Movie review: The Hitman’s Bodyguard 

Movie reviews

Hello!

With the summer movie season coming to a close, let’s discuss one of its last offerings – The Hitman’s Bodyguard!

IMDb summary: The world’s top bodyguard gets a new client, a hit man who must testify at the International Court of Justice. They must put their differences aside and work together to make it to the trial on time.

Writing

The Hitman’s Bodyguard was written by Tom O’Connor and this picture was only his second screenplay to be produced. The script had both fun and dumb moments. The set-up, as well as the shared backstory of the protagonists, was good, while the dialogue and the banter were actually quite funny. The movie also had way more emotional depth than I expected it to. However, the antagonist was quite awfully written. I’m really over Eastern European politicians or mob bosses as villains in Hollywood films, mostly because I’m from that region but also because American screenwriters tend to reduce them to cinematic caricatures instead of portraying them as actual real-life threats. The fact that the writers (or somebody behind the scenes) thought that they needed to clarify that Belarus used to be a part of the Soviet Union with that sub-heading was kinda sad too.

Directing

The Hitman’s Bodyguard was directed by Patrick Hughes, who also did The Expendables 3. The influences of his previous picture could certainly be felt in his current one: while the last of The Expendables films was an intentional homage to the 80s actioners, the critics can’t really pinpoint the exact decade Hughes was referencing with The Hitman’s Bodyguard. I saw it being called ‘a love letter’ to both the 80s and 90s, but to me, it felt like an early 2000s action film, especially because of the split-screen opening sequence. The hand-to-hand combat was choreographed quite well, while the car chases were also entertaining and exciting enough. The soundtrack by Atli Örvarsson, full of well-known old-school pop songs, was a fun addition to the film too. The movie actually had two very enjoyably-cringy musical moments – the sing-off between Reynolds and Jackson and the nun bus scene. Another humorous sequence was Reynolds’s monologue to the bartender with action happening in the background (it wasn’t the most original but still a well-executed sequence).

Acting

The best part about The Hitman’s Bodyguard was its two leads – Ryan Reynolds (Life, Deadpool) and Samuel L. Jackson (Avengers, The Hateful Eight, Kong, Tarzan, Miss Peregrine) and their amazing chemistry. It was interesting seeing Reynolds trying to play ‘the straight man’, while it was also fun to see Jackson going absolutely crazy, even though he has done that before, for example, in Kingsman. Jackson has appeared in a tonne of films lately, I wonder whether the audiences will get bored of him or whether he is actually priceless in a supporting role.

Elodie Young played Reynolds’s love interest and did a nice job. She had a very good weekend, with not only The Hitman’s Bodyguard hitting theatres, but The Defenders (where she stars as Elektra) landing on Netflix. Salma Hayek (Sausage Party) had a tiny but hilarious role as Jackson’s love interest, while Gary Oldman (Dawn), for whatever reason, played the main caricature of a villain. Joaquim de Almeida also had a cameo role and an important plot-point was kinda spoiled by his involvement in the film (he just usually plays two-sided characters so I was fairly certain that he will be shady in this movie too).

In short, The Hitman’s Bodyguard is predictable but an entertaining enough action comedy that has a very expendable villain but is elevated by its two leads.

Rate: 3.5/5

Trailer: The Hitman’s Bodyguard

5 ideas about a movie: To The Bone

Movie reviews

Hello!

To The Bone is the latest Netflix original film (previous ones being Okja, War Machine, and Sand Castle), that similarly to another streaming platform’s project – 13 Reasons Why – tackles a controversial issue head on. Both of these pieces of entertainment have been accused of glorifying their respective analyzed problems but, to my mind, the viewers/critics that are saying that have completely missed the point. The depiction of problems forces a conversation and, even though the conversation might be uncomfortable, it is necessary, both on the personal and societal levels. And if Netflix’s TV shows/movie are the only ones willing to kickstart it, they should be praised rather than condemned.

IMDb summary: A young woman is dealing with anorexia. She meets an unconventional doctor who challenges her to face her condition and embrace life.

