularly interested in. Yet with this performance, he might be the most competent love interest in the history of superhero movies. Maybe it's because he's a man, and that shows a problem with sexism in action movies. But Maggie Gyllenhaal, Emma Stone, and Gwyneth Paltrow have all created equals to their respective heroes. Yet Steve Trevor feels like the equal to a goddess, and that is a feat. While Diana is so over-powered and so wise beyond her appearance, he stands as her equal. She loves him, but he isn't a side-plot. Their love actually isn't even the forefront and he never feels second-billed. He carves out a great storyline and he holds his own against Wonder Woman, while actually creating a lovable character.

The Love Scene

There is a point in this film where Diana and Steve have sex. Now, we always assume that Tony Stark and Bruce Wayne have sex with their respective others, but there really hasn't been a sex scene. Wonder Woman is also devoid of a sex scene, though it has an immense buildup to a very poignant and tender love scene. Steve teaches Diana how to dance, and she has her first experience with snowfall as they stand close, swaying back and forth. They go upstairs, and the music swells as she looks at him with love. They kiss passionately, and it fades to black. It's very tame, of course, this is a PG-13 film we're talking about. But through their entire dance scene, I felt very strong emotions that built up to this beautiful climax as they went upstairs. The chemistry between Gadot and Pine is just so intense. It was deep, it was moving, and it was a standout of the film. This is the correct way to tastefully include sex in a movie meant to include children and families.

The Action / Slow-Motion

The reception to Wonder Woman's action has been divided. I think the extended slow-motion sequences come off excellent, while some people think they are overdone. It is true that slowing down fight scenes is a large part of director Patty Jenkins' vision for this film, but I think it is not cheesy, nor does it go into "Matrix territory". I think the action is artistic, and it has a unique flair that separates this film from others in the genre. We really get to see the action when it's slowed down. However, there is a scene at the end where there is a large battle, giant explosions and hundreds of casualties. It is as if this film threw away all the artistic visuals and went instead for a typical DC ending like in Batman v Superman or Suicide Squad. It was much more meaningful than those films' endings, and it had its moments, but overall it was a black mark on the film for me.

Feminism

One of the biggest headlines surrounding this film is the feminist angle. This is the first solo female superhero movie. Wonder Woman is a feminist icon. The film is directed by a woman. Yes, this movie is feminist. Diana is a fantastic character with the outwit, outplay, and defeat any opponent that comes her way. She is in no way a stereotype in any form. But it is the kind of feminism that all movies should strive to achieve. It isn't in your face. I'm thrilled that people have accepted this movie because it really is inclusive. It never tries to claim that Diana is above all men, rather, she is above the human race of men. And she is. I hope that other movies can follow Wonder Woman and promote feminism that everyone can get behind, and portray it as positively as this film did.

Ludendorf & Doctor Poison

Without spoiling too much, these two actors turn in very fine performances. Neither one of them is a very complex character, and Doctor Poison is even used later on to show the true wickedness of man to Diana. These people are just pure evil. I enjoyed the contrast of Ludendorf's military and war themes and Doctor Poison's witchcraft, and how those played off of each other. Overall, they didn't end up really doing much for the story as antagonists, and the message of the film didn't really tie into either of their characters. I was much more invested in Diana and Steve. Also, there are multiple scenes where Ludendorf snorts something and it makes him super-powered...I've seen it twice and I'm still not sure what that was. It never gets addressed and it is very unusual and campy.

Comparison to Marvel / Conclusion

I am arguing that this film is better than what Marvel is currently offering. I love Marvel films, and Guardians of the Galaxy Vol. 2 is one of my favorite movies of the year. But they have a formula, they stick to it, and it works. A film like Wonder Woman, that has an artistic vision, themes of war, and a deeper message about pinpointing blame on ourselves instead of a God, really stands out as a breath of fresh air. Not since The Dark Knight trilogy have I seen a superhero film attempt to dive this deep. The Winter Soldier did a great job, but Patty Jenkins proves that an indie filmmakers touch can do wonders. Wonder Woman has flaws with its last act, and it leaves the viewer with a little bit of cheese. But for the entirety of its refreshingly short runtime, Wonder Woman is a massively enthralling experience that even casual moviegoers can enjoy.

