The Batman

It's been a minute. The last few years have certainly been disruptive to the old routine, but that doesn't mean I haven't been keeping up with my cinematic addiction. It's been awhile since I felt inspired to articulate my thoughts about a film, so what better vehicle than the latest oldest superhero attempt? At nearly three hours, director Matt Reeves' interpretation of the worlds greatest detective gives us a very raw and stripped down character in a bloated, ambitious story that leads down a highly predictable path. That may sound like a negative take, but trust me, there is enough to like about the film to earn my endorsement. The character of Batman has been done so many times it's hard to keep track of (West, Keaton, Kilmer, Clooney, Bale, Affleck) but the one recurring theme is the suave and confident aura of the alter ego Bruce Wayne. He's larger than life and cooler than James Bond. Not the Robert Pattinson version though. I was as dubious as the next guy when he was announced as the new dark knight, but he plays it with an emotional understatement that I wasn't expecting. The epitome of the strong, silent type, his demeanor doesn't change from one identity to the other, and that is something that humanizes him more than previous renditions. Excellent choice in portrayal all around. Our introduction to Gotham is in the early days of the masked vigilante's story. We're spared the regurgitation of the back story (thankfully) and find a reclusive billionaire watching his city eaten up by corruption and violence. His only recourse is to take out his rage on the criminal element of the city, and he does it with reckless aplomb. Enter the Riddler (Paul Dano). Forget everything you remember about the Jim Carrey performance (you just thought about it, didn't you?) This Riddler is much more Heath Ledger, and much less Frank Gorchin. He's a haunting psychopath that never fully gets developed to the extent I was hoping, but the lack of screentime adds to the mystique. He's hunting Gotham's elite, and Batman is scrambling to catch him before he consumes any remaining vestige of hope in the darkest city in the world. Batman enlists the help of a new and improved Catwoman (Zoe Kravitz) and their chemistry provides the levity that the heaviness of the rest of the film needs. It's a bit out of sync with the tone, but the darkness is a bit much at times, so it is a welcome sidebar. As Batman and Jim Gordon (Jeffrey Wright) team up to catch the psycho killer, their quest takes them into the dark underbelly of the city, crossing paths with familiar characters and villains until the ultimate climax, which takes a page from "Se7en" a bit more than it probably should have. We end in Arkham Asylum, setting up the next chapter, which will inevitably give us yet another depiction of the award-winning character of the Joker. I'm imagining this film will make enough money to justify a sequel, and Warner Bros. can't seem to move beyond Batman in its constant quest to follow Marvel's goldmine that is its cinematic universe. The overall tone is darker than it's ever been. I know, it's Gotham, but this one is both gritty and haunting. In an "I could see this place actually existing" kind of way. The colors are muted, and the fantasy aspect has been stripped down to its skeleton. Kudos to Reeves for expressing his vision so powerfully and meticulously, and his version of the Batmobile is the best yet. Cinematically, it's always been a combination of a tank and a ferrari, but this one is unapologetically a muscle car with a turbine engine. Way bigger than it needs to be, but throaty and exciting. Nailed it. The music. Michael Giacchino (Oscar winner for "Up") has created a character all in itself. Subtle, haunting chords follow our anti-hero on his quest for vengeance from start to finish, and it's a bit primitive and redundant, but effective. Throw in a depressing Nirvana ditty with deep, monotonous subconscious lyrics, and we get a whole new portrayal of Batman. Matt Reeves actually said that he took a bit of inspiration from Kurt Cobain for his Bruce Wayne, and it's noticeable. The film is a dramatic departure from what we've seen before, but the familiarity and keeps it grounded. I personally love the direction, and am optimistic that it might be the kickstart that a new version of DC Justice League needs to get back on its feet. Unfortunately, with "Flash" and "Aquaman 2" on the horizon, we might not have the most promising trajectory, but there is always hope with the upcoming "Black Adam." There's a reason it's been rebooted a kazillion times; it's profitable. It also strikes a nerve in the human psyche. Masked vigilante justice is just so primitively appealing. This new Batman is a winner in my book, even if the character has been overdone. 7/10.