  1. To The Bone has been written and directed by Marti Noxon, who was a writer and executive producer on Buffy the Vampire Slayer. The script was, arguably, the strongest part of the film. To The Bone presented anorexia from a variety of angles and through the perspectives of a diverse range of characters. And what was even greater was the fact that this varied portrayal was realistic and detailed but the ultimate message was one of hope.
  2. The main character’s family was given as a very toxic example of what not to do. All of the mother figures in the film were far from supportive: the stepmother raised questions of beauty instead of health, while the mother and her partner were distant. All of them were more focused on their own problems. And that nicely corresponded to the message of the film which was, to my mind, the fact that the patients have to heal for themselves. It’s about choosing life for themselves. Nevertheless, it’s also important for them to understand that they deserve the support of others. Even though they are reduce to it, they are not just a nameless burden or somebody’s else problem, they are a person.
  3. I also really appreciated a lot of contemporray approaches to the portrayl of the eating disorder. The tumblr aspect was fasnicating and so true to life. While the blogging site is an amazing creative hub it’s also a cesspool that both perpetuates and fights of a lot of mental disorders. The strict and relentless doctor character was a very interesting inclusion as well. His ‘let’s cut to the core’ attitude was very eye opening. The clinic house and the challenging boding remimded me of a depiction of a group home on The Fosters TV show. Lastly, the feeding scene was heatbreaking and the mother-daughter connection on display in the said scene kinda made up for the earlier negative portrayal of the female authorty figures.
  4. Having touched upon Noxon’s writing, I’d like to now turn my attention to her direction of To The Bone. I thought that the movie’s slow pace was good amd fitting, while the visuals – a classic example of a narrative film/drama. Even though the film has been primarly released on a streaming platform/small screen, the art show and the main character’s night stroll/dream at the end of the movie added a cinematic quality to the picture. The dead body shot at the end of the film was also a very striking image just on its own. Noxon’s portrayl of eating – as a ritualised or sexualised action – was also very interesting.
  5. The main character of the film has been played by Lily Collins, who after starring in some B-level pictures (Mirror Mirror, Love, Rosie) has really blossomed into a wonderful actress in these past few years, with roles in Rules Don’t Apply, Okja, and this film. Her physical transformation for the role was also praisewrothy career-wise but defintely not health-wise. Keanu Reeves was also good. While action movies are still more in his wheelhouse (like John Wick), lately, he has been getting pretty good at drama (like here or in The Neon Demon). Liana Liberato, who I first saw in the film Trust about the dangers of social media, was also very good in this movie, playing the only supportive family member. Lastly, a Tony-award winning actor Alex Sharp was an absolute scene stealer. His character had an aura of theatricality that must have fit perfectly with the talents of a Boradway/theatre actor.

In brief, To The Bone variedly and realistically portrayed the taboo isue of anorexia. The screenplay was informative but not gloryfying, while the acting was stark and emotional rather than inviting of any kind of copycat behaviour.

Rate: 4/5

Trailer: To The Bone trailer

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Movie review: The Dark Tower

Movie reviews

Hello!

Recently, there has been a resurgence in the popularity of westerns with both remakes (The Magnificient Seven) and reinventions of the genre (Westworld) hitting the big and the small screens alike. Let’s see whether The Dark Tower can continue the trend.

IMDb summary: The last Gunslinger, Roland Deschain, has been locked in an eternal battle with Walter O’Dim, also known as the Man in Black, determined to prevent him from toppling the Dark Tower, which holds the universe together. With the fate of the worlds at stake, good and evil will collide in the ultimate battle as only Roland can defend the Tower from the Man in Black.

Writing

The Dark Tower film is both an adaptation and a continuation of the Stephen King’s book series by the same name. Sony has tasked Akiva GoldsmanJeff PinknerAnders Thomas Jensen, and the director of the picture Nikolaj Arcel with the honor and the burden of crafting the narrative that can equal as well as complement King’s. And, as most of you already know if you read any of the earlier reviews, this group of screenwriters utterly failed. However, I can’t say I’m that surprised. Goldsman has written a lot of bad movies in his day (Batman&Robin, Insurgent, Transformers 5) and the only reasons why he is still working is the fact that he has an Oscar for A Beautiful Mind. Pinkner has already murdered one franchise before it even started by writing The Amazing Spider-Man 2 and, for some reason, he is writing the Venom solo film too. I don’t know much about Jensen’s work because he has mostly worked on Danish films before now. Arcel is also a Danish filmmaker, however, he might actually be known to the English speaking audiences more for a film A Royal Affair, which stars Alicia Vikander and Mads Mikkelsen – two Danish actors who have fully transitioned into Hollywood.

Speaking of the writing for The Dark Tower, I don’t even know where to begin. The whole screenplay just seemed so lazy and uninspired. There was no interesting set-up for a story or any attempt to build an engaging and fascinating world. Maybe the scriptwriters were hoping that all movie goers have read King’s novels and would already know all the mythology so they didn’t bother putting it in the film. The plot itself was so basic. The characters acted in a certain way just because the screenwriters wanted them to and neither their reasons nor motivations could be found in the picture. The character development wasn’t the best either. The gunslinger was reduced to a stereotypical tired hero, back from retirement for one last fight, while the child lead was a walking cliche too – a tragic figure with a heart of gold (the film even had the super overdone cliche of the parents not trusting their child). The villain – the man in black – was fine but he also could have been so much better: more ominous or well explained or explored.

Directing

Nikolaj Arcel didn’t impress anyone, I included, with his directing. The visuals were boring: there was zero originality in the location design – a couple of industrial warehouses, a bunch of disposable huts, and some fake looking and grim CGI exteriors. The action itself wasn’t that exciting either. For one, there wasn’t enough of it. The man in black should have been allowed to do more with his immense powers, while the gunslinger should have shot stuff more. Also, when you have a character whose main trait is his gun shotting skills, create some inventive and fresh gun action scenes rather than just doing the same thing that every movie does. The only cool parts involving the gunslinger were the shots of him reloading the gun as well as the final diversion bullet thing. I wanted to see more of that! The other part of the film that I can sort of compliment was/were the costumes – they looked neat but mostly because they were worn by good looking Hollywood A-listers than can pull off an outfit consisting of both a low-V shirt and a vest. Lastly, the pacing of the movie was super problematic too. The Dark Tower was only around 90 minutes long – one of the shortest blockbusters in recent years – but it dragged all the time and still felt like it was too long.