Rating:

Top 20 Best Movies of 2016

Below are my picks for the Top 20 movies of 2016. When it gets to the Top 5, essentially all the films are perfect and it was extremely difficult to arrange them. However, there was a clear outlier for me that deserved to be #1. If I've reviewed the film in the past, clicking on the title will bring you to my full review of the film. Hope you enjoy!

#20. Captain America: Civil War
Chris Evans, Robert Downey Jr, Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, William Hurt

I've seen Civil War multiple times since its release in May, and I'm impressed every time by its massive scope and its execution. However, it doesn't quiet soar to the heights of The Avengers or Marvel's best work in my opinion. I think too many characters were shoved into one film, and it makes me worried for the future of these movies as the characters increase. But it's still a well choreographed, action-packed, sophisticated superhero film that never disappoints.

#19. Finding Dory
Ellen DeGeneres, Albert Brooks, Ed O'Neill, Kaitlin Olson, Hayden Rolence, Ty Burrell, Diane Keaton, Eugene Levy, Idris Elba, Dominic West, Sigourney Weaver, Kate McKinnon, Bill Hader

Finding Dory is a movie that is perfect for what it is. It lives up to expectations of what a Finding Nemo sequel should be, and it stands on its one as a great outing for Dory. However, it leaves a little to be lacking if you really analyze it. Notice it didn't get nominated for an Oscar, which is usually a Pixar staple. It's rehashing old themes, and playing with heartstrings. There really isn't a lot of new things on display in Finding Dory, but the nostalgia factor works, as evidenced time and time again.

#18. Me Before You
Emilia Clarke, Sam Claflin, Steve Peacocke, Janet McTeer, Charles Dance, Brendan Coyle

Me Before You is another film that, like Finding Dory, is perfectly executed. We can see detail in every set and costume, and it has a really smart script. Unfortunately, it's a run-of-the-mill romantic comedy. It's not really bringing anything new to the table, and is somewhat of an adult version of The Fault in Our Stars. Emilia Clarke and Sam Claflin are charismatic leads, and they really make us believe in what seems at first an unbelievable romance. The film is charming and heartbreaking, and it is one that has stuck in my mind since June.

#17. Rogue One
Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, Jiang Wen, Forest Whitaker, James Earl Jones, Genevieve O'Reilly, Peter Cushing, Carrie Fisher

I feel like I'm betraying myself. Star Wars is my thing, yet here I am placing Rogue One at #17 on my list. That is a true testament to all the good movies that came out this year. Rogue One is a very smart and very unique addition to the Star Wars franchise. It's really a Star Wars war movie, and its brilliant in its premise and its story. And who could forget that iconic ending with Darth Vader? And Carrie Fisher? While The Force Awakens was full of inside jokes and references, Rogue One had just the right amount for it to seem genuine, but to also remind us what galaxy we were in. I wish I could put it higher, but I have to go with my gut.

#16. 10 Cloverfield Lane
Mary Elizabeth Winstead, John Goodman, John Gallagher Jr, Bradley Cooper, Suzanne Cryer

At this point, 10 Cloverfield Lane was released over a year ago. The film had essentially no background, no trailers, and no information on it when I went into the theater. Everything was new. It remains one of the smartest horror/thriller I've seen. John Goodman gives what is likely the performance of his film career as Howard, a man who has "saved" a woman from the apocalypse and trapped her in his doomsday shelter. The audience knows nothing. We have to guess whether Howard is telling the truth or not, and the twist still surprises us, showing that the drama below and above ground are two separate ideas. I thought the movie dropped off a cliff in the last twenty minutes, so that's why it isn't higher on my list.