Best of 2020

With the dumpster fire of 2020 nearly extinguished, we find ourselves contemplating some of the finer moments of the year from a cinematic point of view. Certainly the disruptions at theatres and postponement of many tentpole films (Marvel, DC, James Bond, Tom Cruise, etc.) had a negative impact on the menu of options, but there were still several great films, many of which will be up for some critical awards come 2021 despite never setting foot in a theatre in America. That said, this year does feel a bit different. I think my last theatrical viewing was in February, and although I do miss the thrill of sitting back and indulging in a highly-anticipated big-screen viewing. There's something about movie theatres that has always filled me with a sense of excitement and comfort. With digital streaming becoming the norm, and studios like Disney and Warner Bros. embracing the shift in cultural zeitgeist, we all find ourselves in a surreal place in history. I will fondly hold nostalgic memories of theatre experiences not for the films themselves, but for the feelings evoked. After all, that's what movies are all about; How they make you feel. Full disclosure, I haven't seen all of the films available. This is simply due to access issues as well as the time constraints of self-isolation but I have some idea of how awards season should go, and am curious how things will play out. Tops of my must-watch list (what I must watch, not you) is Nomadland. I'm expecting this to be the best picture of the year, with Chloe Zhao (the Rider, Eternals) and Frances McDormand in a surefire Best Actress nomination. Then there's Chadwick Bozeman's final film, Ma Rainey's Black Bottom, George Clooney's The Midnight Sky, Carey Mulligan's Promising Young Woman, and the fictitious revisionist historical biopic One Night in Miami. All of these show great potential, and I am excited to see each one when possible. The ultimate winner of the year is digital streaming studios. Netflix and Amazon have crushed 2020 either through their original stories or by purchasing hot properties that didn't have anywhere else to distribute. Whatever the circumstances, they have demonstrated the sustainability of this new model, and we will see how Warner Bros. blockbuster WW84 fares when released on HBOMax on Christmas. Disney+ didn't do too bad itself, and Apple has a handful of originals to contribute as well. Traditional studios are weighing options and will have to choose a side of moving forward or being left behind. Here are my thirteen favorite films that I highly recommend in no particular order. The Blockbuster 1. Tenet. Yes, I know it's cliche to put the biggest box office draw of 2020 on this list, but it was absolutely breathtaking and John David Washington and Robert Pattinson are both outstanding in Christopher Nolan's latest with notes of Inception and time inversion. It is complicated. Blink and you'll miss a lot, and I would highly recommend a second viewing to catch up on any gaps (just like Inception), but it is full of deeply metaphoric mindbending details. You know you want to see it, just set aside a few extra hours for the second viewing and some thoughtful reflection time. The New Guard 2 and 3. Extraction and Old Guard. Two Netflix properties with Chris Hemsworth and Charlize Theron, respectively. Both are legitimate blockbuster films that could have easily made nine figures at the box office, both could have also been glossed over as "made-for-tv" properties by a different lens, but with the new model of straight-to-digital-streaming, these two trailblazers stand out as well done, exciting, and proof positive that just because it's a Netflix film, doesn't mean it's not one of the best films of the year. The Sorkin Effect 4. The Trial of the Chicago 7. Aaron Sorkin in all his psilocybin-inspired screenwriting glory delivers a stellar biopic about the confluence of civil rights agendas in a time and place of unrest. With all the characters wittily speaking a mile-a-minute, the film is not only well-written, but it's delivered and performed exceptionally as well. The Quirky Duo 5 and 6. Palm Springs and King of Staten Island. Two lesser-known films that might not make anyone else's end of year list, I found Andy Samberg and Pete Davidson (SNL alumni) both captivating in a pair of comedies with more substance than seen at first glance. Both films are enjoyable and clever, but also tug a little at the heartstrings. The Uncomfortable Experience The Devil all the Time. In my book, this might be the best picture I've seen thus far. The characters are despicable and relatable in a setting that oozes backwater drama. Some may be turned off by some of the gritty material, but it strikes all the chords of what I'm into when it comes to raw cinematic craftsmanship. The Double-Take Love and Monsters. Say what? Really? I say yes. Clever dystopian story of mutated insects and reptiles that have driven survivors underground into bomb shelters. One man (Dylan O'Brien) ventures out to brave the danger to search for his long lost love. It's cheesy, predictable, and doesn't have particularly memorable characters or dialogue. But you know what? It's entertaining. The effects are pretty spectacular, and O'Brien's character is empathetic and has an ethereal quality that I just can't put my finger on. Whatever it is, the film is a great unexpected fun. The Character-Driven Vehicles Sound of Metal, Uncle Frank, Hillbilly Elegy, Black Bear. Acting mastercrafts all around. Riz Ahmed and sound editing that will win Oscars shine in the depressing Sound of Metal. Paul Bettany thrives in the period piece about the closeted gay uncle. Amy Adams hits all the right notes as the angry and abusive woman who just needed a way out. And finally, my Best Actress of the year, Aubrey Plaza puts on an absolute clinic in Black Bear, a film about the making of a film. The Underdog All Day and a Night. I loved this movie. Of course, I love Jeffrey Wright, and the writer/director wrote Black Panther as well, so there is that. This movie flew under the radar, and I even had to look up the name again when I was describing it to a friend. I'm not optimistic that it will end up on others' best of lists, but everything about it was fantastic and it will certainly end up on my Top 10 list once January hits. There are a lot of great films that have come out of this otherwise horrendous year, and I plan on finishing December by catching up on the ones I've been unable to see thus far, but I wanted to shake the rust off my blog (it's been a minute) and share my preliminary picks before 2021 pokes its head out. One thing that is certain is that there are no clear favorites in any of the categories (Tenet might have some technical categories wrapped up and Sound of Metal should take sound mixing and editing awards). Women will rule acting this season with McDormand, Adams, Plaza, and an understated performance by the always brilliant Meryl Streep capturing four of the nods. For the men, it's a little less predictable with Gary Oldman the only perennial fave for his take on 1930's Hollywood in Mank, and a posthumous nomination for Chadwick Bozeman seeming likely. Otherwise, I like Riz Ahmed (Sound of Metal) and young Ashton Sanders (All Day and a Night) as well as Paul Bettany (Uncle Frank) to potentially receive nominations. One thing that 2020 taught us is that awards season will require flexibility in our perception of what's typical or to be expected. There will be movies. There will be awards. And, those things won't be going away anytime soon, even if we do watch them in our bedroom, on our laptop, or even on our phone instead of on a big screen. As the Italians say, Viva La Cinema!