Acting

I kinda feel bad for Idris Elba (Zootopia, The Jungle Book, Bastille Day, Star Trek Beyond, Finding Dory, Beasts of No Nation) and Matthew McConaughey (Interstellar, Free State of Jones, Kubo and The Two Strings, Sing): they deserve to act in a better movie than this – but I also don’t think that they delivered their best performances that might have saved the film. McConaughey was cool as the man in black. As I have said, he looked good, he was charismatic but his energy was at an all time low. Elba was fine too but he didn’t make a big impression. Tom Taylor played the young boy and did an okay job but he wasn’t a revelation.

In short, The Dark Tower was a huge disappointment that bored me to the death. I really doubt that this franchise will continue, neither on the silver screen nor at everyone’s homes.

Rate: 2.5/5

Trailer: The Dark Tower trailer

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Movie review: Girls Trip

Movie reviews

Hello!

It seems that nowadays, more and more Hollywood films break the boundaries of disposable entertainment and start to provide commentary on or revelations about the modern society. Girls Trip has accidentally become one of those kinds of films too. Let’s review it!

IMDb summary: When four lifelong friends travel to New Orleans for the annual Essence Festival, sisterhoods are rekindled, wild sides are rediscovered, and there’s enough dancing, drinking, brawling, and romancing to make the Big Easy blush.

For those not understanding my cryptic intro: Girls Trip is a female centric comedy about a group of friends reuniting after years of separation. Sounds familiar? That’s because you have already seen that movie this summer and I have also reviewed it for you. It was called Rough Night and it wasn’t that good. Things get interesting when you realize what is the difference between the two films. Rough Night had a predominantly ‘white’ cast, while Girls Trip has cast mostly ‘black’ actors. What surprised Hollywood the most was the fact that the ‘black’ version of the film did much better at the box office and with critics. I don’t even want to get into what this means for the business and for society. Is it a coincidence? A one time deal? A plea for more diversity? Or maybe Girls Trip is just a better and more entertaining film than Rough Night? Cause at the end of the day, Hollywood movies are still, first and foremost, pieces of entertainment, despite the extra baggage that they now carry.

Writing

Girls Trip was written by Kenya Barris (the creator of Black-ish who has also worked on ANTM), Tracy Oliver (a TV writer), and Erica Rivinoja (also a TV writer but she also penned the story for Trolls).

The initial opening and the set up for the story was short but effective. It quickly (but not in a rushed way) setup all 4 ladies as, more or less, 4 equal leads. The archetypes of a girl group were there (the mommy, the crazy one, the career-focused, the leader) but were also expanded upon as well as subverted. The script also had a lot of fun with the different pairings of the girls.

The script treatment of the concept of friendship was amazing because of how realistically this relationship was portrayed. There were moments of genuine sweetness (the inside jokes felt real as well as the majority of the dialogue) and fearless confrontation. While I really liked the relatably exaggerated moments of comedy (something along the lines of memes or FB post you would tag your bestie on), the heated scenes full of arguing were where the screenplay (and the actresses) shined the most. I loved how these disputes touched upon the influence of social media as well as the career v friendship discussion. These moments really added some drama and elevated the whole film from just being a comedy. Additionally, these scenes helped to bring home the message about true friends, who aren’t afraid to confront you for your own good. The second dual message of the movie was also wonderful. Both the surface idea that one can have it all was uplifting, as well as the deeper idea about being okay with not having it all. The final speech about discovering one’s own voice and embracing the loneliness was very lovely too.

Directing 

Girls Trip was directed by Malcolm D. Lee. I thought that he did a very good job realizing the modern setting of the film and pacing this story. The snappy moments of humor (like the tripping sequence and the dance off) were paired with slower sequences of the character (and the friendship) development, which were believably emotional. The style of filming was good too: varied but familiar.

Acting

The 4 actresses in the lead – Regina HallQueen LatifahJada Pinkett Smith, and Tiffany Haddish – did a wonderful job bringing these characters to life. They seemed like they had a lot of actual fun on the set – the chemistry was real. I really wish I knew more about their previous work, especially Hall’s and Haddish’s. Speaking about Haddish – she was really close to being too much (going into cartoon territory) and yet still, her antics somehow worked. What I loved even more was the other actresses’ reaction faces – they were priceless. Lastly, Hall’s and Queen Latifah’s characters’ competitive yet loving relationship was also very well portrayed, while it was fun to see Jada Pinkett Smith in a much more comedic and tonally lighter role than her the one she used to play on Gotham. She was also recently in two other comedies – Magic Mike XXL and Bad Moms.

The supporting cast, in addition to having a plethora of celebrity cameos, also included a few familiar faces from Netflix. Luke Cage’s Mike Colter had a small role, while Kate Walsh, from 13 Reasons Why, also starred.

In short, Girls Trip is an entertaining and relatable comedy. And yes, it is better than Rough Night cause it knows what it is and what it has to deliver.

Rate: 4/5

Trailer: Girls Trip trailer

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Movie review: The Big Sick

Movie reviews

Hello!

