2017: 100 Book Challenge

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Hello!

Welcome to another 2017 round-up post. I’ve already done a post about my favorite and least favorite movies of the 2017 and now it is time for my list of book for this year. I don’ really post about books on this blog (I write short comments about them on Instagram as @sharingshelves) but since a lot of the books I’ve read are movie related (novels and comics that are adapted into films or non-fiction works about movies), I thought that some of you might be interested in my suggestions/recommendations. Also, I wasn’t planning on repeating the challenge but I managed to finish 100 books again this year (did the same in 2016). I have to promise myself that I’m not even going to attempt to read this many books next year, as when I have a certain numerical goal in mind, the reading experience does become more about quantity than quality.

Before I give you the list, here are a couple of general notes about it:
• From the 100 books this year, 10 were in Lithuanian (my native language) and 90 in English – I’m reading less and less in my native language every year.
• Most popular authors were Galbraith/Rowling for novels and Ennis, Bendis, and Snyder for comic books.
• I’ve read more graphic novels this year but fewer non-fiction books. My most often read comic book characters were Batman and Wonder Woman.
• I didn’t do an author break down by nationality but a general overview is this – I mostly read books by English-speakers. I didn’t even read a single book by a Lithuanian author (one by an author of Lithuanian descent was on the list, though).
• I’ve read mostly stand-alone books this year: if we’are not counting the comic book series, I’ve only read one full novel series.
• The 20th and 21st-century books were my most preferred for leisure reading, while for my English course, I’ve jumped around all time periods, but mostly focused on the literature of the 19th century.

Anyways, here is my list of books divided into the different genres. In every part, I’ve highlighted a couple of my favorites! I have also linked some movie reviews next to the relevant books. Enjoy!

Non-fiction:

  1. S. Cain – ‘Quiet: The Power of the Introverts in a World That Can’t Stop Talking’
  2. W. Isaacson – ‘Steve Jobs’ (adapted to film)
  3. R. Roll – ‘Finding Ultra’
  4. P. Pfitzinger and S.Douglas – ‘Advanced Marathoning’
  5. F. Hufton – ‘Running: How To Get Started’

Fiction:

  1. D. Brown – ‘Digital Fortress’
  2. M. Zusak – ‘The Book Thief’
  3. W. Carther – ‘Death Comes For The Archbishop’
  4. Z. N. Hurston – ‘Their Eyes Were Watching God’
  5. N. Gaiman – ‘American Gods’
  6. N. Gaiman – ‘The Ocean at the End of the Lane’
  7. S. Meyer – ‘ The Chemist’
  8. A. Huxley – ‘Brave New World’
  9. A. Huxley – ‘Island: a novel’
  10. I. Welsh – ‘Trainspotting’ (adapted to film)
  11. J. Moyes – ‘ The Girl You Left Behind’
  12. L. Groff – ‘Fates and Furies’
  13. R. Galbraith – The Cuckoo’s Calling’
  14. R. Galbraith – ‘The Silkworm’
  15. R. Galbraith – ‘Career of Evil’
  16. L. Moriarty – ‘Big Little Lies’
  17. A. Burgess – ‘A Clockwork Orange’
  18. G. Orwell – ‘Animal Farm: a fairy story’
  19. G. Orwell – ‘1984′
  20. D. Eggers – ‘The Circle’ (adapted to film – review)
  21. J. le Carre – ‘The Night Manager’
  22. E. Morgenstern – ‘The Night Circus’
  23. L. Evans – ‘Their Finest’ (adapted to film – review)
  24. M. Bulgakov – ‘The Master and Margarita’
  25. D. O’Porter – ‘Goose’
  26. C. Palahniuk – ‘Fight Club’
  27. C. Bukowski – ‘Post Office’
  28. N. Larsen – ‘Passing’
  29. G.R.R. Martin and G. Dozois (as editors) – ‘Rogues’
  30. D. Gibbins – ‘Crusader Gold’
  31. R. Sepetys – ‘Between Shades of Gray’
  32. B. Ridgway – ‘The River of No Return’
  33. F. Molnar – ‘The Paul Street Boys’
  34. T. Parsons – ‘Starting Over’
  35. T. Capote – ‘Breakfast at Tiffany’s’
  36. A. Christie – ‘Murder on the Orient Express’ (adapted to film – review)
  37. A. Thomas – ‘The Hate U Give’
  38. P.K. Dick – ‘Do Androids Dream of Electric Sheep?’ (adapted to film – review)
  39. S. King – ‘It’ (adapted to film – review)

Cinema related books:

  1. G. Jenkins – ‘Empire Building’
  2. J. Luceno – ‘Catalyst: A Rogue One Novel’
  3. A. Freed – ‘Rogue One: A Star Wars Story’ novelization (film review)
  4. C. Fisher – ‘Postcards From The Edge’
  5. C. Fisher – ‘The Princess Diarist’
  6. C. Fisher – ‘Wishful Drinking’
  7. D. O’Neil – ‘The Dark Knight’ novelization
  8. C. Clark – ‘The Prince, The Showgirl and Me’
  9. C. Clark – ‘My Week with Marilyn’
  10. J.K. Rowling – ‘Fantastic Beasts and Where to Find Them’ script (film review)
  11. A. Kendrick – ‘Scrappy Little Nobody’
  12. S. Nathan and S. Roman – ‘Frozen’ novelization
  13. S. Bukatman – ‘Blade Runner – BFI Film Classics’

English 3rd year degree books:

  1. Aeschylus – ‘Prometheus Bound’
  2. C. Marlowe – ‘Doctor Faustus
  3. J. Milton – ‘Paradise Lost’
  4. M. Shelley – ‘Frankenstein; 1818 text’
  5. R. Henryson – ‘The Testament of Cresseid’
  6. D. Defoe – ‘Robinson Crusoe’
  7. N. Shephard – ‘The Quarry Wood’
  8. N. Larsen – ‘Quicksand’
  9. A. Carter – ‘The Bloody Chamber and other stories’
  10. C. Bronte – ‘Jane Eyre’
  11. E. Bronte – ‘Wuthering Heights’
  12. A. Bronte – ‘The Tenant of Wildfell Hall’
  13. G. Elliot – ‘The Lifted Veil’
  14. G. Elliot – ‘The Mill on The Floss’
  15. C. Dickens – ‘Great Expectations’
  16. H.G. Wells – ‘The Island of Dr. Moreau’
  17. B. Stoker – ‘Dracula’
  18. W. Collins – ‘The Woman in White’