Oscars Preview

The wait is almost over. Tomorrow we will find out who the Academy thinks should be recognized for achievement in film for 2019. I have to say, I was impressed with the accuracy of the nominees this year, and felt there were truly fewer snubs than in the NBA All Star game. I am not expecting the winners to deviate very far from predictions, and the winners will all assuredly be deserving. In a time when it's an honor just to be nominated, you could honestly make arguments in earnest that there are no less than two other deserving nominees, but that's not what matters. What matters is who wins. Tomorrow night, an actress will receive her second Oscar, and three people will receive their first (as actors).

Picture - 1917. Devastating and beautiful. The film is a true cinematic triumph and will be a model of excellence for several years to come.

Director - Sam Mendes. His visionary style created a breathtaking experience that honestly if you haven't seen it on the big screen, you really are missing out. 1917 is tremendous.

Cinematography - Roger Deakins. Anyone who can make a film appear done in two shots is a genius. I've loved his work for decades now.

Original Writing - Quentin Tarantino - Once Upon a Time in Hollywood. The master of banal dialogue and quirky characters created one of the stronger contenders this year, thanks in large part to his two leads, but there is something mesmerizing about the dialogue of a Tarantino movie. It sucks you in, and before you know it, you're having a great time.

Adapted Screenplay - Todd Philips, Joker. One of the weaker categories this year, this is the one pick I'm less confident with. Joker was a controversial film, but understanding the intent of the vision and the execution of the character, all of the darkness is completely justified.

Supporting Actor - Brad Pitt. A completely effortless portrayal of a guy who is too cool to care about anything bothering him. Brad Pitt will get his long sought-after Oscar and he deserves it. This stage of his career is going to be fun to watch as he has limitless possibilities in front of him, although his producing career is more likely to churn out more golden statues.

Supporting Actress - Laura Dern. Marriage Story was a difficult movie to love because it was so heartbreaking. I do remember while watching just being in awe of Laura Dern commanding every ounce of attention with every scene she was in. She'd better thank Noah Baumbach first and foremost for writing that character into existence.

Actor - Joaquin Phoenix - A no-brainer this year, Joaquin has emerged with a haunting performance that makes you think about Heath Ledger's iconic portrayal of the clown prince of Gotham and genuinely struggle to decide who played it better. A ripe role, he's the perfect actor to pull it off, and one prediction is that his acceptance speech will be the wildest one of the night.

Actress - Renee Zellweger. Not my favorite film of the year, and not my favorite actress, but a home run performance. I wouldn't be upset if another actress won, but I also doubt it will happen. Sincerely.