I had a chance to watch, probably, the most original film of the year and I really want to talk about it. It’s The Big Sick!

IMDb summary: Pakistan-born comedian Kumail Nanjiani and grad student Emily Gordon fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family’s expectations, and his true feelings.

Writing

The Big Sick was written by Emily V. Gordon and Kumail Nanjiani. They based the script of their actual relationship and Nanjiani also portrayed a version of himself in the film. Gordon has mostly written for TV before, while Nanjiani has done a lot of acting and writing for TV too. The Big Sick was their biggest writing project to date.

The aspect of the film, which has been discussed the most, was its diversity or, more specifically, the ethnicity/race of the main character/actor as well as the cultural commentary provided by the movie. Everyone in the industry was super surprised that a movie with a Pakistani-American actor in the lead could succeed financially (critical success seemed more plausible) or that audiences were actually interested in a different culture.

On top of being interested in a different culture, audiences just usually look for a quality film to watch, and The Big Sick was exactly that. I thought that it had one of the best scripts of the recent romance films because the relationship was written in a realistic manner. The dialogue between the two people was fresh and actually sounded like an interaction between real people: it had moments of awkwardness and comfort, fun and absurdity but was also very sincere. The slight gendered bickering wasn’t out of place either and felt like a believable part of a modern relationship. The cinematic cliches (e.g. a guy listening to the girl’s voicemails after the breakup) didn’t look forced or cringy but actually seemed cute and natural. Lastly, the way Gordon and Nanjiani wrote the ending of the film was just absolutely brilliant. They didn’t go for a grand reveal and an instant fairy tale conclusion but crafted a realistic ending to a relationship – the kind that people have to work for.

Speaking about the portrayal of a different culture, I thought that The Big Sick was very successful in that aspect. I loved how the film presented a varied Pakistani-Muslim community, with some people keeping up with the traditions more and some less. It was also very thoughtful of the movie to showcase a successful arranged marriage (while it might not be for everyone, it can also bring happiness). In addition, I loved how the movie wasn’t afraid to not just present the culture but to critique it (or even joke about it). One of the best moments in the picture was the scene where Nanjiani’s character voiced his doubts about the culture (are the American lifestyle and the Muslim culture at all compatabile?). I loved how in that moment, he both remained respectful of the culture but also wasn’t blinded by it and underscored the importance of his own personal experience. The inclusion of Nanjiani’s career plot-line into the picture also helped to interrogate the culture from more than not just the romance angle, while it also made the story richer and elevated the whole movie.

Another unique part of the film was Nanjiani’s character’s bonding time with his girlfriend’s parents (I haven’t seen anything similar in recent times or maybe ever). Their conversations were really genuine but also fun. The scene of the mother character showing her daughter’s childhood pictures to the boyfriend was so true to life. The way the parent characters were written to behave at the hospital – writing everything down and googling the symptoms – added another layer of realism to the film too. My only slight gripe was the fact that I didn’t think that the inner problems of the parent’s relationship were necessary. However, their addition to the movie didn’t detract from the main relationship too much.

Directing

The Big Sick was directed by Michael Showalter whose previous picture was also a romantic comedy – Hello, My Name is Doris, which was as unique as The Big Sick. Both of these pictures focused on unconventional romantic pairings, be it because of the age or ethnicity of individuals in the relationship.

I thought that Showalter did a very good job directing The Big Sick. I liked the overall aura of the film: it had the authenticity of a documentary film but was approachable as a narrative film. Plus, although it was an indie picture, it had the continuity and flow of a mainstream romantic comedy.

Moreover, The Big Sick was very nicely paced: the story progressed slowly but never dragged, instead, the movie cleverly took its time to build an emotional core of the narrative. The reveals in the story also came organically and weren’t shocking just for the sake of being shocking. Alternatively, they were, again, more focused on the sentimental impact.

Acting

  • Kumail Nanjiani had a few minor roles on the big screen prior to this picture, though he was most well known for being on the main cast of Silicon Valley (a series that I have yet to watch). I wonder how was it for him to play a version of himself – whether it was easy or extremely difficult and whether he had to withhold or embellish his personality for the camera. Overall, I believe that he portrayed the character’s arc very concincigly and I hope that this film’s success can lead to more movie roles for him.
  • Zoe Kazan was also very good in the picture. Her and Nanjiani’s chemistry was amazing too. Holly Hunter and Ray Romano starred as the parent and did a nice job as well. It was delightful to see Hunter in a better film than her last one (BvS) and Romano actually appearing on the screen instead of just voicing the mammoth in the endless Ice Age movies. Lastly, the film’s cast was rounded out by a whole bunch of stand-up comedians, who all delivered excellent performances.

In brief, The Big Sick is one of the most unique romantic comedies I have ever seen. Not only does it have a fresh perspective and an original concept to explore, it is simply just a very well made movie.

Rate: 4.5/5

Trailer: The Big Sick trailer

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5 ideas about a movie: The Emoji Movie

Movie reviews

Hello, my dear readers!

Yup, I did it. Didn’t much want to but did it. Let’s just get this over it. This is the review of *sigh* The Emoji Movie!

IMDb summary: Gene, a multi-expressional emoji, sets out on a journey to become a normal emoji.