#15. The Jungle Book
Neel Sethi, Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong'o, Scarlett Johansson, Giancarlo Esposito, Christopher Walken, Garry Shandling, Brighton Rose, Jon Favreau

As Beauty and the Beast is captivating audiences right now, I invite you to to look back at The Jungle Book. The Jungle Book was one of the most acclaimed films of the year, and even took home an Oscar. Director Jon Favreau created an entire world out of visual effects, with Neet Sethi's Mowgli as the only human connection. Yet we fell into his lush and extravagant jungle, and believed every minute. With some of the best voice/motion capture work I've ever seen from actors like Bill Murray, Scarlett Johansson, and Idris Elba. It takes the few good aspects of the disjointed original film, and creates a magical 3D experience. It builds off of nostalgia, yet feels like an entirely new story.

#14. Elle
Isabelle Huppert, Christian Berkel, Anne Consigny, Virginie Efira, Laurent Leffite, Charles Berling

Elle is a French film, so there's a good chance you haven't heard of it. Isabelle Huppert won the Golden Globe and was nominated for an Oscar for her performance as a woman who has an interesting reaction to an assailant raping her. Rather than report it, she goes on with her life. Her attacker returns, raping her multiple times and she does nothing. Huppert plays a complicated woman with a complex past. The film draws off of themes of Catholicism and religious repression, and contrasts her upbringing full of scrutiny at her father's misdeeds with that of her religious attacker's life. She's unhappy in her life, and this gives her some feeling of excitement, while her attacker is lashing out at his repressed life. It's a sick and twisted film, made even more confusing by Huppert's character's final trick, in which she sets up a morbid trap to enact her revenge. It's a wild ride, albeit an uncomfortable one, that is headed by one of the strongest lead performances I've ever seen.

#13. Lion
Sunny Pawar, Dev Patel, Rooney Mara, Nicole Kidman, David Wenham, Priyanka Bose

Lion builds off what I've learned about Indian slums from Slumdog Millionaire (another Dev Patel film) and has convinced me of the horrors that occur in those areas. Lion broke my heart. It made me cringe, and it made me shift in my seat. Horrifying acts are one thing, but when it's small children, it's so much worse. But don't be deterred, Lion has the heart to deflect its horror. Patel and the child actor Sunny Pawar play Saroo Brierley, an Indian boy who lost his mother and was given up for adoption in Australia, where he still looks for his birth family. The film boasts fantastic performances from Patel, Pawar, Rooney Mara, and Nicole Kidman, and it's the feel-good tearjerker of the year.

#12. Jackie
Natalie Portman, Peter Sarsgaard, Greta Gerwig, Billy Crudup, John Hurt, Max Casella

I wasn't alive when JFK was assassinated, but Jackie gives you what I would assess as a pretty accurate depiction. The film is sad. That's the only way I can describe it. It never brought me to tears, but a level of depression hangs over the film like a dark cloud. The haunting strings score adds to the feeling of gloominess. After all, this is a sad topic. After multiple descriptions of Kennedy's death, I thought the film was not going to attempt to show his murder, and I was content. Then, in a flashback, you see his head explode, and see Jackie trying to grab the pieces. It's shockingly realistic, and Natalie Portman sells it. She becomes Jackie, embodying her style and everything she stood for. It's a transformative performance that commands the screen, and makes Jackie a worthwhile history lesson.

#11. Hacksaw Ridge
Andrew Garfield, Vince Vaughn, Sam Worthington, Luke Bracey, Hugo Weaving, Teresa Palmer

It pains me a little to praise Hacksaw Ridge, because it's Mel Gibson. But Gibson has truly made his comeback this year. I believe that Hacksaw Ridge is the best war film since Saving Private Ryan, in that it really throws you into the trenches in an experience I've only felt while watching that 1998 classic. All of the technical aspects are so perfectly executed, and it is clear to me how this movie received a Best Picture nomination. Andrew Garfield gives the best performance of his career as a pacifist trying to do his part to save lives. It suffers from an extremely cheesy final ten minutes, with far too much slow motion and dramatics. But it's not enough to take away from the film's merit.

