Movie review: Fifty Shades Freed

Movie reviews

Hey…there,

Creeped you out yet? That’s good because, oh my dear lord, here we go. This is Fifty Shades Freed. While I did not review the previous two films in the franchise, in honor of its end, I decided to sink my teeth into the last chapter.

IMDb summary: Anastasia and Christian get married, but Jack Hyde continues to threaten their relationship.

Writing

Fifty Shades Freed was written by Niall Leonard, based on the book by his wife’s E.L. James (an author as territorial about her work as her main character is about his partner – if u don’t know what I’m talking about and are interested, read up on the behind the scenes conflict between James and the director of the first film Sam Taylor-Johnson). Now, I’m not proud to admit but I have actually read the books as a teenager and had a good laugh with friends about them. I didn’t really think that they were worthy of or appropriate for cinematic adaptation, but Hollywood doesn’t care about ethics or quality when the prospect of a big paycheck appears on the horizon.

Anyways, my general thoughts on the writing of this franchise have always been twofold. I thought that it was a good thing that Fifty brought BDSM culture into the forefront and the mainstream conversation. What I always hated was the fact that the dominant-submissive relationship never ended when the bedroom’s or the red room’s door were closed: he was creepy and stalkerish IRL too and she seemed to be fine with that. Her reactions to his actions were even more infuriating than his actions themselves. Although, I guess, in this film both of them were jealous and territorial, so maybe they were truly meant for one another.

Speaking about the script of this film: it was fine (bear in my mind that my expectations were extremely low). Freed sort of had two storylines (if you can call them that): the love story and the crime thriller sideline.

Now, the love story was always the backbone of this series, though, what the filmmakers have failed to realize time and time again was that Anna’s and Christian’s relationship was never strong enough to mount the whole plot on (let alone the plots of three movies). Also, while these films (including the last one) really tried showcasing a modern love story, they always ended up playing into the same gender roles and even worse, cliches. Moreover, in this film, the Greys’ romance wasn’t even the only love story (maybe the filmmakers did realise that it wasn’t that great or that there wasn’t anything more to do with it, except to fabricate some shallow and senseless conflict) and an attempt was made to do something with the brother and the best friend characters. Still, I do have to admit that Anna and Christian did share a few sweet and romantic moments, which I think usually get lost in a lot of reviews, but I’m trying to be fair for this movie, so I’m mentioning them.

Anyways, on the thriller side of the movie, things weren’t great either. The thriller plotline lacked exposure and sort of disappeared in the second act before reappearing in the third act when the screenwriter suddenly realized that he needed to close this movie (and the series) with a bang (or at least with an attempt of a bang). Also, the finale really tried to show Anna as independent and resourceful but I think it might have been too late for that.

On the humor side, Fifty Shades Freed had two types of jokes. Firstly, it had those absolutely laughable moments that made no sense (‘let’s have a car chase sequence and then have sex in the car’). The second kind was actually funny moments that came from the film’s awareness about its own silliness (like the exchange ‘Restrain Him! I don’t have anything! Oh, we do! I mean, I can find something…’).

Directing

Fifty Shades Freed was directed by James Foley (he did Darker too and has also directed Glengarry Glen Ross – what a range in the filmography). I guess he did an okay job. The glamorous lifestyle was neat to look at (some quality Audis and nice outfits on display). The pop soundtrack was good too (I did like that they reused ‘Love Me Like You Do’ cause it was such a huge song from the first film). The sex scenes were… well… sex scenes (I’m not analyzing them, pervs). What I will say is that I’m not happy about the inequality in the nudity of this film. Lastly, Freed concluded with the summary sequence, so if you don’t to watch this trilogy but are interested in what the fuss was about, just look up that clip when it ends up online.

Acting

Both Dakota Johnson (Black Mass) and Jamie Dornan are good looking actors, so I do see why they were cast in this series. What I’m sad about is the fact that the two of them are actually quite amazing actors but one cannot really see that in this series. Having said that, while the duo has become infamous for having no chemistry in the previous pictures, I did somewhat believe their relationship in this one. That’s probably because this was the last film and they were genuinely happy to be done with so it appeared that they were actually happy to be Mrs. and Mr. Grey. Anyways, I hope that both of their careers can survive the damage of this franchise.

On the supporting front, there really isn’t much to mention. A bunch of actors like Rita Ora, Bran Daugherty (who went from background actor on Pretty Little Liars to a sideline character on the big screen – progress?), Eric JohnsonEloise MumfordLuke Grimes (The Magnificient Seven), and Arielle Kebbel appeared and sort of just stood or ran around in the background. They served the purpose of the movie, I guess.

In short, Fifty Shades Freed was what it was. If you liked this series, good for you. If you didn’t enjoy it, sorry that you spent money on it.

Rate: 2.5/5

Trailer: Fifty Shades Freed trailer

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Movie review: Black Panther

Movie reviews

Hello!

Welcome to the review of the newest and, arguably, the most important Marvel movie! This is Black Panther!

IMDb summary: T’Challa, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king.

As usual, before I start, my previous MCU reviews are here: Guardians 1 and 2, Avengers 2, Ant-Man, Doctor Strange, Civil War, Spider-Man: Homecoming, Thor 3.

Writing

Black Panther was written by the director of the film Ryan Coogler and Joe Robert Cole. I thought that the duo did a stellar job with the script. I’m not going to talk about the plot in detail, so as to keep this review spoiler free, other than to stay that a lot of narrative things happen in this film and a couple of them are quite unexpected. There are also a few of meaningful deaths (that might silence MCU critics who say that nobody ever dies in this universe). What I’m going to discuss more elaborately are the brilliant and multiple thematical concepts of Black Panther.