Before I sink my teeth into that trainwreck of a film, I’d like to praise the animated short that preceded the main feature. The Emoji Movie was accompanied by Puppy!, a Hotel Transylvania short directed by Genndy Tartakovsky. The short picture was cute and relatable and once again proved to me that Hotel Transylvania franchise is the only Sony Pictures Animation series that is worth something. Now, onto the main attraction.

  1. The Emoji Movie was directed by Tony Leondis (he has worked for all the big animation studios before, but only on their lesser known projects), from a script written by Leondis himself, Eric Siegel, and Mike White. The film has already been compared to Inside Out (cause of the focus on emotions), Wreck-it Ralph (cause both films revolve around technology based characters), and The Lego Movie (cause of the obvious corporate advertisement aspect). However, even though The Emoji Movie might be topically similar to these pictures, it vastly differs from them in quality.
  2. If we take the movie’s concept on its own – the emoji culture – it sort of sounds like a good idea. Nevertheless, if we just dig a tiny bit deeper, we soon realize that there is literally no inspiration for a story – an actual narrative – to be created out of the concept. That’s the main problem of this film – the narrative was simply worthless and just a collection of cliches. The conflict of the plot was super artificial too. The film attempted to have an emotional core but did not succeed at all.  Actually, when the emoji characters tried to display or withhold emotions, they seemed borderline psychotic rather than fun or relatable.
  3. The Emoji Movie seems to have been made by filmmakers (or a board of executives) that have zero understanding of their audience. It appears that they were trying to make a movie for a stereotypical millennial who doesn’t really exist. This could be obviously seen in the humor of the film. While half of the jokes were plain bad, the other half was an obvious example of the writers trying too hard and attempting to be cool and ‘in-with-the-kids’. Plus, the tongue-in-cheek jabs at social media culture didn’t really have a place in the film either. One cannot both perpetuate the culture and critique it in the same film.
  4. Despite generally hating the movie, I still found a few positive things in its script. Mostly, these were the spot-on inclusions of the phone related stuff. For example, I liked the fact that the film acknowledged the smiley emoji as being the OG emoticon and how the favorites section was turned into a VIP club.  The realization of the whole phone world wasn’t bad, actually. I liked the inclusion of the spam emails, the viruses, the cloud, Instagram, CandyCrush, Dropbox, Firewall, JustDance (even if the addition of apps was just for promotional/financial purposes) and the viral videos. The 3D animation style was good too but it always is nowadays.
  5. The voice cast of the film consisted of: Deadpool’s T. J. Miller (he was a good choice for such an ”out-there” project, I just wish that the film would have been crazy in a good way and worth his talents), James Corden (he was trying his best and his voice was instantly recognizable), Anna Faris (she was fine), and Logan’s Sir Patrick Stewart (he had like 5 lines in the film and, honestly, the only reason he was cast was so that this  film could have an honor of being the movie that turned a respectable actor into literal poop).

In short, The Emoji Movie was a mess, not even worth the ‘meh’ emoji.

Rate: 2/5

Trailer: The Emoji Movie trailer

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Movie review: Wind River

Movie reviews

Hello!

Let’s take a break from all the summer blockbusters of varying quality and give a chance to the dying genre of the regular movie. This is the review of Wind River.

IMDb summary: An FBI agent teams with a town’s veteran game tracker to investigate a murder that occurred on a Native American reservation.

Taylor Sheridan

Wind River is a thriller, written and directed by Taylor Sheridan. Sheridan’s name might be unfamiliar to a lot of people, but cinephiles should know him for writing two recent marvelous pictures that both had some awards potential – 2015’s Sicario and 2016’s Hell or High Water. While Sheridan didn’t direct any of his previous scripts (Sicario was done by Villeneuve, and Hell or High Water by Mckenzie), he does have some directing experience, having helmed 2011’s horror film, Vile. Wind River is being distributed by the awards whisperers The Weinstein Company. Their involvement combined with Sheridan’s previous track record might actually give Wind River a chance to make some ways during the proper awards season. More importantly, the film highly deserves that.

Writing

Sheridan, similarly to his previous movies, has written a story that’s both thrilling and entertaining but is also thematically clever. Wind River, a film inspired by true events, is set on a Native American reservoir and the first victim of a crime is a young Native American woman. The local police are not equipped to solve the mystery, while FBI is also not willing to pay a lot of attention. This fictionalized account goes very much in line with the real life events (so, ‘inspired by true events’ sentence is accurate). As an anthropology student, I have studied a few cases of Native American women going missing in the north of North America and the local authorities doing nothing to find them (in class, we mostly focused on cases in Canada but the film’s Wyoming’s case was very similar). Wind River’s story at least had a somewhat happy ending and some closure, however, that’s usually not the case in real life. So, it was really nice for a film to end with a sentence about the statistics of missing Native women –  a call to action, even if it will probably go unheard.

The depictions of the reservoir life seemed quite accurate. The problems within a Native American community – the drugs and substance abuse, poverty, the loss of identity and the marginalization – were all mentioned. The relationship between the white Americans and the Native Americans was represented in a variety of ways. The viewers saw both a friendly relationship of a white man being, more or less, a member of a community and an outsider white American being seen as a hostile stranger (at least in the beginning). Lastly, even though some of the ideas and relationships in the film could be seen as very specific and having a limited crossover, the overarching themes of the picture were survival and family – two extremely universal concepts that are understood across all cultures.