#10. Deadpool
Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J. Miller, Gina Carano, Leslie Uggams

Where to start with Deadpool? It came out of nowhere and completely changed action movies forever. From a business standpoint, it proved that there is an audience for R-rated stylistic action, and that X-Men movies have the gravitas and technical talent that Marvel lacks (they've of course continued this with Logan). Deadpool is rude, it's dirty, and it's obscene. But its script is a brilliant combination of self-referential humor and satire that it truly felt like something fresh. The ad campaign was brilliant, and from the opening credits to Juice Newton's "Angel of the Morning", to the final dirty joke during George Michael's "Careless Whisper", Deadpool is a wild and brutally honest tale of what would happen if a regular weirdo became a superhero. There's no sugar coating or bumpers here.

#9. Hell or High Water
Chris Pine, Ben Foster, Jeff Bridges, Gil Birmingham, Marin Ireland, Margaret Bowman

Hell or High Water is the most honest film released this year. It doesn't rely on any dramatic themes, or heavy messages, and it's not really trying to convey any hidden meaning. It just is what it is: a modern Western. It centers around two brothers suffering from the recession who rob banks in Texas to save their family's ranch. Two comrade officers hunt them down. It's quite literally that simple: two vs two. It's very short, and there are not really any interwoven themes. It has a script that's brilliant in its ability to be blunt and simple, and a great performance from Jeff Bridges as the sheriff hunting the brothers down. Hell or High Water doesn't take a lot of effort to watch, and even less to enjoy.

#8. The Lobster
Colin Farrell, Rachel Weisz, Olivia Coleman, John C. Reilly, Léa Seydoux, Ben Whishaw

I will never recommend The Lobster unless I believe that person can enjoy it. It's perhaps the oddest film I have ever seen. In a futuristic society, single individuals must live in a hotel where they have a specific amount of time to find love. If they fail, they are turned into an animal of their choice. The foreign-produced indie film centers around Colin Farrell's journey to not be turned into a lobster. It's hard to explain the scope and events of The Lobster, but it is a movie that made me think for at least a week after I saw it. I love this movie and what it has to say about our culture. The Lobster presents a world in which we are obsessed with companionship, and a society in which marriage is the ultimate endgame, with punishments for the contrary. It depicts married people who turn their nose at the single insurgents who live on the outskirts, and hunt them for sport. Yet the single people are no better, and viciously abhor the married individuals. The film makes a heady argument for society's fascination on these themes, and lets the viewer decide where they stand.

#7. Hidden Figures
Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner, Kirsten Dunst, Jim Parsons

It's a feat that movies like Hidden Figures are even being made. For the last two years, there has been an emphasis on the lack of films depicting African-Americans being honored at the Oscars. Sometimes this has been negligence on their part, but sadly, not enough quality movies are being made. Hidden Figures was one of the most successful and critically-acclaimed films of the year, gently taking a racial and feminist stance while not angering anyone. I expected biting commentary, and it's not there. It merely depicts events as they happened, and tries to make these "hidden figures" hidden no more. Judging by how deeply this film has been appreciated, I think it succeeded.

#6. Zootopia
Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Nate Torrence, Bonnie Hunt, Don Lake, Tommy Chong, J.K. Simmons, Octavia Spencer, Alan Tudyk, Raymond S. Persi, Shakira

You'll see that the next two films are both Disney animated films. They really had a fantastic year. Zootopia came first in March, and featured some of the best world-building I've ever seen. If you're unfamiliar with that term, I mean that Zootopia created a fictional world where everything was explained brilliantly, and our attention was immediately captured. Sloths run the DMV. A bunny can't be on the police force. A fox works as a con man. Every detail is so well thought out. Then there is the underlying social messages that propelled Zooptopia to awards gold. The film centers around a conflict between predators acting violent, and the prey animals' fear of them. It all turns out to be a government plot to try and strip away the predators' rights so prey rule supreme. It isn't a coincidence that white supremacy just happens to be on the rise in America when this children's movie was released. The film boasts a phenomenal message about inclusion that is needed. It's great that kids can see a movie with wit and humor, and for it to also have an important message.