Just on the surface representational level, this film was a game changer. Black characters were elevated from the roles of the supporting friend/the funny sidekick/the one-scene cameo and were brought to the forefront. It’s also refreshing to see fictional black characters rather than real-life rebel slaves or civil rights activists (those smaller biographical movies are important too, but diversity in the blockbuster field is key as well). Also, even though this movie told a fictional story about fictional characters, it honored and paid homage to a lot of its real-world equivalents/inspirations, which raised a question for me: why haven’t we seen pictures about real, past or current, African tribes that were not documentaries???

Anyways, more on Black Panther paying homage to certain real-world ideas/events. I absolutely loved how the movie honored the connection that Africans have with their ancestors (and how in touch with their spirituality they are) as well their connection with nature (healing herbs, animals as deities). It was also great for the movie to acknowledge the violence within African culture (both the inner to the culture and the one coming from the west). Most importantly, it was just so amazing to see the Afrofuturism ideas on screen, which connected modernity with the traditional side of the culture. Scholars have been racking their brains about how to develop Africa without Westernizing it! Well, just do what Black Panther did: connect the two things rather than make one negate the other!

As the movie’s main character was a sovereign of a country, Black Panther also had some political commentary, mostly about a single country’s relation and obligation to the world. It also explored the well-known idea of the sins of the father reflecting of the children but in a royal context.  The film also had some fascinating things to say about communities, tribes or one’s ‘people’. How do we define that category? Do we draw lines based on race? Ethnicity? Nationality? Culture? Common beliefs and ideals? One of the central conflicts in the film was based on the fact that the villain and the hero of the story had different answers to that question. Speaking of the villain, Killmonger might be Marvel’s best one yet because he wasn’t just a villain but a character in his own right, whose goals were radical yet valid. The viewer could definitely understand his frustrations and reasons for his thinking.

Directing

Ryan Coogler (of Creedand Fruitvale Station) did an amazing job with Black Panther. He realized the visuals of Afrofuturism so well (with the help of production design, of course). The sets were brilliant and the costumes – absolutely impeccable and so cool as well! The action was really great too: fast-paced, intense, and meaningful for the plot. The pacing was also great!  The much-celebrated music of the movie was great (so it has been celebrated for a reason). I wanted to hear even more if it!

Acting

Black Panther assembled a stellar cast, led by Chadwick Boseman (Civil War) in a role that he was born to play. I’d love to see his involvement in the MCU leading to more non-biographical roles for him (cause I have seen him in quite a few biopics). Coogler’s collaborator Michael B. Jordan (Creed, Fantastic Four) played the villain and fully embodied the role, both physically and emotionally. I absolutely loved his character’s Americanized look too. An absolute scene stealer was Letitia Wright as the tech (and actual) princess. I loved her portrayal as a tech genius who was super excited about her creations and I also loved all her outfits and amazing sense of humor (bit cringe-y at times but so relatable). Lupita Nyong’o (The Jungle Book, The Force Awakens) also had a great role in the film – really loved seeing her in a big picture in person (not as in Star Wars, in motion capture).

Walking Dead’s Danai Gurira played an incredible role of the leader of Dora Milaje (who were all so amazing), while the breakout star of last year Daniel Kaluuya (Get Out) also had an interesting role to play (I loved how his character’s cape-like looking thing was also a shield). Winston Duke played a fun and multifaceted character too. Some more seasoned talent was also spotlighted: Angela Bassett was great as the mother of the king, while Forest Whitaker (Southpaw, Arrival, Rogue One) was perfect as an elderly statesman. Martin Freeman and Andy Serkis (War For The Planet of The Apes, The Last Jedi) also reprised their earlier roles in the MCU and were great. Freeman was a lovable CIA agent (not a word I’d use to describe a CIA agent, but, oh well), while Serkis was super crazy as one the villains of the film but it was really nice to see him in a non-motion capture performance.

Post-credits/End-credits (bit spoiler-y)

While Black Panther was mostly divorced from the MCU (it didn’t have many Easter Eggs that I could notice except of course the Stan Lee cameo), it did have a neat after-credits scene, where a fan-favorite from Civil War (‘White Wolf’) was defrosted. He seemed to be doing well in Wakanda.

The mid-credits scene was closely related to this picture and had a nice message of peaceful communication. It sounded a tiny bit naive but I can’t really fault hope.

In short, Black Panther was both a great Marvel comic book movie and a sophisticated game-changer in terms of representation for the whole context of modern cinema.

Rate: 4.8/5

Trailer: Black Panther trailer

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Movie review: Phantom Thread

Movie reviews

Hello!

Welcome to one the last awards’ movie reviews. This time around, we are discussing Phantom Thread!

IMDb summary: Set in 1950’s London, Reynolds Woodcock is a renowned dressmaker whose fastidious life is disrupted by a young, strong-willed woman, Alma, who becomes his muse and lover.

Paul Thomas Anderson

Phantom Thread was written and directed by Paul Thomas Anderson, known for such films as Magnolia, Boogie Nights, Inherent Vice (which I’ve finally watched and was confused by) and There Will Be Blood (my favorite picture of his). His direction for Phantom Thread was very particular (and, in a way, quite spectacular). The writing was also very specific and, while I, personally, found a lot of problems with its content, I could also see how other people might have been fascinated by it. Let’s begin!