Graphic novels:

  1. Various authors – ‘Marvel Platinum: The Definitive Doctor Strange’ (film review)
  2. D. Abnett – ‘Guardians of the Galaxy: Rocket Raccoon and Groot steal the galaxy’ (film review)
  3. G. Ennis and S. Dillon – ‘Preacher: Gone To Texas’
  4. G. Ennis and S. Dillon – ‘Preacher: Until The End Of The World’
  5. G. Ennis and S. Dillon – ‘Preacher: Proud Americans’
  6. G. Ennis and S. Dillon – ‘Preacher: Ancient History’
  7. G. Ennis and S. Dillon – ‘Preacher: Dixie Fried’
  8. B.M. Bendis and M. Gaydos – ‘Alias: Volume 1’
  9. B.M. Bendis and M. Gaydos – ‘Alias: Volume 2’
  10. B.M. Bendis and M. Gaydos – ‘Alias: Volume 3’
  11. B.M. Bendis and M. Gaydos – ‘Alias: Volume 4’
  12. G. Rucka – ‘Wonder Woman Rebirth: Volume 1 The Lies’ (film review)
  13. G. Rucka – ‘Wonder Woman Rebirth: Volume 2 Year One’
  14. G. Rucka – ‘Wonder Woman Rebirth: Volume 3 The Truth’
  15. M. Finch and D. Finch – ‘Wonder Woman: Resurrection’
  16. S. Snyder and G. Capullo – ‘Batman: The Court of Owls’
  17. S. Snyder and G. Capullo – ‘Batman: The Nights of Owls’
  18. S. Snyder and G. Capullo – ‘Batman: The City of Owls’
  19. S. Snyder and G. Capullo – ‘Batman: Endgame’
  20. J. Tyrion – ‘Batman Detective Comics Rebirth: Volume 1 Rise of the Batmen’
  21. G. Morrison and A. Kubert – ‘Batman and Son’
  22. T. S. Daniel – Batman: Battle for the Cowl’
  23. A. Conner and J. Palmiotti – ‘Harley Quinn Rebirth: Volume 3 Red Meat’
  24. J. Hickman and C. Pacheco – ‘Ultimate Thor: Volume 1’ (film review)
  25. M. Wagner – ‘Trinity’ (film review)

And that is it for the books I’ve read this year! What was your favorite book(s) of the year? What are you planning on/excited to read in 2017?

Leave a comment below and Have a Happy New Year!

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BEST, WORST, and MISSED movies of 2017

Movie previews, Movie reviews

Hello!!

Happy New Years Eve!

For most people, it’s a day/night of celebration: partying and drinking. Well, I’m also celebrating but in my own way – by posting my cinema round-up of the year. Like in 2015 and 2016, I’m providing you with my personal list of best and worst films (and I’m linking all of their reviews). A new development for this year is the fact that my top 5 list of obscure, small, ‘missed’ movies/honorable mentions is expanding into a 10 just because I’ve seen too many pictures this year that I want to bring to your attention once again! As always, please don’t bear any hard feelings if our lists don’t match! This post was written in the name of fun and I’m really looking forward to reading your picks in the comments!

BEST Movies:

  1. Logan
  2. Star Wars: The Last Jedi
  3. Wonder Woman
  4. Blade Runner 2049
  5. Thor: Ragnarok
  6. Beauty and the Beast
  7. Spider-Man: Homecoming
  8. War For The Planet Of The Apes
  9. Wind River
  10. It

Those who read my blog somewhat regularly probably aren’t surprised by the fact that my list contains 4 comic book movies. As much as I love the genre in general, what I loved about these particular films was the fact that they expanded the status quo: Logan brought the sophistication that we haven’t seen since The Dark Knight, while Wonder Woman was a game-changer for the female characters. Thor 3 fixed the weakest MCU trilogy, while Homecoming achieved what was deemed impossible – told the first good Spidey story in a decade. Joining the comic book films, are the three sci-fi juggernauts: Star Wars 8 (no surprise here, though, maybe it is a surprise as I seem to be one of the few who truly enjoyed the picture), Blade Runner sequel (visual and narrative masterpiece), and Apes 3 (an underappreciated finale of a great trilogy). The last 3 pictures bring some more variety genre-wise. Wind River represents drama (as well as my anthropological interests), Beauty and the Beast symbolizes my love for live-action fairytales (and my choice to remain a kid inside), while It is the biggest surprise of the year – the first horror movie that I’ve ever enjoyed.

WORST Movies:

  1. Snatched
  2. Transformers: The Last Knight
  3. Rough Night
  4. The Emoji Movie
  5. Geostorm
  6. Tulip Fever
  7. Suburbicon
  8. The Snowman
  9. American Assasin
  10. The Dark Tower

My worst list has it all: awful comedies (Snatched and Rough Night), confused dramas (Tulip Fever and Suburbicon), and underwhelming action thrillers (American Assasin and The Snowman). It also showcases a genre that should die (disaster films – Geostorm) and a franchise that should do the same (Transformers). The infamous cash grab for the millennials (The Emoji Movie) and the bad kind of Stephen King adaptation (The Dark Tower) finish of the list!

Honorable mentions/Movies you’ve MISSED:

I’ve decided not to number these and divide them into 3 levels of obscurity, from the least known to almost mainstream (or even actually mainstream) films.

To begin with, in the most obscure category, I’ve put The Death of Stalin, The Party, and Free Fire. First is a British adaptation of a French graphic novel, which itself is a reimagining of Russian history; second is more of a character piece than a movie with the shortest runtime of a feature film I’ve seen; and the third is an action movie that builds its story around the main action sequence that last the whole picture.