#5. Moana
Auli'i Cravalho, Dwayne Johnson, Rachel House, Temuera Morrison, Jermaine Clement, Alan Tudyk

I'm a huge Disney fan. That being said, I know what they're capable of, so I hold them to a high standard. I was completely blown away by the craftsmanship, story, and music in Frozen, like most of the world. Then here comes Moana, which blows Frozen out of the water. If you're a fan of feminist messages, Moana is one of the strongest female characters in animation. She has no love interest, no dead parents, and no trusty animal sidekick (There's no way Hei Hei is trustworthy). Lin-Manuel Miranda of Hamilton fame wrote beautiful Polynesian inspired tunes like "You're Welcome" and the Oscar-nominated "How Far I'll Go". The message is original, yet deeply ingrained in Polynesian culture and mythology. It's the most culturally fascinating Disney film since Mulan. With its ability to transcend Disney stereotypes, Moana is so much more than just Disney magic. It's pure movie magic, and it is sure to delight children and parents alike. There is simply no way you can dislike this.

#4. Moonlight
Trevante Rhodes, Ashton Sanders, Alex Hibbert, Janelle Monáe, Mahershala Ali, Naomie Harris

As most of you know Moonlight won Best Picture, and it won in a pretty extraordinary fashion. With these last four entries, I shifted them around constantly before finally settling on this final ranking. At one point, Moonlight was ranked #2. I've sung Moonlight's praises multiple times over, especially to convince people that it did deserve to win Best Picture as much as La La Land did. It's a bleak depiction of a black man growing up gay. I described the plot to a friend, and he replied with "Wow his life must really suck." He immediately tried to correct his statement, but I assured him that was essentially the movie's message. Writer/Director Barry Jenkins and playwright Tarrell Alvin McCraney created a character that everyone can identify with. Whether you identify with growing up black, LGBT, in poverty, boyhood, or just growing up in general, there is some part of this movie that has connected with everyone I know that has seen it. It's a beautifully dark journey into what it is like for this protagonist to grow up uncomfortable in his own skin, and how he accepts himself in his own way. Bolstered by phenomenal standout performances from each actor, especially from Mahershala Ali (an Oscar winner) and Naomie Harris (a nominee), Moonlight is a movie that everyone needs to see.

#3. Arrival
Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Tzi Ma, Mark O'Brien

I've seen Arrival twice, and I've been captivated by it both times. Science-fiction is a genre we've all been accustomed to. The evil aliens descend from the skies and we have to fight to save humanity. Arrival shares some of these tropes, but completely subverts most expectations of the genre. The aliens arrive on Earth cryptically, with no explanation. Instead of the aliens causing the problem, it is the paranoia and questionable methods by the world's leaders that could lead to war. Dr. Louise Banks, played wonderfully by Amy Adams, is a linguist the US Army sends to teach the aliens English and decipher their set of symbols. The film is a powerful statement on how we treat outsiders, and how we as a population communicate with each other. It won the Oscar for Sound Editing (its droning sounds are incredible), and its visual effects, cinematography, and direction are all perfect. I will admit, the massive twist ending went over my head the first time I saw it, but the way the twist reflects on both the past events and the future is truly a powerful message about life and love...and it barely has anything to do with the aliens. Yes, while at face-value this is a tale about extraterrestrials landing on Earth, it is so much more. Be prepared for some deep philosophy that requires undivided attention.