Writing

Phantom Thread’s narrative was, at its core, a love story, albeit a twisted and toxic one. The portrayal of such a love story was my main problem with the film. I have seen this movie described as a true representation of what it is like being in a relationship with an artist. To me, this looked like a situation, in which the film’s supposed authenticity of representation was used as a poor justification for the toxic relationship of the characters. Also, the assertion of authenticity raised another problem in my mind: according to this film, artists are borderline divine deities, to be sheltered and protected. In my worldview, artists are humans: flawed individuals rather than godlike figures to be privileged and raised above everyone else.

Going back to the love story, I couldn’t buy its progression. The female character stared the film as timid and quiet and seemed to be perfectly happy to be in an abusive and strict relationship. However, then she changed into a femme fatale (went from 0 (every second word from her mouth in the first half was ‘yes’) to Christian Grey levels) and attempted to reassert some power/or even take full control of the relationship by using quite deadly means. Where did that change come from? I did not see any hints at it at the beginning of the film! Also, if deciding to play-up the female character as this quiet but deadly individual, why not have the whole tonne of the movie be a bit more cynical and sinister rather than romantical? The changes in tonne would have made the whole shift seem a bit more possible. Also, was her goal to lower his defense mechanism really the only thing driving her forward? Or did she just want to weasel herself into his business and was basically a gold digger?

The male character was equally awful. He was privileged, pedantic, ridden with mommy issues (which were never really explored, just mentioned), demanding, superior without any good reason, obsessive, pretentious and controlling workaholic. Was he like that because of a mental illness or was he just an awful human being? Did his eccentricities really make him remarkable? I found that assertion quite questionable. Also, what did he see in the female character? A person to love, a prize to desire or a great model for his clothes/a real life dressmaker’s dummy?

The two ideas of writing that I liked the most (or the only two I liked at all) were the assertions that clothing is powerful and transformative and the character of the sister. Her jealousy of the new girlfriend/wife was a bit weird but I did like the fact that she was done with her brother by the end of the film and experienced growth – escaped the cycle that the other two characters remained stuck in.

Directing

Phantom Thread looked like a 1950s movie with its blurry and grainy visuals and soft colors. The designs themselves were beautiful but they also seemed very much of their own time – old rather than classical (time-transcending). The picture was also really slow, and since the story was either angering or extremely unengaging for me, I felt that it dragged more than a few times.

Acting

The two lead actors – Daniel Day-Lewis and Vicky Krieps – did a good enough job portraying the character. But, as I found their characters atrocious, I couldn’t really enjoy the actors’ performances. The chemistry between the two actors was interesting. I didn’t see it as positive but rather more confrontational and sometimes awkward, uncomfortable to watch. I don’t think this was Day-Lewis best performance and I certainly don’t think he should retire after it. For Krieps, this was her English-language debut (or one of the first few roles in English) and it was not necessarily the most successful one.

 

 

In short, Phantom Thread was a beautifully shot film, whose writing left me confused and annoyed. Might just be a personal thing, though, as a lot of critics seemed to have loved it.

Rate: 3/5

Trailer: Phantom Thread trailer

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Movie review: Maze Runner: The Death Cure

Movie reviews

Hello!

The last of the YA dystopias is coming to an end. This is Maze Runner: The Death Cure.

IMDb summary: Young hero Thomas embarks on a mission to find a cure for a deadly disease known as the “Flare”.

Writing

The Death Cure was written by T.S. Nowlin (the writer of the two previous pictures in this series and the upcoming Pacific Rim: Uprising film), based on the book of the same name by James Dashner. I’ve read the original trilogy more than 5 years ago now, so I hardly remember its plot details (I might have remembered a bit more a year ago, when this film was supposed to come out but, as it was pushed back due to Dylan O’Brien’s injury on set, I’m now more in the dark than I’ve ever was). However, this movie franchise has gone so far off the books (especially in the second film) that my background of having read and not remembering the book hardly impacts the motion picture watching experience. Having said that, I did recount two major things from the last book that managed to stay with for 5+ years and both of these developments were preserved in the film. I was quite upset that the filmmakers kept the first thing (from the selfish fan perspective) but quite glad that they retained the second one (from an objective-ish reviewer perspective). Let me elaborate. Also: SPOILERS!

The first thing I had in my mind was the death of probably my favorite character from the series – Newt. I distinctly remember being very sad after finishing the book and hoping that, when this novel will finally reach the big screen, Newt will be allowed to live. However, I’m not surprised that the screenwriter kept such an ending for one of the main character’s, as his final scene was pretty emotional and made for a great and powerful moment on screen. His nickname for Thomas – Tommy – was heartbreakingly sweet too. The second development that I’ve mentioned as having liked from a more objective point of view was the movie’s (and the book’s) ultimate ending. The film ended with all the surviving characters living on an island (a more realistic version of the safe haven from the books. In the original novels, a portal had to be taken to reach safety rather than just a boat). I’m glad that the screenwriters didn’t change the ending into fairytale/happy one but kept it ambiguous: what will Thomas do with HIS gift? In addition, I feel like a happy ending (like a sequence of the cure being spread to everyone) would have undercut all the losses that the surviving characters had to go through.

Now, having explored some of the narrative details, let’s look at some themes. One of the major topics of discussion for the film was memory (and my musings about remembering or forgetting certain details of the plot somehow feel more appropriate). Another big concept for this series has always been friendship, which was on display here once more (Thomas, Newt, and Minho are one of my favorite trios in YA fiction). The shades of the love triangle (Thomas, Teresa, Brenda) were present too, though, they weren’t on display that much.