The second trio of more well known movies consist of The Killing of a Sacred Deer, Their Finest, and T2: Trainspotting. The first is an extraordinary revenge story from a proven director, the second – a romantic take on war and the movie business, and the last is everything I love about my adoptive country of Scotland!

Lastly, the 4 final movies that the majority of moviegoers have heard about and which couldn’t necessarily make my top 10 list but were so unique that they deserved to be mentioned are Paddington 2(a bundle of joy in these dark times), John Wick 2 (a successful sequel in a not that big of a franchise), mother!(the picture that was more fun to analyze than watch), and The Big Sick (a romantic comedy like no other).

And that is it for 2017 cinema! I hope you enjoyed reading my lists! Every year, its gets harder and harder to decide on my picks because of the sheer amount of new movies I’m able to see. Please don’t be mad if your favorite/least favorite movies were not on my lists! Also, if you missed some awards contenders in this post, they might have been excluded because I haven’t seen them yet or because I expect to talk about them a lot during the next two months. Hence, they will get enough praise then, it’s what I’m saying.

Anyways, have a happy 2018 in the cinema and in life!

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Movie review: Jumanji: Welcome to the Jungle

Movie reviews

Hello!

Another reboot/sequel of a beloved childhood classic has hit theatres, but, this time around, it’s surprisingly good?! This is Jumanji: Welcome to the Jungle! (That title is awful, though.)

IMDb summary: Four teenagers discover an old video game console and are literally drawn into the game’s jungle setting becoming the adult avatars they chose.

Only last year, a 1980s classic, Which was near and dear to a lot of people during their childhood, was remade and the Internet went nuts. However, that Ghostbusters debacle did not stop Hollywood from remaking/attempting to continue another classic property, this time around, from the 1990s. And it looks like the LA suits were right to try: I haven’t seen much hate (barely any) towards the 2017’s a Jumanji. Why is this reboot more acceptable than the Ghostbusters one? Is it the Rock? The Rock and Hart proven combo? The ‘correct’ genders of the characters (mixed cast rather than an all-something reboot)? Or maybe nobody liked Jumanji in the first place as much as I thought they did? I certainly remember the film quite fondly from my childhood.

Writing

Jumanji: Welcome to the Jungle was written by Chris McKenna and Erik Sommers (the duo behind Spider-Man: Homecoming and The Lego Batman), the director Jake Kasdan, and Scott Rosenberg and Jeff Pinkner (the writers of the upcoming Venom movie which is currently being filmed). In general, I enjoyed quite a lot of elements of the writing of this film.

To begin with, I thought that the idea to update Jumanji from a board game to a video game was a clever one. However, the way the script went about doing that – just sort of allowing the game to morph by itself – was a bit weird. Also, if they were giving the game an update, why not do a completely contemporary take on it? Make it into a Nintendo Switch type of a thing rather than a very 90s cassette game. What I did like about the video game concept in relation to this film was the fact that the movie overtly and unapologetically used the video game tropes, like the cutscenes, the numbered lives, the strengths/weakness idea, and the different levels. Jumanji might actually be the best video game movie without technically being one

The new characters of Jumanji weren’t bad either. The teenagers/real-life characters got some brief but neat development during the setup, which was nicely built upon during the following adventure. The relationship moments that the characters shared actually provided the picture with some opportunities to explore the ideas of friendship and teamwork. Some nice messages about bravery, self-confidence as well as one’s ability to change were also expressed. The interactions between the characters also resulted in some great humorous moments. The flirting school and the peeing scene were stupid but also hilarious. The switch-ups with the bodies (the nerds becoming athletic and cool; the popular kids being degraded to sidekicks and the comic relief) was another source of jokes for the film.

My main and the only actual critique of the movie was its plot or the set up of it. The game narrative itself was fine and it worked well as an adventure story. However, the way it just came out of nowhere seemed a bit odd. That whole explanation about the stone, the villain, and the curse seemed a bit heavy-handed and too highly fabricated. At least the format of that explanation/set-up (the cutscene) was somewhat meta (explicit in its usage of a trope) and, thus, a bit more interesting.

Lastly, while this film appeared to have been a direct continuation of the original Jumanji with the game itself being found on the beach, where it was last seen, I question whether the people behind-the-scenes are planning to make any further sequels, in case this one is successful. The last scene, which showed the characters breaking the game, suggests that we won’t see any sequels, which is, quite frankly, a shocking thing in today’s mainstream filmmaking business.

Directing

2017’s Jumanji was directed by Jake Kasdan (his last two films were both mediocre Cameron Diaz comedies) and I thought that he crafted quite an entertaining action adventure flick that was so much better constructed that I thought it’d be. The action was inventive enough and energetic. The CGI of the animals could have been a bit better. The pacing was fine for the most part, though the film did slow down a bit towards the end of the second half. Lastly, I’ve noticed (or imagined) some callbacks to other movies in this feature, which seemed like quite neat additions to me: the creepy house and the yellow raincoat reminded me of It, while the biker gang inside the game seemed Mad Max-esque.

Acting

Jumanji’s two casts were both really good. The teenagers/young adult actors – Alex Wolf (Patriot’s Day), Ser’Darius BlainMorgan Turner, and Madison Iseman – were believable and relatable. However, the majority of the film was carried by the video game versions of these characters, played by Dwayne Johnson (Baywatch, FF8, Moana, San Andreas), Kevin Hart (The Secret Life of Pets), Karen Gillan (Guardians of the Galaxy 1 and 2, The Circle), and Jack Black, respectively. Johnson’s and Hart’s chemistry, which blossomed in Central Intelligence, was back in full force in this movie. All of the scenes with the Rock discovering his muscles were incredible and I also appreciated the fact that the film poked fun at his inherent charisma with that ‘smoldering look’ skill. Kevin Hart was amazing and funny too, while Karen Gillan was a complete badass (both as a character and as an actress). Jack Black also surprised me. I have never been much of a fan of his but I highly enjoy seeing him acting as the ‘it’ girl in this film.