#2. Manchester by the Sea
Casey Affleck, Michelle Williams, Kyle Chandler, Lucas Hedges, Gretchen Mol, C.J. Wilson

When I first saw Manchester by the Sea, I named it "The 12 Years a Slave of regular life". If you've seen 12 Years a Slave, you know that it is a relentless assault on the emotions. However, it is an extremely specific situation. Manchester by the Sea, however, is a completely plausible situation that people live with today. Every instance I felt that I had recovered, Manchester by the Sea knocked me down again. While it is incredibly depressing, it has a really healthy balance of humor and wit that comes at the perfect times. This film deserved its Oscar win for Best Original Screenplay, as the script is truly masterful in its ability to go from moments of sadness to humor. Casey Affleck won the Oscar for his performance as a man destroyed by grief trying to be strong in the face of another loss. His performance is so subdued and so realistic, it's a little terrifying to watch. We are all just one horrible day from becoming Lee Chandler, a man so consumed by his grief it destroys his life. I believe that this film will be studied and endure the test of time, for it is the only accurate depiction of grief I have seen. It doesn't sugarcoat a single thing. The dialogue is presented with the sharpness and venom of those who are suffering, and the film's events perfectly mirror the process of trying to come to terms with loss. It just feels so authentic. We've all lost someone. Manchester by the Sea reminds us of those feelings, bringing forth the nasty truths while also reassuring that they are, in fact, normal.

#1. La La Land
Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, Finn Wittrock, J.K. Simmons

As soon as I saw La La Land, I just knew it would be here. From the stunning opening scene on an LA highway, to the beautiful yet somber ending, I was in love. La La Land is everything moves were, and should still be. It's a gorgeous throwback to a genre that's nearly dead, yet it still stays modern. It feels like a classic musical, yet it takes place in the present. There really are only two characters, and Mia and Sebastian's relationship is one of the most mature and realistic depictions of love I've seen. It's also a very stark portrayal of artistic success and its consequences, yet it doesn't ever feel sad. With memorable songs and a beautiful score, La La Land is one of the most mystifying, whimsical films I've ever seen. Every piece of it is crafted to perfection. Sure, the script is a little lackluster, but I believe it achieves absolutely everything that writer/director Damien Chazelle intended. If you haven't seen La La Land, I cannot recommend it enough. Hopefully it will captivate you in the same way.

Beauty and the Beast Review

Starring: Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen, Emma Thompson

Unless you've been living under a rock, you've noticed that Beauty and the Beast has become a monster success. It's shattered record after record, and is well on its way to becoming one of the highest-grossing films of all time. Beauty and the Beast comes seven years after Disney started their live action remakes with Alice in Wonderland (the biggest success so far) and followed with Maleficent, Cinderella, The Jungle Book, and Pete's Dragon. Aside from Maleficent, which I thought was absolutely terrible, all of them have been pretty great. You may have noticed something all those films have in common. They're all adapted from Disney's older properties that aren't as successful nowadays. Sure, Cinderella is iconic, but no one would rank it among Disney's best. Yet Beauty and the Beast is arguably their best animated movie ever, and the staple of their Renaissance. It was nominated for Best Picture in 1991, and remains the only Disney film to achieve this honor. When I heard they were remaking it, I was instantly skeptical. I criticized every photo and trailer that came out. I saw that the reviews were not as overwhelmingly positive as The Jungle Book (70% compared to 95%) but I hoped to be proven wrong. I went into Beauty and the Beast very concerned, and I was blown away. The sheer spectacle was enough to completely knock me off my feet. Alas, it's not a perfect film and it has some flaws. But I see it in the same lens as I see Star Wars: The Force Awakens. It's not perfect, but the allure and nostalgia was enough to make me fall in love and forgive it for every single misstep (all of which are pretty small). While I will dissect these flaws, I stress that Beauty and the Beast is a must-see, and that this is just my opinion.

Instead of using two separate paragraphs to express what I like and didn't like, I'm going to do it a little differently this time. I'm going to go character by character, and then to discuss what I liked and disliked about each. As you would imagine, Emma Watson as Belle is first.