My few slight criticism towards the writing were mainly just two and both of them had to do with the antagonists of the series. For one, I have never fully understood the hierarchy within the WCKD. In this film, Ava Paige had to ask somebody else for the permission to start the human trials of the cure as if they haven’t been experimenting on humans for years already to get the vaccine in the first place?! Also, I’m still not entirely sure whether I buy Teresa’s shifting allegiances or it might be that I just don’t understand her character and the scale she uses to judge what is right on.

 

 

Directing

Wes Ball directed The Death Cure (he also did The Maze Runner and The Scorch Trials) and did quite an amazing job, especially with only around $60 million budget. The last entry into the franchise was highly action-packed. The said action was also quite varied: the film had a variety of sets (all brown and broken but still cool looking) and a ton of CGI that looked quite good (I’ve seen movies that cost double what this one did and looked four times worse (*cough, cough*, Geostorm). The focus on the action in this film also allowed this series to finally differentiate itself from the other YA dystopias, mainly The Hunger Games. While THG finished off as more of a political thriller, TMR series seems to have always been more about the spectacle and only then about the ideas. The ideas – the attempt to go the political thriller route with the cure only being meant for the privileged – were present but they did feel like an afterthought. The Maze Runner series should not have tried to shy away from its action roots, as these sequences were the best ones in the movie. Having said that, the characters had to break into The Capitol-like city in this film, so maybe these two series aren’t that different after all. I wonder how the Divergent/Allegiant situation is going on? That series probably won’t end ever.

Anyways, the fact that this movie had a lot of action, also helped it with the pace, which was quite fast. The only dip came in the second act, however, the first and the third acts were rapid and intense.  My only critique of the action sequences was that, at times, they were filmed with a bit too much of the shaky cam. Nevertheless, those moments were far and few in between, while the majority of the action was captured by a handheld but steady enough camera, while the mobile frame helped with the intensity. I also loved how the action scenes in the first act (the maze and the grievers; the cranks) were used as a slight reminder of what happened in the previous pictures. Lastly, how nice was it that they the filmmakers (and the suits) didn’t divide the finale of the trilogy into two parts!

Acting

The Death Cure saw the return of all the favorites. Dylan O’BrienThomas Brodie-Sangster, and Ki Hong Lee were all great as my favorite trio: Thomas, Newt, and Minho, respectively. I only wish that they would have shared more scenes together. O’Brien’s TV show – Teen Wolf – has ended last year but he has been steadily racking up movie roles (in this series, Deepwater Horizon, and American Assasin) and seems to be fairing much better than the actual lead of his TV show – Tyler Posey. I really hope that the relative financial success of this franchise will allow Thomas Brodie-Sangster and Ki Hong Lee to be cast in more projects too.

Will Poulter (The Revenant, Detroit) also returned as Gally, while Dexter Darden had some neat moments (operating a crane) as FrypanKaya Scodelario (Pirates 5) was okay as Teresa, while Giancarlo Esposito’s (OkjaJorge and Rosa Salazar’s Brenda were neat to watch in their father-daughter-like relationship. On the villain side, Patricia Clarkson (The Party) was still immaculately dressed in white as Ava Paige, while Littlefinger – Aidan Gillen (Sing Street) as Janson – was doing his thing as usual. Another GOT family member (who also stars in Fast&Furious franchise) Nathalie Emmanuel (as Harriet), as well as ShadowhuntersKatherine McNamara (as Sonya), appeared too, although the film didn’t really know what to do with them, after having introduced them in The Scorch Trials as members from a different maze/test group.

In short, Maze Runner: The Death Cure was an entertaining finale to the, overall, surprisingly strong YA franchise, that pleased my heart and mind. And this praise comes from somebody who was once the biggest fan of the book and this genre in general.

Rate: 3.8/5

Trailer: Maze Runner: The Death Cure trailer

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Movie review: The Post

Movie reviews

Hello!

Spielberg. Hanks. Streep. Need I say more? This is The Post!

IMDb summary: A cover-up that spanned four U.S. Presidents pushed the country’s first female newspaper publisher and a hard-driving editor to join an unprecedented battle between the press and the government.

Writing

The Post was written by Liz Hannah (a first-time writer on a movie) and Josh Singer (who worked on The Fifth Estate and Spotlight – two similar pictures to The Post). I thought that the writers did a really great job and I’d like to explore 3 particular aspects of their writing in a bit more detail. These are the journalism narrative, the commentary on war, and the character development.

To begin with, some of you may know that I once wanted to study journalism and this movie, with its display of amazing investigative journalism, reawakened that dream. The quote from Streep’s character, how news is the first rough draft of history, was brilliant and summed up everything that is great about true journalism. It was also incredibly interesting to see the relationship between the politicians and the press: how they not only used to be in cahoots (and started to be against each other after the events of 1971) but how members of the two occupations had personal relationships, thus, fighting against the politicians wasn’t just a job for journalists, but sometimes an attack on a friend. Hanks‘ characters line, about JFK being a friend rather than a source, perfectly encapsulated that whole conflict. In addition, The Post not only showcased the reporting side of journalism but the business parts of it too. The competition between newspapers, as well as the financial struggles of The Washington Post, were amazing to witness and helped to contextualize the particular events of the film.

The war commentary, as well as the insights into the faulty ideals of the American government, were also fascinating. The Post really showed how fragile American pride was and how the government was determined to put its citizens in jeopardy because they were afraid of embarrassment. And they still got embarrassed and have had a hard time working on that issue. Don’t even get me started on how they attempted to work around that problem with the 2016 election and dug themselves into an even deeper hole (and that’s only one of the parallels between the past events in the movie and the contemporary real ones).