A few other characters, worth the mention, were played by Nick Jonas and Bobby Cannavale (Ant-Man). Jonas was okay in the picture but his character was intended to be somewhat of a replacement for Robin Williams character of the original (a person who gets stuck in the game) and, no offense to Nick Jonas, but he could never replace Williams. Cannavale played the villain and he was the worst of the cast, in my mind. I think he went a bit too cartoonish with his performance – yes, there is such a thing as too cartoonish even in a live-action cartoon.

In short, Jumanji: Welcome to the Jungle is a surprisingly entertaining adventure movie. It would be the perfect holiday film for the whole family if it wasn’t competing with Star Wars 8.

Rate: 4/5

Trailer: Jumanji: Welcome to the Jungle trailer

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Movie review: Justice League

Movie reviews

Hello!

Welcome to the review of the most polarizing movie of the year. Is anyone even surprised that the said divisive film is just another entry into the DCEU? This is Justice League.

IMDb summary: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.

Before moving on to the actual review, I wanted to give you my brief thoughts about the DCEU in general. When Man of Steel came out in 2013, I barely paid any attention to it because I wasn’t into comic book movies much (had watched some Marvel ones and enjoyed them but was still oblivious to the bigger universe). However, 3 years later (in 2016), I had already become a huge fan of MCU, had familiarized myself with the DC character on TV and had started to read comics regularly. Needless to say, I was looking forward to Batman v Superman and Suicide Squad. Both films left me sort of baffled. While I wasn’t a fan of the dark/grim atmosphere, I could understand it as a creative choice. What I couldn’t forgive was the messy and unfocused storytelling. Then Wonder Woman came along and was a breath of fresh air (with a meh third act). Now, Justice League is coming together for the first time on the big screen and I have mixed feelings even before I see it. I care about these characters, because I have been dazzled by them in the comics (I read way more of DC than I do Marvel), have caught up with them every week on TV (The Flash) or in animated films (DC animation used to be so good before it started going sideways with The Killing Joke debacle and Batman and Harley weirdness) and even though the movies themselves were flawed, I have enjoyed seeing these versions of Batman and Wonder Woman (somebody please fix Superman, though). I go into the screening hoping for the best while also worrying about the worst.

SPOILER ALERT

Writing

Justice League’s screenplay was written by Chris Terrio (the writer of Argoand BvS, while Zack Snyder helped out with the story. Joss Whedon (Avengers 1 and 2) also received a screenplay credit but it’s not really clear whether he got the credit because he actually changed some of the narrative of the film or just because he couldn’t get a co-directing credit together with Snyder. Anyways, I thought that the movie’s writing was a mixed bag.

Let’s start with the set-up. I highly enjoyed a lot of its elements but didn’t necessarily think that they all jelled well. The film’s set-up had two main goals: to introduce the new characters and the establish the team and to develop a villain for the story. The introductions of the new characters – Flash, Aquaman, and Cyborg – were brief but effective. Still, if these characters had solo movies prior to this film, I believe I’d have had a stronger connection to them. Since I already knew this universe’s version of Wonder Woman and Batman (BvS was basically his solo film), they were my favorites of the group.

The dynamics within the team were really neat. I liked the different pairings, the contrast between the rookies and the seniors, and the humor within the group. That last thing felt like an obvious influence of Joss Whedon. What I could have done without was all the sexual nods between Diana and all other members. I wouldn’t have minded a few of them, but the constant stream was not welcomed by me.

Speaking of the villain, Steppenwolf served his purpose but wasn’t amazing. What boggled me was the fact that the DCEU is or was supposed to be this realistic and sophisticated reimagining of the DC characters. And yet, all their villains have been super comic book-y and in no way fitting for the tonne of the franchise. The fact that the main villain had a disposable army, like in all the other comic book films, didn’t bode well for the picture either. Having said that, the army of parademons at least had a trait to make them more interesting – they were feeding on fear – and they also served a bigger purpose in the final act (a.k.a. took down Steppenwolf when he experienced fear).

Justice League also had a plethora of references to the future DCEU projects and I immensely enjoyed spotting them. The more into comics I get, the more Easter Eggs I recognize. I also love to research the references I didn’t spot. Honestly, a huge part of watching these films is reading/watching the coverage of them after the actual screening. Speaking about the future of the DCEU, Justice League had an ending that felt like an answer to the critique of the grimness of the franchise. The sense of hope for the future was established. Now, let’s just pray that the box office numbers allow the DCEU to deliver on their promise of course correction (the opening weekend’s numbers have not been great).

Directing

Zack Snyder (300, Watchmen, Sucker Punch) helmed the movie during the principal photography, while Joss Whedon directed the reshoots and was responsible for the final edit. The film that premiered in cinemas around the world was an amalgamation of the talents of both these filmmakers. Snyder’s input was evident in the actions scenes, while Whedon’s influence shined in the aforementioned humor of the feature.

Speaking of the action, the team had 3 big action scenes (the individual characters had some smaller action scenes in addition to the 3 team ones). The action sequence underneath the Gotham harbor was neat and a great first showcasing of the team’s powers together (I loved how the seniors Wonder Woman and Batman were doing the majority of the fighting, while the rookies Flash and Cyborg were more about helping the civilians). The Superman v League fight wasn’t bad either. The final action scene was entertaining but I wish it was more epic and more massive in scope. Well, at least they have some space to grow in the following pictures. They also have a lot of space for the improvement of the CGI: it should have been way more photorealistic. Overall, my favorite action scene did not even involve the Justice League themselves. It was the sequence on Themyscira that I found the most inventive and the most enjoyable.

The movie’s runtime has been cut short. What was supposed to be a 2.5 hours film, ended up being less than 2 hours. The set-up felt like it was missing some scenes and that’s why it might have felt choppy. However, the fact that the picture was shorter than expected, made it feel really quick and more fast-paced than it actually was/might have been. Nobody can say that it dragged.