BELLE

As "Belle" began, I saw Emma Watson and couldn't get Hermione out of my head. I was convinced that it would ruin the movie for me. Then a switch flipped about one minute into the song, and I was hooked on Watson's Belle. She's so iconic of a princess that I'm sure many were skeptical. Watson isn't really known for her acting prowess nowadays. But she acts with the grace and wit that Belle had in the original, truly making her seem even more intelligent than in the animated film. The Stockholm Syndrome argument from the original is nonexistent because Watson and costar Dan Stevens have great chemistry, and their romance is believable. They really take you through the steps of their courtship and it isn't as sudden as in the original. As for Watson's singing, I'm not on board. Her soloversion of "Belle (Reprise)" is my third favorite song in the film, but I think she is way too autotuned. Her singing voice sounds unnatural and took me out of the experience every time she sang, which was thankfully not often after the first half hour.

THE BEAST
Dan Stevens is incredible as the Beast. In the opening scene, we see how he gets cursed and some brilliant stylistic choices are made. The Prince is caked in makeup, symbolizing his later transformation, and his guests are all dressed identically. The scene is very effective, and emphasizes his bitter heart rather than vanity. The Beast is given a new song, and "Evermore" is my favorite song in the film. I truly believe it has a good chance of a nomination for Best Song at the Oscars, maybe even a win. His acting ability had already been proven on Downton Abbey for me, so he's very one note, but it's a really sympathetic performance. And like I stated, their romance is much more believable, and that is in part because he's portrayed as a book nerd like Belle. There really wasn't anything I didn't like about Dan Stevens and his portrayal of The Beast.

GASTON
I hate what this movie did to Gaston. However, I cannot deny that Luke Evans does a great job as such a despicable and disgusting human being. There are many liberties taken from the 1991 film and I just didn't think they worked. Gaston is a self-absorbed narcissist, and aside from one mirror scene, that isn't even hinted at. He's much more evil. In the original, he treated Belle pretty kindly and was just so in love with himself that he didn't see the error of his ways. And then he transformed into a monster on the inside, contrasting the Beast and his transformation. But this Gaston is just a jerk. He and Belle have no relationship, and most of his bargaining over her is done with her father instead of Belle herself. I thought the song "Gaston" was pretty watered down from the original and they changed too many lyrics. It was too long, too boring, and lost my attention. Luke Evans does a great job, but he's simply not Gaston.

MAURICE
I can't put my finger on it, but I just wasn't a fan of Maurice. I loved how close he was with Belle, but that's a theme of the story. They made some enormous changes to the character, ridding him of his kookiness and stripping away what made him memorable to me. There wasn't as big of an emphasis on his inventions, and as I'll explain, I wasn't a fan of his backstory. Kevin Kline is a great actor, but Maurice was very bland.

LEFOU
There's been a huge controversy on turning LeFou gay. This is absolutely ridiculous. LeFou has one "gay" scene at the end and it's mostly played for laughs. While he isn't a progressive gay character, you shouldn't be looking for one in a remake of a Disney film. I thought he perfectly brought LeFou to life, and while his song was one of the weakest (I really didn't like "Gaston") his part was fine. He's really not "gay", and I think this was the fault of Gad and director Bill Condon trying to sell something that just isn't there.

LUMIERE, COGSWORTH, MRS. POTTS & PLUMETTE
When the first picture of Lumiere and Cogsworth came out, it was heavily scrutinized. They looked stupid, and it was impossible to tell where their face was. They have since updated their appearances, and I have no complaints. All of them look like their real appliances, with the exception of Lumiere, but he gets a pass because he's so charming. Ewan McGregor does a phenomenal job selling the accent and Lumiere's charm, but unfortunately, he butchers the song. "Be Our Guest" is my favorite song from Beauty and the Beast, and I actually hated what they did with it in this film. It's always been a simple song, where the servants simply feed Belle in a dinner theater style. But this was so over the top, likely to showcase 3D effects. Things were popping out all over the place, there was a Taj Mahal, spotlights, fireworks, and it was far too overstimulating. The entire group I went with thought it was awful. As for Cogsworth, we're just lucky Ian McKellen is somehow still alive and spritely, and he brings the perfect blend of awkwardness and lovability that Cogsworth needs. Emma Thompson perfectly fills in Angela Lansbury's shoes and really nails "Beauty and the Beast". She doesn't quite have the exuberance that Lansbury's teapot possessed, instead opting for a maternal glow. They changed Babette's name to Plumette (I'm not sure why?) as well as making her a bird (Another odd choice...) but Gugu Mbatha-Raw, one of my favorite underrated actresses, does an amazing job with her voicework. Her romance with Lumiere has the same platform as in the original, and it provides for some very funny and sweet scenes.