The writing for Streep’s character is the third and last aspect I’d like to discuss. I found her whole character arc very interesting. To begin with, I didn’t think that Katharine Graham was a typical Streep character: she wasn’t untouchable Iron Lady. She was, at times, flustered and not always knew what to say. She was also very much part of her time: her lines about women not even knowing they could want more rang so true and opened my eyes to the fact that gender equality (and still not a full one) has not been a widespread thing for long, if the 1970s was still such a fighting ground for K. The said gender inequality was just perfectly seen in the fact that male characters would speak for her (she had to deal with a lot of manslapining); would question her decisions, or would even silence her. Lastly, the fact that journalism and all other business were dominated by white males also makes me question the legitimacy of the narrative cause it was just one kind of narrative.

Directing

Steven Spielberg (The BFG, so looking forward to Ready Player One) directed The Post and I’d place this film together with Bridge of Spies and Lincoln in his filmography. The picture opened with a battle scene and Spielberg knows how to direct those impeccably. I also loved how the initial focus of the film was on the papers and only then did it move to the actual subjects of this biography. The visualization of journalism – from looking for the sources to writing to printing to distributing – was amazing. I especially loved the sequences with the old school printing press and the one of overnight research at Hanks‘ character’s house. The gender inequality was also well visualized with that single scene of women sitting in a living room and men being left in the dining room. That rung so many visual bells to the 19th century and Downton Abbey, simultaneously. Lastly, the ending of the film – an obvious hint at the Watergate scandal – was spot-on and made me want to find out more about that it. Any recommendations for a good and somewhat accurate Watergate movie?

Acting

Meryl Streep (Suffragette, Florence Foster Jenkins) did a really stellar job with this complex role. Tom Hanks (The Circle, Inferno, Sully, A Hologram for the King, Bridge of Spies) was also really good as the confident, ‘no pulling punches’ editor. Sarah Paulson (Carol) didn’t really have much to do but she did have one great speech. Bob Odenkirk was amazing as one of the reporters at The Washington Post, while Matthew Rhys impressed as Daniel Ellsberg, the original whistleblower (he came way before Edward Snowden or WikiLeaks’ Julian Assange). It was also nice to see two Fargo’s alumni Carrie Coon (Gone Girl) and Jesse Plemons (American Made) in small roles.

In short, The Post was a complex yet straightforward biography that was well written, directed qualitatively and acted impeccably.

Rate: 4.5/5

Trailer: The Post trailer

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5 ideas about a movie: Roman J. Israel, Esq.

Movie reviews

Hello!

This is an awards’ film (barely) with Denzel Washington and he is the only nominee. Well, that never happens (*cough, cough*)…This is Roman J. Israel, Esq.

IMDb summary: Roman J. Israel, Esq., a driven, idealistic defense attorney, finds himself in a tumultuous series of events that lead to a crisis and the necessity for extreme action.

  1. Roman J. Israel, Esq. was written and directed by Dan Gilroy (he debuted as a director in 2014 with Nightcrawler and also wrote the recent Kong: Skull Island). While he didn’t do a bad job per say, I wouldn’t say that the film was successful either. At best, it was okay, at worst: so-so.
  2. From the writing standpoint, Roman J. Israel, Esq. was super dense. The law jargon was confusing and was not presented in an interesting way (it seems that ‘show, don’t tell’ rule was unheard of by the filmmakers). The only interesting visual with the legal paperwork was the opening sequence of a typed text –  I wanted to see more of that or other types of visualizations of the law. The movie was also quite slow and long – the plot dragged in more than a few places. In addition, the big twist – Roman’s decision to acquire some money through shady means – seemed far-fetched as the character did not seem to be so desperate as to commit such an act. The act could be believable if the movie was attempting to showcase the fragility of idealism when materialism comes calling. That’s one depressing message.
  3. Despite the flaws in the script, some neat dualities could be found in the writing. For one, Roman’s personal character and the requirements of his job were at odds – he was antisocial and introverted in nature but had to present a certain flashier business image of himself (extrovert in a suit with sleek rather than ethnic hair). His personal beliefs were also challenged by the modern times: his outlook was fairly old school and he didn’t seem to be able to adapt to the changes (the scene where he is lecturing the activists, as well as his exchange with the two women about the line between chivalry and sexism, come to mind).
  4. If my cryptic intro was too cryptic, what I meant by it was the fact that Denzel Washington has been nominated in the acting categories a plethora of times throughout his career, however, the films, in whole, have not faired great. Fences was completely shut down just last year (except for the Viola Davis’s win, which was more of a career win rather than a reward for that specific movie) and Flight did not do any better in the 2012/2013 season. Washington’s last big win was in 2002/2003 with Training Day. Here, he was good as Roman J. Israel and also acted as the only reason for me to watch this film. However, the performance wasn’t special – it was neither showy nor subtly powerful. Just good. And yet, if not for Denzel’s involvement with this film, we wouldn’t be even talking about it: another recent law drama/biography Marshall didn’t get any nominations because it didn’t have an awards’ voters favorite in the lead (that one did have a Black Panther, though).
  5. While the film was mostly a Denzel-centric show, the other members of the cast were good too. Colin Farrell (The Killing of a Sacred Deer, The Beguiled, Fantastic Beasts, The Lobster) didn’t have much to do but he did fit the role of a high profile lawyer very well. Carmen Ejogo (Fantastic Beasts, Alien: Covenant) was good as an activist too.

In short, Roman J. Israel, Esq. fades as a movie, while Denzel Washinton peaks as per usual.

Rate: 3/5

Trailer: Roman J. Israel, Esq. trailer

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Movie review: Three Billboards Outiside Ebbing, Missouri

Movie reviews

Hello!