The credits scenes

Justice League had a mid-credits scene consisting of the race between The Flash and Superman – an iconic moment from the comics that was replicated only recently on DCTV with Supergirl and The Flash. The post-credits scene was a hint for the future alliance of the villains and also introduced the viewers to Deathstroke (who just appeared on DCTV/Arrow last/this week).

Acting

The DCEU casting choices have been their best choices concerning the series. Let’s go over the main players as well as their supporting characters.

  • Ben Affleck (The Accountant, Gone Girl) was great as Bruce Wayne / Batman. I really enjoyed his speech about his lack of humanity. Jeremy Irons (High-Rise, Assasin’s Creed) was neat as Alfred Pennyworth, while J. K. Simmons (The Snowman, Renegades, Patriot’s Day, La La Land) had a couple of scenes as James Gordon. I really want that Batman solo film to materialize and see more of these actors in the iconic roles.
  • Henry Cavill (The Man from U.N.C.L.E., Sand Castle) appeared as Clark Kent / Superman, while Amy Adams (Arrival, Nocturnal Animals) reprised her role of Lois Lane (the big guns). Cavill’s infamous mustache was very noticeable and his face looked really wonky in half of the shots. Subsequently, a lot of Superman’s scenes were distracting. However, he didn’t have much of them in the film. He is the character that has appeared in the biggest numbers of movies in the franchise, so we have already been exposed to him a lot. What I did like about Cavill’s performance in Justice League particularly was the fact that he was allowed to be positive and happy to be alive (in contrast to moping and feeling sorry for oneself).
  • Gal Gadot came back as Diana Prince / Wonder Woman and was as perfect as ever. I really want to see her in more movies, outside this or Fast&Furiousfranchises. Connie Nielsen briefly appeared as Hippolyta. I loved that moment with the signal fire for Diana.
  • Ezra Miller (Fantastic Beasts) as Barry Allen / Flash was the standout of the new characters and that was mostly due to Miller’s comedic talents. His enthusiasm was infectious and his reaction faces just hilarious. His love interest Iris West was set to be played by Kiersey Clemons (Flatliners) but was cut from the final film. We did get an intro to Barry’s father Henry Allen played by Billy Crudup (Alien: Covenant), though. That The Flash solo movie might actually be really good and could compete with the TV show.
  • Jason Momoa played Arthur Curry / Aquasman. I loved Momoa in the role but wish he was given something more to do with it. I’m hopeful about his solo movie, though. Amber Heard (Magic Mike XXL, The Danish Girl), who was introduced as Mera, will also re-appear in it.
  • Ray Fisher starred as Victor Stone / Cyborg and was probably the character most integral to the plot of the film. I didn’t know much about Fisher prior to this movie but was really impressed by his performance. He brought heart and soul to Cyborg – qualities which only a good dramatic actor can portray well.
  • Ciarán Hinds (GOT’s King Beyond the Wall) did the motion capture of and provided the voice for Steppenwolf. He was good enough in the role but I do wish that the design of the character would have been more interesting.

In short, Justice League was the second best film in the DCEU (and while it’s not much, it’s something). It had some great character moments (both action and humor ones) but was still plagued by the wider problems of the whole series. Nevertheless, the future is hopeful.

Rate: 3.5/5

Trailer: Justice League trailer

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5 ideas about a movie: Only The Brave

Movie reviews

Hello!

A touching cinematic ode to the fallen firefighters – Only The Brave – has reached theatres, so, let’s review it.

IMDb summary: Based on the true story of the Granite Mountain Hotshots, a group of elite firefighters risk everything to protect a town from a historic wildfire.

  1. I haven’t seen a lot of movies focusing on firefighters before. There have been a fair few films telling the stories of the police officers or the doctors, so it was only right that the firefighters and their important work should also be spotlighted. And that’s exactly what Only The Brave did. The picture was directed by Joseph Kosinski (director of Tron: Legacy and writer/director of Oblivion, who is also set to direct Top Gun 2) and written by Ken Nolan (Black Hawk Down, Transformers 5) and Eric Warren Singer (American Hustle). The script was based on a GQ article “No Exit” by Sean Flynn.
  2. In general, Only The Brave’s writing was good and ticked off all the boxes of the biographical drama to do list. The set-up and the character development was present, the narrative unraveled smoothly, and the emotional punch was strong. The film’s 3 acts had distinct qualities. The first act/the set-up acted as the ‘origin’ story of the Grand Mountain Hot Shots, the middle part showed their career highs and strengthened the connection between the viewer and the characters, while the last act revolved around a game-changing event. The conclusion of the movie used that aforementioned connection to make its viewers teary-eyed during the third act. In addition, I found that idea of nature as fuel for fire very interesting and unique – never seen nature from that perspective myself.
  3. The character development was mostly given to two characters – Miles Teller’s Donut and Josh Brolin’s Supe. We got to see their struggles and their family lives. Jeff Bridges’s character was there to push the plot forward, while Taylor Kitsch’s character was used as the comedic relief (‘2 dads and a baby’ moment was so funny). The other guys were there for the atmosphere. The said atmosphere started out quite unappealing, especially for me as a female viewer. I do get that guys talk like that (by that, I mean borderline sexist) in an all-male environment, but that doesn’t mean that I’d like to see it. What I did enjoy seeing was the training of the group as well as their growth from bullying each other to legitimately caring for one another.
  4. The directing of the film was quite good. The pacing was okay and the intensity of the action sequences was fine too – the movie did succeed in conveying the risks that these people were taking. The southern rural US setting was well-realized too. The burning bear visual was neat, while the other scenes of fire looked realistic. The nice dedication at the end of the film and the photos of the real-life counterparts of the characters were both nice touches.
  5. The cast of the film was quite extensive, but, as I have said, only a handful of characters were focused on. Josh Brolin (Hail, Caesar!, MCU) played Supe and was good, though I have already seen him in a comparable role (Everest and Sicario both come to mind). Similarly, Jeff Bridges also played a role he has played before (in Hell or High Water or even in Kingsman 2). Miles Teller (War Dogs, Allegiant, FF) was good too and I kinda feel that his character, at least during the first act, was basically the person that everyone images Teller to be in real life (he doesn’t have the greatest image in the media). Taylor Kitsch (American Assasin) was okay as well, but I wanted to see something more out of him. Jennifer Connelly (Noah, she was also the voice of Karen (the suit’s AI) in Spider-Man: Homecoming) played Supe’s wife and she actually had more to do than the characters of wifes or girlfriends usually do in films like these.

In short, Only The Brave was a well-made and a heartfelt biographical drama, worthy of a watch but not necessarily at the cinema.

Rate: 4/5

Trailer: Only The Brave trailer

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Movie review: Thor: Ragnarok

Movie reviews

Hello!

What a time to be a nerd! A new Marvel movie is in theatres every 4 months! Is this heaven or what? Without further ado, let’s discuss Thor: Ragnarok!

IMDb summary: Imprisoned, the mighty Thor finds himself in a lethal gladiatorial contest against the Hulk, his former ally. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization.

If it wasn’t obvious from my intro, I’m a huge MCU fan and have reviewed quite a few films of the franchise, thus, I’m linking the said reviews here: Captain America 1+2, Ant-Man, Guardians 1 and Guardians 2, Avengers 2, Civil War, Doctor Strange, Spider-Man: Homecoming.

This review is SPOILER FREE. The discussion involving SPOILERS is located at the end of the page.

Writing

Thor: Ragnarok was written by Eric Pearson (writer of a few MCU one-shots (I wish they were still making them) and writer on Agent Carter), Craig Kyle (comic book writer, producer the first two Thorfilms and of some of Marvel’s direct-to-video animated pictures), and Christopher Yost (longtime collaborator of Kyle, writer of Thor: The Dark World). I loved the writing for this film.

To begin with, I appreciated how dense the narrative was. So much happened in this picture and every second of that 2-hour runtime was packed with plot. It felt like this movie consisted of a couple of films, which was exactly the case. Thor: Ragnarok contained the first third of a Hulk solo movie – the middle part and the ending will probably be folded into Avengers 3and 4. I was a bit worried that the Hulk sideline will feel tacked-on but it didn’t – Bruce Banner and his green friend fit into this picture organically. I loved the fact that we got to see more of Hulk and find out about his own separate personality.

In general, the majority of the main characters had very satisfying character arcs. First of all, Thor went on a journey on finding his path again, while Valkyrie also had to re-find her purpose in life (I loved how she was both badass and had her flaws). Loki attempted to redeem himself in the most questionable and Loki-appropriate way possible and Heimdall got to do something meaningful for once in these films. Skurge’s questioning of morality was great, while Grandmaster’s hijinks were hilarious.

Speaking of the comedy in the film – it was just wonderful. The situational relatable humor, the reactions, the call-backs, the references, and the jabs at the previous MCU events were extremely funny. However, the film also had some heart to it. One particularly touching moment occurred in Norway at the beginning of the film. That scene’s location – Norway – was also a neat nod to the Norse mythology roots of these characters.

MCU films have been notorious for their lack of great villains. I didn’t think that Hela followed this trend. She was both memorable and menacing. I also loved how she had a family connection to the protagonist, and, thus, how the film got an opportunity to explore the notions of family and home. I also enjoyed seeing her be actually threatening, setting the stakes high and having a lasting impact on both Thor and Asgard (physical and emotional).

Directing

Thor: Ragnarok was directed by the incredible filmmaker from New Zealand – Taika Waititi. I was only introduced to his work last year with the awards’ nominated delightful and heartfelt comedy Hunt for the Wilderpeople. Before going to see Ragnarok, I also watched his brilliant vampire mockumentary What We Do in the Shadows. Needless to say, my expectations were high and I’m so glad to say that Waititi delivered on them 100%! Thor: Ragnarok had the heartwarming feeling of Spider-Man: Homecoming, the jokes of Guardians of the Galaxy, and the trippy visuals of Doctor Strange. Nevertheless, it wasn’t just a rehashing of elements from other films, but a refreshing, unique, and immensely entertaining take on them.

The color palette of Thor 3 was just so gorgeous and super vibrant. The location and the character designs have never looked better in a Thor film (the looks reminded me of a mixture of Star Wars, Star Trek, Lord of the Rings and just 1980s style). The action was just so dynamic and energetic. It was also varied: we got to see a couple of one-on-one fights as well as some epic scale battles and a few spaceship chases. One of my favorite action pieces was the short opening fight between Thor/Loki/Hela in the rainbow bridge. Not on it, but in its stream. The music (by Mark Mothersbaugh) was also nicely incorporated into the film. I’m gonna listen to that Led Zeppelin song every day at the gym now.

Acting

  • Chris Hemsworth (Ghostbusters, The Huntsman, In the Heart of the Sea) had his 5th and best outing as Thor. We already knew that he was great a the role of a hero, but here he also displayed all his comedic chops!
  • Tom Hiddleston (High-Rise, Kong) was sly and charismatic as Loki again (I love the character, so I’ll never complain about seeing him).
  • Cate Blanchett (Carol, Cinderella) had a snake-like quality to her performance of Hela. At the beginning, I thought that she was bordering on being too cartoonish a too bit much but I think she quickly found her footing.
  • Idris Elba (The Mountain Between Us, The Dark Tower, Star Trek Beyond, Bastille Day, Beasts of No Nation) returned as Heimdall and got a chance to do something more in the film than just stand in one room!
  • Jeff Goldblum (ID2) was perfect as Grandmaster. He was doing his Jeff Goldblum thing (I can’t explain it) and that fit the character so well! He, in my mind, had the leeway to go cartoonish and I’m glad he went there at least a bit.
  • Tessa Thompson (Creed) was wonderful as Valkyrie. I loved how Thompson portrayed her character’s flaws, regrets, and determination.
  • Karl Urban (Pete’s Dragon, Star Trek Beyond) as Skurge. I hope that Urban’s involvement with a new comic book property means that he might go back to one of his old ones – the role of Dredd. Nonetheless, I loved seeing him here.
  • Mark Ruffalo (Spotlight, Now You See Me 2) delivered a short but sweet performance as Bruce Banner / Hulk. Immense props to him for his comedic timing too!
  • Anthony Hopkins (Transformers 5) only appeared briefly as Odin but he was responsible for the most touching and the most emotionally-challenging scene of the film, as a dramatic actor of his caliber should be.

In short, Thor: Ragnarok was without a doubt the best Thor film but it also might be one of the best MCU solo films ever! Not only worthy of watching once, but repeated viewing is recommended!

Rate: 4.8/5

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SPOILER-Y PART: 

Since I saw the movie super early (thanks, UK release schedule), I didn’t want to talk about spoiler stuff in the main part of the review, so I’ll just unpack some ideas in more detail here:

  1. Thor: Ragnarok had a great cameo by Doctor Strange. Those, who saw Doctor Strange and waited for the post-credit scene of that film, knew that Sorcerer Supreme will be showing up in Thor 3. It was wonderful to see the character appear on film as being closer to his comic book counterpart – way more advanced in his skill and more in control of his powers than he was when we last saw him.
  2. Matt Damon, of all actors, had a super funny cameo as an Asgardian actor playing Loki. It’s always nice to see a great actor doing some bad acting and Damon nailed his. Stan Lee also had an amazing cameo as the hairdresser. I’m glad that he was the one who supposedly got a chance to change Thor’s look. I feel like, since that change came from Lee, it is somehow automatically canon.
  3. Hela was turned into Thor’s and Loki’s sister for the film (she is the daughter of Loki in the comics). I liked the change because it allowed the movie to explore the differences between Odin’s relationships with each of his kids. Also, the fiction vs truth idea came into play in the movie because of that change.
  4. Some of my favorite jokes, which I didn’t want to spoil were: the Sakar’s infomercial sequence; Loki’s reaction to Hulk throwing Thor around like a ragdoll – Loki experienced the same fate in Avengers; Thor’s attempt to calm Hulk down with Black Widow’s lullaby; and the jabs at Tony Stark. Even if RDJ is not in the film, his presence is always felt. Another delightful comedic part was Taika Waititi’s motion capture and vocal performance as Korg. Waititi is a great comedic actor and I’m glad he got to showcase that here in addition to directing.
  5. Lastly, Thor: Ragnarok had two end-credits scenes. The mid-credits scene was a very vague tease for Avengers: Infinity War, while the post-credits scene was just a fun nod to this particular film.

Movie review: Blade Runner 2049

Movie reviews

Hello!

The long-awaited (by some) sequel to another 1980s hit – Blade Runner 2049 – has reached theaters, so, let’s see whether it was worth the wait and all the hype.

IMDb summary: A young blade runner’s discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who’s been missing for thirty years.

The original Blade Runner has been a cult classic for years but I’ve never expected it to get a sequel 3 decades later because of the lack of mainstream success. Undoubtedly, it has aged well: the story is still solid and is open to as many different interpretations as there are versions of the film. The pacing is a bit slow but that can be seen as a feature of the time. The effects are great too even if you can tell that they have that particular 1980s futuristic style. Even though I did like the original film, I wouldn’t have been as excited about its sequel if they hadn’t gotten Dennis Villeneuve to direct it. His attachment to the project was the factor that immensely increased my interest the movie! Besides, the marketing shorts, which filled in the 30-year-old gap between the two feature films – the anime Black Out 2022, and the live action shorts 2036: Nexus Dawn and 2048: Nowhere to Run – have acted as great tasters for the sequel and doubled the hype as well!

SPOILER ALERT

Writing

Blade Runner 2049 was written by Hampton Fancher (the writer of the original) and Michael Green (the writer of Logan, Alien: Covenant, and the upcoming Murder on the Orient Express, the co-creator of American Gods). This duo of scriptwriters did an amazing job: they paid homage to the original (both the plot and the thematic concepts) and expanded upon it/them extremely successfully.

The first two acts of the sequel were structured as a mystery: a smart yet straightforward one man’s quest for answers. The third act upped the complexity: it had a tonne of exciting reveals and a bunch of sidelines converging with the main one. The writing for the lead character was just brilliant too. Every act of the film had some kind of twist relating to him: either the fact that he was a replicant at the beginning, a potential offspring of a replicant in the second act and just a decoy for the actual child in the end. It was amazing to see a character go from not knowing who he was to finding actual answers but quickly realizing that he was asking the wrong questions in the first place. He both found and lost an identity before our eyes in the time span of two hours. It was such a great and different character arc.

Two huge thematic concepts that 2049 introduced were the virtual/holographic humans and the procreation ability of the replicants. These two ideas pushed the question of ‘what is humanity ?’ so much farther than I ever dream it could go. I still can’t wrap my head around these two concepts.

Directing

Denis Villeneuve, who has quickly become one of the most critically acclaimed directors of our time with films like Prisoners, Sicario, and especially last year’s Arrival, directed the Blade Runner sequel and did a spectacular job. To begin with, he stayed faithful to the original with the pacing and the style of the visuals. Having said that, Villeneuve also built upon what was already there. 2049 was a really long and quite a slow film, however, it never dragged. It was always intense, intriguing, and exciting – way more than the original ever was.

When it comes to visuals, they were just breathtaking. The set design (by Alessandra Querzola + production design by Dennis Gassner), the costume design (by Renée April), the lighting and the cinematography (by Roger Deakins) – all these different departments just brought their A-game and created such a cohesive masterpiece. The scope was epic and awe-inspiring. The shots were composed so beautifully, you could just freeze them and frame every single image. The colors were so vibrant and just popped off the screen. The shots also lingered a lot (that’s why the movie was so long) but the combination of the visuals and the amazing score made them so impactful, powerful, and effective. In general, the soundtrack (by Benjamin Wallfisch and none other than Hans Zimmer) was so cool and that new instrumental theme was so heart wrenching.

A lot of films have tried to emulate a similar style but none of them have come close to Blade Runner 2049 (Ghost in the Shell looked good but wasted the visuals on an awful story). A few of noteworthy sequences in this picture were: 1. the interplay between the shadows and the light in the pyramid; 2. the memory-construction scene – such a brilliant example of storytelling within a bigger story; 3. the zoom/enhance effect carried over from the first film; 4. a very unique sex scene (not an adjective I’ve ever thought I’d use to describe a sex scene; and 5. an impeccable looking de-aging moment – that technology has never looked better.

Acting

Blade Runner 2049 had quite an extensive cast, full of fan-favorite actors in roles of varying sizes. At the centre of it was Ryan Gosling, who has lent his talents to a variety of genres throughout his career, including but not limited to musicals (La La Land), art films (Only God Forgives), indies with mainstream appeal (Drive), mainstream romantic dramas (The Notebook), arty romantic dramas (Blue Valentine), comedies (Crazy,Stupid,Love), political dramas (The Ides of March), action comedies (The Nice Guys), biopics (The Big Short), and crime dramas (Gangster Squad). Finally, he has added sci-fi to this extensive list with the lead role in Blade Runner 2049, which he was just absolutely brilliant in: powerful, vulnerable, dramatic, emotional. Totally marvelous.

Harrison Ford has come back to another role from his younger days. He has already retired Han Solo and will be back as Indiana Jones in 2020. In Blade Runner 2049, he only appeared in the third act but that was enough to make an impression.

The film also had quite a few female characters. Ana de Armas (War Dogs) was amazing as the virtual girlfriend, Sylvia Hoeks (Renegades) was wonderful as the warrior replicant, Robin Wright (Wonder Woman) was a badass police chief,
Mackenzie Davis (Black Mirror’s ‘San Junipero’ episode) had a fun appearance and, lastly, Carla Juri had a surprisingly important role. Guardians of the Galaxy’s Dave Bautista appeared in a short but the most dramatically challenging role of his career so far, while Captain Phillips’s and Eye in the Sky’s Barkhad Abdi also had a cameo (wish he got more roles). Lastly, Jared Leto (Suicide Squad) played the main antagonist and, although his role was unsettling and quite creepy, it seemed quite normal by Leto’s standards. He was great in it, though.

In short, Blade Runner 2049 was one of those wow pictures that stays with you, long after you are done watching it. Gorgeously looking, carefully written, brilliantly acted sequel that is *gasp* better than the original.

Rate: 4.8/5

Trailer: Blade Runner 2049

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5 ideas about a movie: Detroit

Movie reviews

Hello!

The race issue has always been a prominent theme for the awards’ season. Nowadays, this problem has re-established itself as a contemporary issue and, with the street riots and the public displays of violence back in the news, Kathryn Bigelow’s cinematic return – Detroit – is more topical than ever.

IMDb summary: Fact-based drama set during the 1967 Detroit riots in which a group of rogue police officers responds to a complaint with retribution rather than justice on their minds.

  1. Detroit was written (and produced) by Mark Boal, who has also written Bigelow’s two previous features. The script was based on real events, while the characters were also inspired by real people. The film opened with a 2D animated sequence, which gave a brief history of the larger issue. However, the picture itself focused on the specific events in Detroit and on a group of people, in various positions, who got caught up in the event. This limited focus helped to go deep into the matter, while the inclusion of a wide variety of characters presented multiple sides of it. The film didn’t paint one said as inherently bad or good. Both of them seem to be operating in a gray area. For one, not all the police officers were abusive. Similarly, not all the rioters were actually fighting for anyone’s rights – they just looted and spread chaos for the sake of it.
  2. I really appreciated the human perspective on the riots, meaning that the personal lives of the characters took the front seat, while the riots were only the background setting. These two layers came together in the middle of the film, for the main sequence in the hotel, which was really hard to watch because of the blatant police brutality as well as stupidity (e.g. not even knowing how intimidation tactics work). One of the most despicable moments in the picture was a police officer tampering with the crime scene to spin the story in a positive light for him. It was also interesting to see how those police officers weren’t necessarily painted as racist but just simply awful people in general.
  3. It was also fascinating to see the differences in the portrayal of the local vs the state police vs the national guard and made me question the training and the background checks of the lowest tier of the police officers. There were some policeman in the film (from all levels) who actually attempted to help the people and I wish that there was maybe more of that type of representation for a more balanced view to be formed (unless there weren’t actually many police officers helping IRL instead of doing the damage). And the damage has been done in excess: by taking lives or ruining them; by making incorrect assumptions; by painting the innocent as the enemy because of their skin color; and by distorting and perverting justice. The ending of Detroit drove home the point that, while life goes on, the consequences – both physical and psychological scars – remain.
  4. Although Kathryn Bigelow hasn’t made a movie since 2012’s Zero Dark Thirty (and 2008’s The Hurt Locker before that), she has not lost an ounce of her style. Detroit’s visuals had her signature mobile frame and quicks zoom ins/outs – basically, a narrative picture’s interpretation of the documentary style. The structure of the film was good too – I liked how she relocated the main event from its usual 3rd act into the middle of the film.
  5. Detroit had a great cast full or both familiar and fresh faces. John Boyega (Star Wars VII, The Circle) was really good as the intermediator between the two sides, while Will Poulter (The Maze Runner, The Revenant, War Machine) was absolutely stellar – while Poulter has already played bullies, I have never hated him as much as I did in this film. The singers Algee Smith and Jacob Latimore (Collateral Beauty) had small roles, while Jason MitchellHannah Murray (GOT’s Gilly), and Kaitlyn Dever also co-starred. Jack Reynor appeared as well: he has been doing quite good, career-wise, by booking pictures like Sing Street and Free Fire – that Transformers 4 gig, thankfully, hasn’t done a lot of damage. Lastly, Anthony Mackie (Marvel, Triple 9) had a borderline cameo role too, he has previously worked with Bigelow on The Hurt Locker.

In short, Detroit was a great crime drama and also a great biographical picture, that told both the personal stories of the people and the communal facts of the event. The watching experience itself was quite heavy on a heart but incredibly engaging to the mind.

Rate: 4.2/5

Trailer: Detroit trailer

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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

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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