2019 was a record-shattering year for film, and 1917, Once Upon a Time... In Hollywood, and Ford v Ferrari were the clear best films of the year. Avengers blew the box office out of orbit, and Midsommar left a mark as a guilty horror pleasure. Paddleton came and went on Netflix without so much as a mention, and the Peanut Butter Falcon raised my eyebrows to a Shia LeBeouf resurrection. His performance in Honey Boy is nothing to sneeze at either.

I'm already looking forward to 2020's delivery of goods. I'm just ready for the Trump Impeachment film. I'm guessing Adam McKay is working on something already and wouldn't be surprised if Russell Crowe or Christian Bale went after the role. With Meryl Streep as Nancy Pelosi, and Steve Carell as Adam Schiff? Just off the top of my head.

1917

Rarely do I find myself in awe of the technical execution of a film. "The Revenant" comes to mind, as does "No Country for Old Men." "1917" is not just a World War I film, it is also a visual and cinematic masterpiece that is not just the best film of the year by a mile, but also makes its mark as one of the best films ever made. The story, acting, and even music could have been stronger, but the spell cast by the camera is nothing short of breathtaking. Shot as one continuous scene, there was only one obvious camera cut in nearly two hours, and a couple of instances where trick editing could have occurred. The lack of cuts builds a tension and immersion into the journey of Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay). The journey is the most realistic, and meticulously crafted WWI story ever brought to life on screen.

Written by Sam Mendes based on stories told by his grandfather, the narrative immediately finds itself in "Saving Private Ryan" territory. The stark difference is there's no Tom Hanks or Matt Damon, and the ominous silence and lack of gratuitous violence is noticeable. George MacKay (deserves a Best Actor Oscar nomination) and Dean-Charles Chapman are two soldiers sent through no-man's land to deliver an urgent message to a Colonel about to go over the trenches with nearly 1,600 British soldiers. If they fail to deliver the message in time, the soldiers will be massacred. What we experience through the brilliant camera's lens is a race against both fear and time.

Roger Deakins has delivered a tour de force with his camerawork here. I would bet my life savings that he takes home his second Oscar, although he should have a half dozen by now. I will happily line up to see any project he works on opening night for the rest of his hopefully long career. He has made the Coen Brothers, Dennis Villenueve, and Sam Mendes the directors they are today.

The film has come out to a great deal of critical acclaim, hype, and even two Golden Globe awards, but it is a landmark film that should inspire a higher expectation of technical achievement for years or even generations to come. It's that good. Sam Mendes' ambition shows clearly, and he will reap the rewards for his efforts.

Last year, there was a documentary that stirred me. "They Shall not Grow Old" by Peter Jackson. He compiled archive footage and letters and brought them to life through color restoration, and it shone a light on WWI like never before. "1917" is the fiction, blockbuster answer to that documentary, and together they have done the Great War justice in ways never accomplished in the past (no offense to "All Quiet on the Western Front," "Paths of Glory," "Johnny Got his Gun," "War Horse," or "A Very Long Engagement").

Although rated R for realism, it is tastefully done in a way that can be appreciated by war film buffs and the squeamish alike. It's a mesmerizing trip back to 1917 France, and the attention to details is nothing short of stirring. This is what a two-hour cinematic experience is supposed to feel like. I applaud Sam Mendes and Roger Deakins and will cheer when they are rewarded with Oscars next month. 10/10.

2019 Year in Review

With 2019 in the books, it's time for some reviews and predictions. Let me start with my top 10 movies of the year. Disclaimer, there are a few I wasn't able to see... yet (1917, Honey Boy, The Lighthouse, Just Mercy being most notable). That said, here are my top 10 films of 2019 in alphabetical order:

Ford v Ferrari
Jojo Rabbit
Little Women
Marriage Story
Midsommar
Once Upon a Time in Hollywood
Paddleton
Peanut Butter Falcon
The Two Popes
Uncut Gems

I'm expecting 1917 to skyrocket to the top of the list, as it's one of my most anticipated awards-season films, but as of right now, Ford v Ferrari is my Best Picture. However, since it wasn't nominated, I'm expecting Marriage Story and Once Upon a Time in Hollywood to clean up at the Golden Globes this year. These will set the precedent for the Oscars, but here is who deserves to win in the Golden Globes categories:

Best Drama - Marriage Story
Best Comedy - Once Upon a Time in Hollywood
Best Actor - Drama - Joaquin Phoenix (although I wouldn't be made at a Jonathan Pryce or Christian Bale win either but Joaquin carried his film)
Best Actor - Comedy - Leonardo DiCaprio
Best Actress - Drama - Rene Zellweger
Best Actress - Comedy - Awkwafina
Best Director - Quentin Tarantino (although Sam Mendes might win if 1917 is as great as I am hearing)
Best Supporting Actor - Brad Pitt
Best Supporting Actress - Laura Dern
Best Screenplay - Quentin Tarantino (although BongJoon Ho might be deserving if Parasite is as good as advertised)
Best Foreign Language - Parasite

We'll see how it pans out tonight...