Welcome to the review of the big Golden Globe’s winner – Three Billboards Outside Ebbing, Missouri.

IMDb summary: A mother personally challenges the local authorities to solve her daughter’s murder when they fail to catch the culprit.

Three Billboards Outside Ebbing, Missouri (amazing title, tbh) was written and directed by Martin McDonagh, known for such films as In Bruges and Seven Psychopaths. He handled both jobs extremely well.

Writing

McDonagh was inspired to write this movie by actual billboards about a crime that he has seen while traveling somewhere in the southeast of the US. Before seeing this film, I knew its premise (and thought it was super unique) but I had no idea where the narrative would go. I’m happy to report that McDonagh took this story in an unexpected and as unique as its premise direction.

Three Billboards was a story of three characters (3 billboards, 3 leads), and, through these characters’ arcs, the movie was able to explore a plethora of themes. This picture was, in my mind, more of an exploration of these three characters rather than a crime drama with them in it.

To begin with, the writing for the grieving mother was just spectacular. It was refreshing to see a character allowed to grieve openly and express her anger (it a small step from pain to anger) rather than bottling it up (our society likes us to grieve in private and be done quickly so that we could rejoin society as productive members as soon as possible). The way the film visualized pain – by focusing it on the billboards – was also super interesting. The whole interplay/juxtaposition between typically emotionless corporate advertising spaces (a.k.a. the billboards) and highly emotional plea of a grieving mother was fascinating. Also, the film did a good job of showing the extremism of Mildred (the mother) but also of making her actions understandable – the balance was just right. The flashbacks, showing the mother’s and daughter’s last moments together, also added so much depth to the story.

The second lead – the unfit police officer – was the most unexpected character for me. He began the film as an openly racist and homophobic cop – just an awful human being, but also, simultaneously, a sad little person. However, the script then added some little extraordinary details that intrigued me, like his enjoyment of comic books, ABBA, and classical music. I could not reconcile his worldview and his hobbies in my mind. Also, I expected the movie to sideline him or just use the character to build the atmosphere, but Dixon (that’s his name) actually became the main player as a story unraveled and experienced real growth. While I don’t think I agree that he had the makings of a good cop, he definitely had the capacity to become a decent person (through experience and education). In addition, Three Billboards’ writing was clever about humanizing the character without being too emphatic – found that perfect balance again.

The third lead, the town’s sheriff, was the character the easiest to sympathize with as he was portrayed as being stuck in an impossible position, mediating between a grieving mother and an unfit police force. This type of a police vs, citizen confrontation hasn’t been seen much in pictures recently, mostly because the majority of police and citizen relations have been explored through the perspective of race. Anyways, the town’s sheriff actually seemed like a good person, who cared about his job and his family. His personal arc, relating to his illness, was an unexpected but realistic inclusion, that added some layers to his character.

Three Billboards also presented an interesting dichotomy between the society and the individual: the town’s reaction to the billboards and the prejudice against Mildred and the siding with the police force were both shocking to me and didn’t paint the best picture of the middle America that is already pretty bad after the recent election (which isn’t that recent).

Lastly, the picture had a highly unexpected ending in the team-up of the mother and the police officer. Their final decision – taking justice into their owns hands without substantial proof  – was not easy to agree with. And yet, the fact that their target was spewing such horrible things at the bar and was in the military (which is supposed to consists of people working for the good of society rather than be an example of the worst of it) kinda made me understand Mildred’s and Dixon’s decision. And even though, their final resolution, as well as the previous actions of a mother, might not be the healthiest or the most societally acceptable example of how to deal with grief, it is a potential example, nonetheless. Hey, whatever works, I guess?

Directing

Three Billboards Outside Ebbing, Missouri, while impeccably written, was also well directed. The pacing was great – the movie was intense and emotional all throughout. The cinematography was wonderful too – the visual set-up (opening the movie with the imagery of the billboards) was highly effective and straight to the point. The mobile frame and the handheld camera throughout the rest of the film added that feeling of realism that indie movies have. The whole atmosphere of the movie was also a bit Coen-esque (more Coen-y than the Coen brothers’ own film from last year – Suburbicon). A couple of my favorite scenes in the picture (mostly because they were unexpected) were Mildred’s confrontation with the priest (if you want to find out more about her accusations, watch Spotlight – an Oscar winner from 2 years ago) and her scene with the dentist (that one was especially shocking but of the good kind of shock value).

 

Acting

  • Frances McDormand was truly brilliant as Mildred Hayes. I believe that her performance here was as good as the one in Fargo, for which she won an Oscar, and I’m hoping that she will get another Academy Award this year.
  • Woody Harrelson (Triple 9The Hunger GamesNow You See Me, The Glass Castle, War For The Planet Of The Apes) was also really good as Sheriff Bill Willoughby. His performance was short (ended quite suddenly) but one of the best of his that I’ve seen (then again, he is always good even if the movie itself is lacking).
  • Sam Rockwell delivered his greatest performance as Officer Jason Dixon – he made that character seem like a real person rather than a caricature. I’m so glad that Rockwell is finally getting the recognition he deserves – he definitely should have gotten more awards nominations in the past, especially for 2009’s Moon.
  • On the supporting front, Peter Dinklage had a cameo role and it was a bit weird seeing him here – he and Tyrion Lannister have become one in my mind (playing such an iconic character is both a blessing and a curse). A few actors from other awards nominees’ also had roles here, including Lucas Hedges (was nominated for Manchester by the Sea last year and played a similar role in this film – that of a grieving teenager; he is also in Ladybird – another huge contender this awards season) and Caleb Landry Jones (who appeared in Get Out – the most mainstream film this awards season).