I have mentioned the historical facts as well as topics of the movie, let’s now turn our attention to the actual detective story. To begin with, I found it refreshing to see an FBI agent and a local hunter working together and listening to one another, rather than competing to reach the same goal. It was also nice to see a completely professional relationship without any pushed romance being depicted. The reveal of who the criminals were – 5 white, less than bright, drunk men from a working class background – was maybe a bit disappointing at first but, on a second viewing, very much grounded and realistic. Plus, the scene that followed the reveal – the rapid shoot-out – was unexpected in the best way possible and also oddly satisfying.

Directing

While Sheridan’s directing style wasn’t groundbreaking, it was still good in its subtlety. His direction for the picture was mostly elevated by his own amazing writing. Visually, the film looked nice – the sweeping shots of the mountains and snow were naturally gorgeous, while the sequence of the snowmobile action added an element of effortless coolness. The pacing was very good too – the film was constantly building to a crescendo and also delivered on it. Wind River was definitely a great effort from a sort of new director.

Acting

At the center of Wind River, two Marvel stars were reunited – Jeremy Renner and Elizabeth Olsen. They both did a magnificent job. It was nice to see Renner continuing his indie/awards career alongside his blockbuster-focused one (he was just recently in Arrival in addition to Civil War, MI5, and Age of Ultron). Elizabeth Olsen (Godzilla) has really come into her own as an actress and is probably now more famous (acting-wise) than her older sisters.

The supporting cast, thankfully, provided an opportunity for some Native American/First Nations talent to shine, like Gil Birmingham (he was also in Hell or High Water), Julia JonesGraham Greene, and Martin Sensmeier. Jon Bernthal (Baby Driver, The Accountant, We Are Your Friends) also appeared in the film, reuniting with Sheridan, after having worked on Sicario with him. 

In short, Wind River is an emotional, smart, and entertaining thriller that deserves more recognition that it will probably get.

Rate: 4.4/5

Trailer: Wind River trailer

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Movie review: Valerian and the City of a Thousand Planets

Movie reviews

Hello!

Welcome to another birthday movie review! For the past 3 years, I have spent my birthdays at the cinema, always watching a comic book movie. In 2014, it was Guardians of the Galaxy, in 2015 – Ant-Man, and just last year – Suicide Squad. Well, this year, neither DC nor Marvel are releasing films in August, so, I’m branching out and giving a chance to Valerian and the City of a Thousand Planets – a film, based on a French comic book Valerian and Laureline, advertised by the director Luc Besson as ‘the ‘it’ European blockbuster’, that is as good as its Hollywood counterparts.

IMDb summary: A dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the universe.

Luc Besson

The French filmmaker, known for 1990s’ classics Léon: The Professional and The Fifth Element and that Scarlett Johansson Black Widow addition film – Lucy, both wrote and directed Valerian. Besson was a fan of the comic book by Pierre Christin and Jean-Claude Mézières growing up but didn’t seriously consider adapting the property until Avatar showed him what can be done with CGI. I, personally, was quite interested in the film as I love the sci-fi genre as well as the previous work of the director. However, I seemed to have been the only one, as Valerian didn’t really click with the critics, nor the audiences. To be fair, even if the audiences liked the movie, no amount of the box office money could have justified the insanely huge budget. The decision to cast financially unproven leads didn’t help the film either.

Writing and Story

The writing for the film was quite a mixed bag. The story itself was actually quite interesting, however, it was way too drawn out. A lot of the plotlines truly felt like an excuse for the CGI team and the director to showcase more of the spectacular effects. If a lot of the scenes of the characters, aimlessly wandering around, would have been cut, the final product would have had a much tighter and more exciting adventure narrative. I didn’t hate the expositional scenes, though. I actually quite liked the silent opening of the film – the establishment of Alpha – and I did appreciate that the characters spelled out the plot points to the audience during the third act because the walking (or running) around scenes made me kinda lose track of the purpose of their journey.

Thematically, the two leads weren’t bad. I enjoyed the fact that the two of them represented different ideas – Valerian was all about the rules, while Laureline was more rebellious. Nevertheless, the character of Valerian bugged me because of how inconsistent he seemed. Although all the promotional booklets that I received prior to this film (one at the cinema and one during the Free Comic Book Day) introduced Valerian as super ambitious and career-driven major, in the picture, he seemed more interested in advancing his relationship with Laureline rather than getting to a higher career level. In truth, the whole romantic aspect of the movie wasn’t fully working for me and seemed a bit pushed.

Directing and Visuals

The visuals have been the most universally praised part of the film and I feel confident in seconding those praises. Valerian looked magnificent – from the character and the location designs to the scope, the CGI was both inventive and of good quality. It didn’t look photo-realistic, but it was a brilliant realization of a vision of fantasy. The sweeping shots of the market at the begging as well as the sequence of Valerian’s chasing the intruders through the Alpha station were two of my favorite parts of the film. The scene with Rihanna – her performance – was too long. Also, I wanted it to have more of the amazing transformations and fewer elements of a strip club-like dance. Lastly, the runtime (which I already mentioned) – Valerian was way way way too long. Honestly, halfway through the film, I could already feel its self-indulgence.