Star Wars: Episode IX - The Rise of Skywalker

Imagine for a moment, if you will, Peter Jackson being given the momentous task of not only directing "Return of the King," but also writing it so that the Lord of the Rings faithful would all be satisfied. Such was the task placed squarely on the shoulders of action franchise wunderkind JJ Abrams. Stepping in for Colin Trevorrow (one of six writers), Abrams anchors the ninth and presumably final installment of the iconic, 42 year old universe that has endeared literally generations of movie-going fans. On a combined budget of $1.3 billion, and a collective gross of $9.3 billion and counting (12 films total), the universe has revolutionized how Hollywood looks at extended universes (Marvel - I'm looking at you).

The film begins with Kylo Ren, the new Supreme Leader of the First Order, using a mysterious Sith wayfinder to discover that the Emperor isn't dead at all. In fact, he lives on the hidden planet of Exicle, and he's building an unstoppable army. He offers Kylo the throne with one small quid pro quo; Kill the girl. Of course he means our newly anointed heroine, Rey. The gang gets into shenanigans, they search for a wayfinder of their own that they can use to attack the Sith Lord, and Rey discovers the truth about her origin story. Along the way we make some new friends, get glimpses of creatures and characters from over the years, and get one last stand with some twists and turns.

The ending was somewhat unexpected, and despite loud objections by members of the audience who took to shouting at the screen (they must have been disappointed), the last chapter has now been written and the Skywalker saga has been closed. Is this the last we'll see of our friends? Probably not. $10,000,000,000 says there is more story to be told. In fact, Disney+ is seeing success with "The Mandalorian" and Ewan McGregor just announced that he is reprising his Obi-Wan Kenobi role in a new series coming in 2021. Rian Johnson is rumored to be working on a separate trilogy of his own, and George Lucas still has his fingers in the pie even after exiting with the $4 billion he received for the rights to his baby. Half of it was Disney stock, valued at $46 a share. Today, the stock is worth $130 a share, so his $2 billion is worth approximately $5.7 billion now. Not a bad haul for a crazy idea about an ancient space magic and the battle of good versus evil.

Abrams, who successfully revived the franchise with 2015's "The Force Awakens" introduced us to the new generation of heroes and villains to mixed reviews. The complaints numerous, it was unavoidable and predestined to be criticized endlessly due to the fanaticism of the core followers. I personally liked it after the prequels were special effects overkill.

Fast forward to Christmas of 2019. Forty-two years of story-telling has built to one epic finale. Imagine the pressure on the team of writers. Deliver a satisfying conclusion to a cherished childhood experience for millions, or forever face the scorn of audiences. It's a true Kobayashi Maru (Star Trek reference).

The reason I mention this is that as a film critic, there are sometimes that emotions cloud judgment when watching a movie. Often it enhances the experience and ends in a positive review, but sometimes I find myself walking into the theatre with expectations so unrealistic that no matter how strong the story, direction, acting, special effects, or execution are, there is something missing. I admit, I have grown apart from my love of Star Wars. As a seven year old, watching Return of the Jedi, I wanted to be Han Solo (most of my friends wanted to be Luke). But now, I am more of an observer, and try as I might, I have simply outgrown the unabashed love of the franchise.

That said, Episode IX (that's 9 for the young ones who don't know Roman numerals or cursive or spelling), upon some reflection, was better than I was expecting. It was a truly satisfying conclusion with callbacks to elements of all eight previous films. The somber, existential tone of "The Last Jedi" gives way to a much more popcorn-friendly, explosion and special-effects driven vehicle that doesn't slow down too much to lose the audience interest. Most questions are answered and aside from an eye-rolling "Avengers: Endgame" ploy, it followed the spirit of the franchise from start to finish.

Take it with a grain of cheese and don't overthink your expectations. Enjoy the ride, remember why you loved Star Wars in the first place, and know that this isn't truly the end of the line, because as we know about Jedi, nobody is really ever gone. 8/10.