 

In short, Three Billboards Outside Ebbing, Missouri was a perfectly balanced and powerful drama about grief, pain, and anger that was brought to life by 3 amazing acting performances.

Rate: 4.8/5

Trailer: Three Billboards Outside Ebbing, Missouri trailer

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Movie review: All the Money in the World

Movie reviews

Hello!

Famous for its subject matter (the real-life events it depicts) and the behind-the-scenes story (Spacey out, Plummer in just months before the release date), can this movie stand on its own? This is All The Money In The World.

IMDb summary: The story of the kidnapping of 16-year-old John Paul Getty III and the desperate attempt by his devoted mother to convince his billionaire grandfather Jean Paul Getty to pay the ransom.

Writing

All the Money in the World was written by David Scarpa (he wrote some actions films before), based on the book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty by John Pearson. I found the writing for the film to be really good. I loved that the movie managed to be both a biography of J.P. Getty’s and a crime drama about the investigation of his grandson’s disappearance. The biography part was fascinating because its subject – Getty himself – was fascinating. His relationship with money – him being both rich and frugal – was really interesting. The fact that he found safety in materialism (and, in contrast, a high risk of failure in human relationships) also made him into somewhat understandable if not relatable (unless you are a 1-percenter) character.

Getty wasn’t the only character portrayed as being in the morally grey zone. Getty’s advisor was very vocal about his flaws, while the mother character wasn’t completely untouchable either. This morally grey type of portrayal made the characters seem real – as real as their real-life counterparts. The writing for the investigation portion of the film was great too – the investigation itself had so many layers and unexpected turns (I didn’t know the story beforehand). The picture also employed a lot of flashbacks to explain the backstories of characters and managed to make all the temporally different parts seem cohesive.

Directing

Ridley Scott (The Martian) directed All the Money in the World and made me want to see more of his dramas – he should start making them instead of Alien films (give that franchise to Neill Blomkamp, please). This film was impeccably shot and well edited. The world of the 1-percenters, as well as the 1970s time period, were well realized. The pacing was excellent too – the film was intense and engaging all throughout its 2h+ runtime. Lastly, the reshoot situation was handled just seamlessly. I couldn’t spot any inconsistencies in the story or the visuals (if only Justice League would have handled its reshoot that well).

Acting

The three leads of All the Money in the World did a magnificent job. To my mind, the acting was the best part of the film.

Michelle Williams (The Greatest Showman) was amazing. I feel like she was even better than in Manchester by the Sea, for which she was nominated plenty of times during the last awards season. Mark Wahlberg (Ted, Deepwater Horizon, Patriot’s Day, Daddy’s Home 2) was great too – this is not the type of role we are used to seeing him in, but, after this movie, I wish he would do more dramas and less Transformers-type of films cause he posses the acting talents of a dramatic actor and not just an action star. Christopher Plummer (The Man Who Invented Christmas) was brilliant as J. Paul Getty too – his performance becomes even more amazing when you realize that it was a super late addition (he was cast instead of Spacey (after the allegations against him were made public) and all Getty’s scenes had to be reshot months before the release date).

On the supporting front, Charlie Plummer (no relation to the other C. Plummer on the cast) was quite good as John Paul Getty III (the grandson), while a French actor Romain Duris played one of the kidnappers – his character was also morally grey – not a full on ‘villain’ to accompany the not really ‘heroes’ of the story.

In short, All the Money in the World is a well-directed drama with great writing and even better acting. A solid awards nominee if not a sure winner.

Rate: 4.5/5

Trailer: All the Money in the World trailer

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5 ideas about a movie: Downsizing

Movie reviews

Hello!

Welcome to January – the month of great awards movies and awful mainstream ones. I don’t know how many reviews of the latter I’m going to be posting but you can be sure that the awards’ film reviews will be plentiful. For example, you are reading one now – this is Downsizing.

IMDb summary: A social satire in which a man realizes he would have a better life if he were to shrink himself to five inches tall, allowing him to live in wealth and splendor.

  1. Downsizing was written and directed by Alexander Payne (of The Descendants and Nebraska). Payne’s long-time collaborator Jim Taylor was also credited as a writer and a producer. To begin with, I thought that these two filmmakers had a genius premise for a movie. I haven’t really seen a social satire that tackled overpopulation as the main problem and definitely haven’t seen a film that had such a cheeky yet somehow believable solution to the problem. The opening sequence of the film was really good – it effectively set up the idea of downsizing as well as it global outreach – I instantly started to believe in the world of the movie. Then, the picture flashed to its main character and that’s where the problems started to arise.
  2. While I don’t necessarily think that the main character was bad, I do strongly believe that the story of the main character was too simplistic (for such an incredible premise, the narrative should have been more unique too). The wife’s decision to leave the husband was such a cliche way to create conflict. The fact that the movie started with one love story and ended with another was not the best decision either because by focusing so much on the romance, Downsizing forgot to explore a multitude of concepts that it introduced.  I wanted less predictability and more time spent on the economic, political, and social implications of downsizing; the abuse of the new technology (cause there always is a darker side behind a shiny billboard), and just the problem of overpopulation itself.
  3. Alexander Payne did a good job directing Downsizing. He realized the world of the story well and visually blended the small and the big worlds almost seamlessly (those visuals had a surrealist feeling to them which was interesting). In addition, Downsizing was billed as a comedy, and, while there were certainly some chucklesome moments, the film definitely wasn’t a laugh-out-loud type of a comedy. My favorite visual (as well as narrative) sequence was the prep for and the actual procedure of downsizing. As I’ve mentioned in the previous part, I wanted to see more of it rather than the love story.
  4. Matt Damon (The Martian, Jason Bourne, The Great Wall) played the lead and was good, but I don’t think that this role will result in any awards’ nominations let alone wins (it’s zero for two for Damon this season as Suburbicon was panned by the critics). Christoph Waltz (Tarzan, Spectre, Tulip Fever) was fun to watch as he was playing an eccentric and creepy character – one straight out of Waltz’s wheelhouse. Kristen Wiig (mother!, Ghostbusters) and Jason Sudeikis had very minor roles but they were great in those and proved to me that I definitely prefer seeing these two actors in more dramatic roles rather in their full-on comedic ones.
  5. The stand-out from the cast, who deservedly is getting all the awards’ recognition for this film was Hong Chau. While her character first appeared to be a comedic stereotype (mostly because of the broken English aspect), she was so much more than that. Chau’s performance was compelling and emotional, innocent yet sophisticated. I’d love to see her winning an Oscar as well as getting more opportunities in Hollywood (she has previously appeared on Big Little Lies and in the picture Inherent Vice).

In short, Downsizing wastes an amazingly original concept on a predictable love story. The cast is good overall but the standout is definitely Hong Chau.

Rate: 3.5/5

Trailer: Downsizing trailer

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Movie review: The Greatest Showman

Movie reviews

Hello!

What you get when you take the songwriters of La La Land and add them to a retired Wolverine? This is The Greatest Showman!

IMDb summary: inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

Writing

The Greatest Showman, written by Jenny Bicks (one of the writers on Sex and the City) and Bill Condon (directed Beauty and the Beast, wrote Chicago, did both on Dreamgirls), is the story of P.T. Barnum. Being a mainstream musical that values entertainment value over accuracy, The Greatest Showman puts a fictional and quite an optimistic spin on a really dark and depressing real-life story. Barnum’s circus was not the safe haven for the different and marginalized, it was a prison for the so-called ‘freaks’ who neither the society nor Barnum himself actually cared for. And while there are some hints in the film for Barnum’s darker side (him turning away from his performers, and following the money and the high society’s acceptance instead), the overall final product can hardly be called a biography. Nevertheless, if one divorces the movie from its source material and takes it as a fictional story, then The Greatest Showman can absolutely be enjoyable (that’s how I enjoyed the movie – by treating it as a fictional musical rather than a biography).

Thematically, the picture explored ideas of hope and celebrated imagination and tolerance (again, take it as a fictional story, not a biography). It also expressed some ideas about hoaxes as lies for a good purpose (felt iffy about that message). The Greatest Showman also attempted to be a celebration of difference, however, it didn’t end up doing much else than just showcasing the difference – what I mean by this is that the script lacked character development for the majority of the performers. P.T. Barum received the most development, him being the lead and all, but even his personal arc was rushed at the beginning.

Directing

A visual effects supervisor Michael Gracey debuted as a director with The Greatest Showman and did quite a good job. Of course, he did get a lot of help from the aforementioned songwriters Benj Pasek and Justin Paul (their other credits include Dear Evan Hansen – a new and beloved Broadway musical as well as ‘Runnin’ Home To You’ – the song from The Flash musical episode) and composers John Debney and John Trapanese. The choreographer Ashley Wallen is also responsible for the success of the film’s musical numbers. And the musical numbers were plentiful. While on the first hearing, all of the songs somewhat blended together for me, upon a second listen, I started to appreciate them all separately. While ‘This is Me’ was certainly a great song and deserves the awards recognition it is getting, my favorite track was actually ‘Never Enough’. That song might be a bit too depressing and too real for the academy/other awards voters. What I wish that The Greatest Showman had less of was the reprisals of its songs. There were a lot of them and maybe a bit too many for a less than a 2-hour movie.

I’ve seen a few complaints online about the fact that this old school musical had a modern soundtrack – I actually loved the combo of old and new, but, then again, I liked how The Great Gatsby used modern music and I just love easy pop songs in general. I also loved how the movie realized its setting of a carnival/circus – I always thought that circus was a rich and realistically magical setting that is open to a lot of possibilities. In fact, The Greatest Showman’s circus numbers reminded me a bit of one short carnival sequence in the remake of Fame which I have always adored (linked it here).

Acting

Hugh Jackman (X-Men, Eddie The Eagle) starred in the lead of the film and did a good job. There was a reason why he so desperately wanted to make this movie – he knew he would be very good in it. It took me a few songs to get used to him not singing opera-like classics – I have only really heard him singing in Les Miserables before.

Zac Efron (The Disaster ArtistBaywatch, Mike and Dave, We Are Your Friends) was also really good in the picture and it was fun to see him coming back to his roots – a genre that made him well known in the first place (yes, I did grew up watching him in HSM, don’t judge me). Zendaya (Spider-Man) also delivered a wonderful performance, made even more amazing by the fact that she was actually the one doing the trapeze stunts. Michelle Williams (Manchester By the Sea) was also great in the film and in a less depressing role than she usually plays.

Rebecca Ferguson (The Snowman, MI5) delivered a great performance too – I loved the scene of her and Hugh Jackman just looking at each other. However, the most notable scene of Ferguson’s wasn’t even notable because of Ferguson herself – the aforementioned song ‘Never Enough’ was sung by her character but not by the actress herself. She was only lip syncing to the vocals of  Loren Allred. Lastly, Keala Settle rounded out the cast and was superb.

In short, The Greatest Showman was a great musical with delightful performances that was a bit let down by its mediocre writing

Rate: 4/5

Trailer: The Greatest Showman trailer

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