Acting

However unproven this cast was as the box office draws, I still mostly enjoyed them in the roles. I’ve been a fan of Cara Delevigne (Paper Towns, Suicide Squad) before she started acting and I always believed that she had a natural kind of charisma that shines through her acting. That might be because a lot of the characters are extensions of herself (rebellious, charming, and beautiful). Even though I think she is quite charismatic on her own, her chemistry with the co-star Dane DeHaan was not to be found. On his own, DeHaan hasn’t really blown me away as of yet and I still feel the same after Valerian. He was bearable in the role and I doubt that his career will get much of a boost. More importantly, if his box office numbers don’t improve, he might not get another chance. He might actually be better off sticking with smaller dramas than big actioners. 

The involvement of more serious, indie and niche actors, like Clive OwenEthan Hawke (Boyhood), and Sam Spruell (Sand Castle) was supposed to give this movie more gravitas, but I’m not entirely sure that that plan worked. These serious actors did seem a bit like caricatures of themselves, acting with all that green screen. Rihanna (Battleship, soon Ocean’s Eight) was fine in the brief cameo performance. (Fun fact: I saw her live at a concert almost exactly a year ago). However, her appearance in the film should have been played up way more – that might have been the only saying grace of this movie’s ad campaign. Speaking about the things that still might save this film – that’s Chinese audiences and the Chinese star Kris Wu, who has a small yet stereotypically crucial (plot-wise) role in the film. He made his Hollywood debut just earlier this year, in XXX: Return of Xander Cage

In short, Valerian and the City of a Thousand Planets is a grand and gorgeous film, with a runtime (and story) that’s even longer than the film’s name.

Rate: 3/5

Trailer:  Valerian and the City of a Thousand Planets trailer 

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5 ideas about a movie: The Beguiled

Movie reviews

Hello!

A festival favorite and one of the strongest summer contenders for the awards season – The Beguiled – has premiered, so, let’s review it!

IMDb summary: The unexpected arrival of a wounded Union soldier at a girls’ school in Virginia during the American Civil War leads to jealousy and betrayal.

  1. The Beguiled was both written and directed by Sofia Coppola, latter of which was awarded at the Cannes Film Festival – she became the second woman ever to the Best Director Award. I’ve seen some of her films (The Bling Ring and Lost in Translation), but I’ve always had her other pictures on my ‘To watch’ list. I really need to do a movie marathon consisting of not just hers but of The Coppola’s family tree films.
  2. The movie’s script was based on a book A Painted Devil by Thomas P. Cullinan and the main topic being explored was the taboo issue of female sexuality and, especially, the repressed female sexuality and its dangers. Thus, all the character development mostly revolved around this issue, with not much attention being paid to anything else. The actions of the women did not make them into likable characters, while their choices at the end of the film were really quite shocking, which, I guess, was the intention. I did like the jab at the ‘Southern Comfort’, though – it’s the food that kills you. Literally.
  3. The writing for the lone male character was the best and he was the most well-rounded individual. His slay manipulations could really be seen in Colin Farrel’s (The Lobster, Fantastic Beasts) performance: he knew what each of the ladies wanted him to be and fulfilled that role. He was the older brother and an adult of the world to talk to, he was someone to impress and a potential suitor. Mostly, though, he was the personification of the budding sexual fantasies. These type of manipulations in his demeanor and the bursts of anger made me kinda see his demise as weirdly justified.
  4. Coppola’s directing was full of classical elements, like the steady camera, the old school ratio, and the long shots. These long shots really dictated the pacing of the film. The Beguiled was slow but carefully crafted, however, I did feel that, on a few occasions, some shots were lingering for too long without any intensity in them to make up for the lack of literal action. Nevertheless, I did enjoy the way Coppola realized the setting of the Civil War, with the noises of the battle going off in the background, but never allowed it to overpower the romantic drama happening within the house. The Beguiled wasn’t a Civil War film but a romantic thriller set during it. For the first hour, it was quite innocent (flirty and cute), while the last half hour was full of unforeseen cruelty and insane choices (all those repressed feelings were just bubbling over).
  5. I’ve already briefly touched upon Farrel’s smooth performance, so, now let’s look at the female cast. Nicole Kidman (Genius, Lion), Coppola’s usual partner Kirsten Dunst (Hidden Figures, Midnight Special), Elle Fanning (Trumbo, The Neon Demon), Angourie Rice (The Nice Guys, Spider-Man), and Oona Laurence (Southpaw, Bad Moms, Pete’s Dragon) all starred in the picture. The sexual tensions and frustrations were palpable in all of their performances with the exception of the youngest cast member Laurence.

In short, The Beguiled is a beautiful and slow art-house cinema offering that focuses on a theme that is still not as widely discussed as it should be, in the year 2017.

Rate: 4/5

Trailer: The Beguiled trailer

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Movie review: Dunkirk

Movie reviews

Hello!

A movie, that needs no introduction, has reached theaters, so let’s talk about it. This is the review of Dunkirk.

IMDb summary: Allied soldiers from Belgium, the British Empire, and France are surrounded by the German army and evacuated during a fierce battle in World War II.

Before we start discussing the film, I’d like to remind you that there already is a picture about Dunkirk, released in 2017 – Their Finest. It’s a completely different but as interesting take on the ‘event that shaped the Western world’. Also, my previous review of a Nolan film is the one for Interstellar.

Christopher Nolan

Both written and directed by Nolan, Dunkirk is the highly acclaimed director’s 10th feature film. It has already been labeled as his best film as well as a ‘masterpiece’ of modern cinema. With all of these accolades in mind, my expectations have also been really high. And while I certainly wasn’t let down, I haven’t been blown away either.

Writing

Dunkirk’s writing is unique (as should be expected from Nolan – the master storyteller) in that the film doesn’t tell a story of the evacuation but rather recreates the evacuation. The staples of the narrative, like the extensive dialogue or the character development, are mostly absent from the movie and the glimpses of the personal stories are scarcely dispersed throughout the intense action scenes. I believe that the lack of the character development actually serves the movie right because that makes the viewer see the characters as nobodies – a faceless mass of interchangeable soldiers – which is what they actually were. I did miss Nolan’s great dialogue, though, even if this film’s setting didn’t really call for it.

Even though, the picture doesn’t have much in terms of narrative, the plot that is in the film is told in a non-linear way (again, as it should be expected from Nolan). However, there isn’t too much of jumping around (Dunkirk is no Memento). The three main plot threads – the land, the air, and the sea – provide different and interesting perspectives on the evacuation but I wish that these viewpoints were wider within themselves. For example, I wanted to see the faiths of more than a few soldiers, or more than two planes, or more than just one civilian boat.

Another interesting choice that is made in the script is the decision to never call out the nationality of the enemy. Never once in the picture, do we hear the words ‘Germans’ or ‘Nazis’. It’s always ‘the enemy’. Is that the political correctness of today bleeding into a WW2 film or is the eternal shame and guilt of the German nation is slowly coming to an end?

Directing

Christopher Nolan has always been amazing at visuals and he proves that again with Dunkirk. The whole film feels, more or less, like the expanded version of the Saving Private Ryan opening beach sequence, with the levels of dread, fear, and destruction, never dipping below the maximum. The intensity is palpable, while the emotions – heart-wrenching. From a purely aesthetic view, the shots are masterfully composed, both in the air, on land, or in the water. To my mind, Dunkirk might not be his best film, but it is certainly a great-looking one.

Music

An element of Dunkirk that sometimes rivals the visuals as its best part, is the soundtrack by Hans Zimmer (a longtime creative partner of Nolan’s). The master composer (I feel like I used the word ‘master’ too much already) surpasses the sky high expectations and delivers an emotional, eerie, thrilling, and haunting score. The sounds of the bombs are so crisp and clear that one can definitely hear if their cinema’s sound system is lacking in quality (I’m not pointing any fingers).

Acting

Dunkirk has an extensive ensemble cast, full of newcomers as well as seasoned A-listers. All of them deliver excellent if brief performances. On land, we follow Fionn Whitehead (in his first film role), Aneurin Barnard (a Welshman playing a Frenchman disguised as an Englishman) and an ex-1D member and a successful solo artist Harry Styles. Nolan has claimed to not have known about Styles’ fame before casting him in the film. I find that doubtful because Nolan has a teenage daughter who might (must) have known who he was. Also, even if she (or he) wasn’t a fan, the 1D craze a few years back far exceed the limits of the fandom and was absolutely everywhere, so Nolan should have definitely at least have heard about him. Anyways, for whatever reason Styles was cast in the picture, he did act as a somewhat box office draw, as evident by a mother-daughter duo, who sat next to me in the cinema and could not shut up when his face showed up on screen. On a side note, I didn’t see anyone complaining about his involvement in the film or that his ‘famous face’ took the viewer out of the movie, but, somehow, Ed Sheeran signing three lines on Game of Thrones is a disaster that breaks the fictional world’s continuum?

Back to the cast I was discussing in the first place, the ‘land’ portion of the plot also had Kenneth Branagh (director of Cinderella and the upcoming Murder on the Orient Express) and James D’Arcy (Agent Carter) as two officers of exposition and trailer one liners. The ‘on the sea’ perspective had Mark Rylance (whose career really took off only in 2015 with Bridge of Spies, then The BFG, and soon Ready Player One), accompanied by a screen newcomer Tom Glynn-Carney and a bit more experienced Barry Keoghan. A longtime creative partner of Nolan’s  Cillian (Free Fire) also appeared in the film, in the probably the most fleshed out role. The ‘air’ part of the plot was acted out by Jack Lowden and another of Nolan’s usuals – Tom Hardy (Mad Max, Legend, The Revenant) with his face half-obscured as always.

In short, while I might not think that Dunkirk is a masterpiece, I unquestionably agree that it is a great film. The visuals are stellar, the acting is effective, and the writing – full of bold choices that I might not like but can and do appreciate.

Rate: 4,3/5

Trailer: Dunkirk trailer

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