MADAME DE GARDEROBE AND CADENZA
One of the film's new songs is "Aria" sung by Audra McDonald before she's turned into a wardrobe. The song is short, but McDonald is without a doubt one of the greatest singers of all time, so it's certainly great to listen to. The song itself is very pretty, but again, feels like it's just an excuse to have her sing a ballad. She sings the opera version of "Beauty and the Beast" at the film's finale, and she does a better job than Emma Thompson or John Legend and Ariana Grande. They seemed to be giving Garderobe a subplot where she was narcoleptic, or falling asleep, and I didn't get that or see the need. As for Cadenza, he's really a small character who provides for a few laughs. I love Stanley Tucci and he does a great job, but it's an underdeveloped character.

THE LOOK
Every technical aspect of this film is impeccable. It's truly firing on all cylinders. The costumes, from Belle's dress to the white gowns in the opening, are all gorgeous. The effects for the enchantress and the Beast were fabulous. I predict the film will probably win the Oscar for Best Costume Design, and it has a good shot at Set Design as well. The sets are extravagant and enormous. The only issue is that the castle didn't seem real. I'm not sure what it was about the visual effects, but they were very poorly rendered. Every camera angle is shot as if by a professional Oscar-winner rather than the unknown cinematographer. It is the sets and and costumes that add to the allure that makes Beauty and the Beast so enticing.

PARIS
As I've previously expressed, I didn't like what they did to Gaston as a character. I didn't like Belle's singing. I hated "Be Our Guest" and didn't like "Gaston". I thought the effects were sometimes sloppy and I didn't love Maurice either. I also was left wanting some of the servants to have more screen time. But above all, I hated Paris. I appreciate trying to give Belle a backstory. But I believe it was just so unneeded. They give her a story in which her mother died of the plague in Paris, and she and her father had to leave her and move into their small town. It just made for some really sappy scenes between she and Maurice and for an absolutely ridiculous scene in which she and the Beast jump through time and space (Yes, this literally happens) in a storybook and visit her old house. I just found it so absolutely unneeded. The movie would do fine without it, and it was too unbelievable and wacky for me. Plus, if it's supposed to be sad, I should feel sad. And I just felt so disconnected from her in that moment.

So in conclusion, Beauty and the Beast is a fantastic film, but it isn't without its flaws. It's a truly magical adventure that is perfect for all ages. I really hope that this trend of adapting their Renaissance films continues to be as successful. Mulan comes out next year, and I'm a little worried about how they'll handle that, with Ghost in the Shell turning out to be an enormous disaster. Before I give my rating, I have also ranked the songs by how good I enjoyed them in the film, drawing from the visuals, the vocals, and the place in the story.

Sidenote: Don't bother staying for the credits, the Celine Dion song that plays is so awful and cheesy.

1. "Evermore"- The Beast
2. "Belle"- Belle
3. "Belle (Reprise)"- Belle
4. "Evermore"- Josh Groban
5. "Days in the Sun"- Cast
6. "Beauty and the Beast"- Ariana Grande & John Legend (I have my issues with this)
7. "Aria"- Audra McDonald
8. "Something There"- Belle & The Beast
9. "Beauty and the Beast"- Mrs. Potts
10. "The Mob Song"- Gaston
11. "Gaston"- Gaston & LeFou
12. "How Does a Moment Last Forever"- Celine Dion
13. "Be Our Guest"- Lumiere & Mrs. Potts
14. "How Does a Moment Last Forever- Maurice / Belle

Rating: