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.

Ford v Ferrari

The first Oscar-worthy picture of the year has landed, and in all my years and tens of thousands of films viewed (possibly an exaggeration, but who knows?), I have never experienced a racing film quite this complete and masterfully done. At a robust two and a half hours, it's a bit long-winded (it seems like we experience the full twenty-four hour of LeMans near the end), but for some reason, it maintains focus and paces itself with the brilliant acting of two of Hollywood's best.

Based on the true story of Carroll Shelby's collaboration with Lee Iacoca and Henry Ford to create a car capable of competing with the Italian racing stalwart, Ferrari, in the mid-1960's. Blending elements of nostalgic Americana, the character-driven vehicle relies heavily on props, which in this particular case, is the drool-worthy supercar icon, the Ford GT40. Kudos to the authenticity and attention to detail by director James Mangold (more on him in a bit) and the production team. You feel like you are part of American history, the coming of age story of domestic automobiles.

Carroll Shelby (Matt Damon) is a former racer-turned custom sports car maker who has an endearing relationship with the socially brusque, but genius mechanic/driver Ken Miles (Christian Bale). They tinker and test the limits of their new car (and their relationship) on and off the track. It's a magical relationship of mutual respect, and constantly pushing back against the iconic car manufacturer and the legacy of its founder. Josh Lucas plays Leo Beebe, the executive tasked with putting Ford up against Ferrari on the biggest stage of all, LeMans. His antagonistic approach strengthens the resolve of the unlikely duo, and makes this underdog story one for the ages.

Christian Bale will receive a Best Actor nomination for his work. He's absolutely phenomenal as a journeyman racer who keeps burning professional bridges with his hot temper, but whose comfort and precision behind the wheel is undeniably brilliant. Adding depth to the character is a quirky but loving relationship with his supportive wife, Mollie (Caitriona Balfa) and his constant shadow and biggest fan, his son Pete (Noah Jupe). The father/son relationship was subtle, but incredibly powerful from start to finish, and I'm looking forward to many years of Noah Jupe's work. He has the child "it" factor that many lack. He's going to be around in the industry for a long time.

Damon's portrayal of Shelby is fantastic as he's given most of the film's best lines in comic relief. His admiration and respect for Miles elevates the legendary status of the racing intrigue for the times when the camera is in, above, behind, or next to the beautiful GT40. Although the story is clearly centered around Ken Miles, Carroll Shelby is the star-power from the historical perspective.

The racing puts you on the edge of your seat with a low, throaty, rumbling idle that accelerates to nearly two-hundred and twenty miles an hour. What blew me away was that although there were several races, and the racing screen-time probably approached ninety minutes or more, it never got old or stagnant. The actors and director (and screenwriters) found a way to keep it fresh, interesting, and emotional.

Director James Mangold ("Logan," "Walk the Line," the underrated "Cop Land") delivers a stellar opus that will stand the test of time in the auto racing genre as one of, if not the greatest film to grace the screen. No offense to "Rush," "Days of Thunder," or even the "Fast and Furious" films, but "Ford v Ferrari" just takes exceptional racing, and mixes it with incredible acting, masterful direction, and a story worthy of a gold statuette.

I expected "Ford v Ferrari" to be good, but my expectations were overwhelmed. The only way to adequately describe the film is that it is complete. So many different elements are done exquisitely well, so I can confidently say that this is the current front-runner for Best Picture. Likely there will be something else that comes along in the next six weeks, but until then, the bar has been set. If you enjoy car racing in the slightest, this film is a must-see. If you like Bale or Damon, their performances make it a must-see as well. "Ford v Ferrari" belongs in the pantheon of great sports films, but also as a character study of resolve, ingenuity, and competition. 10/10.

Joker

Writer/Director Todd Phillips ("The Hangover") had a picture of Joaquin Phoenix on his computer while he wrote the script for this film, and he stated there was no "plan B" if he didn't take the role. Personally, I can't imagine another actor playing the role so naturally, albeit disturbing and awkward. "Joker" is a one-man show to be certain, and it is every bit worth the price of admission to experience his story.

"Joker" is an origin story, and has ties to the Batman universe, but it is more subtle and introspective and hopefully will stand alone as a cinematic gem instead of a gateway into another futile attempt by DC to replicate Marvel's universe. Gotham City is painted as a gritty 1970's New York City with garbage piling up, senseless subway crime, and a deafening cry for society to take notice of the madness that is human nature. It's a bleak environment to be surviving in, and we see mostly the have nots as opposed to the haves. Enter Arthur Fleck (Phoenix). He's a grown man living with his mother, working humiliating gigs as a clown to make ends meet. He lives in squalor, but doesn't seem to care, and he has fantasies about romantic relationships and is being ignored by his social worker. Society is slowly letting him down with every tragic turn of events. His dream is to be a stand-up comedian, and appear on the Murray Franklin show (played magnificently by Robert De Niro), which is an inflated caricature of the delusional nature of his imagination. He is ignored by the system, a poster boy of someone with nothing going for them. Yet, there is something tremendously endearing about him. He is a true victim of his circumstances. Desperate for a break, only wanting a fair shake, he doesn't seem to be malicious by nature, and that's what makes for a great villain. He doesn't fit the villain archetype at all, just a strange dude with a lot of issues. Over the course of the film though, he's literally and proverbially kicked while he's down, and what gets back up is a creature that society is responsible for creating, and now they must live with the consequences.

The thing that makes this film work brilliantly is that Arthur Fleck is a humorless man. He's depressed, disturbed, and by all outside perspectives, he's strange. He even has a medical condition where he awkwardly laughs at inappropriate times out of sheer nervousness, but he desperately is looking for joy and humor in his life. In fact, it's really all he is looking for. Ironically, he only finds joy and attention through malicious and senseless acts of extreme violence and it's only when he gets a taste that he realizes what real happiness is. The optics of this idea is disturbing to be sure, but captured in a two-hour film, it is emotional dynamite. Coupled with one of the greatest living actors (that's right, I said it), this is a rich serving of anti-hero exploration, and although the plot moves slowly, it is forgivable because of the sheer amount of magnetism that Phoenix brings to his role.

Phoenix delivers an acting opus as the centerpiece of this anti-hero character study. An iconic villain that is the envy of practically every actor alive, and after 2008's "Dark Knight" performance by Heath Ledger, one that has a very large pair of shoes to fill. Let's forget about Jared Leto's "Suicide Squad" for a minute as it was pure garbage and a completely wasted opportunity. Phoenix resists the temptation to overindulge in the character to a chilling effect. Viewing his performance takes you into the mean streets of 1970's New York, but spins it with what can only be described as authentic method acting. The current front-runner for Best Actor in my mind, it will take a tour de force to wrestle the statue away from him when the Oscars come around.

Where does DC go from here? Well, there is another incarnation of "Batman" in the works with Robert Pattinson as the caped crusader. Aside from that, I could see the exploration of more villains in stand-alone origin stories. I just hope they avoid the temptation to explore a sequel, and maintain the gritty and dark tone that makes Gotham so attractive in the first place. With recent successes of R-rated superhero films ("Deadpool," "Logan," "Venom"), it's clear that audiences are ready and eager to get more personal with some of our notorious villains.

Already on pace to break October records, "Joker" has hit pay dirt with audiences, critics, and couldn't have dropped at a more appropriate time. Whether life imitates art, or art imitates life, the people feel neglected and want attention from those in power. "Joker" absolutely commands attention. 9/10.

Once Upon a Time... In Hollywood

Not everyone admits they like Tarantino movies, but everyone respects the quirky, sometimes gratuitous nature of the film maker's style. He's inserted himself into the industry and stands in a class of his own. There is an expectation among audiences when one of Tarantino's films comes out, particularly as awards buzz grows. Critics lead the way, and audiences listen, and what I'm hearing is that it's a strong entry in his diverse (is it though?) catalog of films. "Once Upon a Time... In Hollywood" is certainly filled with likely awards nominees moving forward, but beyond that, it's a satisfying and entertaining two and a half hours.

His latest pairs Leonardo DiCaprio as Rick Dalton, a fading star in beautiful 1969 Hollywood. Brad Pitt, in one of his best performances in years, is Cliff Booth, Rick's best friend, consigliere, and stunt double. The sets take you back in time in a light and fluffy love letter to the awkward post-classical age of American cinema with Coupe DeVilles driving around town, neon marquee signs along the strip, and cigarettes galore. Tarantino loves his cigarettes in film. The two buddies see the sun setting on their careers while hippies take over the Hollywood Hills, and a Roman Polanski and Charles Manson back story sets up the incredible (but predictable) ending that departs from the "Pulp Fiction" style and goes straight into "Inglorious Basterds" territory.

Leonardo has emerged as the best current actor in Hollywood. This film gives him the chance to show a little more range than in the past as he acts within the headspace of an actor on a film about an actor. It's really incredible to see his work demonstrated seemingly authentically, particularly in a pair of fantastic scenes with Timothy Olyphant, and the late Luke Perry. Equally commanding on the screen is Pitt, who is carefree and upbeat. It's a refreshing character, and harkens back to "Moneyball" as he brings the casual coolness of the actual Brad Pitt to the screen.

As with all Tarantino films, there is a laundry list of actors and cameos that seem to find their way into the final cut (a lengthy 2 hours and 40 minutes) but none truly develop into anything memorable. Margot Robbie's Sharon Tate is really the only other actor who appears in more than a few scenes, and she plays a bubbly, naive aspiring actress as well as can be expected, but it's sensationalism and wall covering. A great, tragic familiar story to weave into an otherwise fictional account that's driven almost entirely by the two leading men.

As always, Tarantino spins an entertaining tale. You can see glimpses of his own personality hidden within nearly every frame, and he's evolved as a film maker (not too much), and despite a pretty satisfying ending, it doesn't capture the lightning in a bottle from 1994, and isn't worthy of comparisons to "Pulp Fiction". Although set in Hollywood, this film carries the torch of the Western genre, which is where Quentin has been spending a lot of time lately ("Django Unchained," "The Hateful Eight"). His next project is rumored to be his last (it won't be) and is either the third entry in the "Kill Bill" saga, or an R-rated Star Trek story that he's been wanting to make for some time. My vote is both end up happening in the next decade, although I really did enjoy seeing Pitt and DiCaprio sharing the screen.

People tend to compare or rank Tarantino's films, and use that as a barometer of how good this film is, so obviously the top three films of his are "Pulp Fiction," "Reservoir Dogs," and "Inglorious Basterds," but this one definitely earns its way into the top five with the combination of acting, entertaining story, and satisfying ending. This summer seems to lack strong independent films, and although you could argue that a 95 million dollar budget doesn't really qualify, until he directs "Star Trek," he's still an indy rebel.

If you're a fan of good acting, "Once Upon a Time... In Hollywood" is a clinic. If you like revisionist historical fiction stories, you're in luck. And if you just like entertaining movies, you won't be disappointed. Caution: if you can't handle a slow burn that doesn't really follow any sensible plot lines, you might not like it. It's not for everyone, but I for one found it to be one of the best movies I've seen this year. I expect it will garner some awards recognition come winter, and deservedly so. 9/10.

Avengers: Endgame

It's been awhile since I did a review, but it was... inevitable... that I review "Endgame". I will keep it spoiler-free because it's the right thing to do. The good news is that the previews throw out some red herrings, so if you can avoid spoilers, you will be thoroughly surprised and entertained. The bad news is that spoilers abound, so if you use the Internet regularly, you need to see the film before they snake their way into your life. People will be talking about this film fast and furious, and no, Ant-Man (Paul Rudd) does not fly into Thanos' butt to kill him.

Nearly a year after the cataclysmic and abrupt ending to "Infinity War", audiences have been salivating and theorizing in anticipation of the epic finale to the ten year and multi-billion dollar Marvel Comic Extended Universe. It's not the actual finale, but it marks the end to phase three. For those unfamiliar, phase one introduced our core heroes (Hulk, Iron Man, Thor, Captain America) and ended with 2012's "Avengers". Phase two was the core sequels, introduction to the "Guardians of the Galaxy," the Avengers sequel, "Age of Ultron" and "Ant-Man". Phase three expanded the universe with Dr. Strange, Black Panther, Spider-Man, and Captain Marvel. The culmination of Phase Three is "Endgame" and now this summer's "Spider-Man: Far From Home" will technically wrap up Phase three, but more likely will jump start Phase four ("Black Widow," "The Eternals," "Dr. Strange 2," "Black Panther 2," "Guardians of the Galaxy 3"). Are you all caught up now?

Thanos (voiced brilliantly by Josh Brolin), who is perhaps the greatest antagonist of the 21st Century (not living in the White House), has decimated the universe with the devastating snap of his fingers. Our surviving Avengers are aimless, searching for purpose and direction now that half of the human population has suddenly vanished. Their only hope is to seek out the infinity stones and hope that they can turn back time to bring their friends back and stop Thanos.

Time travel. Why did it have to be time travel? I'm glad you asked. Ever since we were introduced to the infinity stones in an agonizing fashion over nearly twenty films, we have been slowly meant to believe that there is a cosmic force more powerful than any fathomable law of physics or science. The stones collectively showed their true potential during "Infinity War" and so they are the most valuable treasure in history. They do a nice job of explaining the Marvel version of time travel theory, which is far different than that of "Back to the Future" or "Hot Tub Time Machine." Anyhow, the only way to undo the "snappening" is to go back and change history.

It's no coincidence that the survivors of the snap happen to be our original heroes; Captain, Iron Man, Thor, Hulk, Black Widow. This film is their swan song as they make way for the new generation of heroes who we have come to respect and love.

Iron Man (Robert Downey Jr.) has been the face of the Avengers since day one. His films have literally created everything that followed in both tone and credibility. Marvel could have easily gone the direction of DC and been a scattershot of single films, but the vision, the exceptional casting, and most importantly, the stamina to get to the endgame is nothing short of remarkable. Iron Man was the one who showed the most character growth from start to finish, and his portrayal and performance in his final appearance (his salary is untenable. He's made over $200 million as the character with salaries and back end cuts rising with each film). Downey's portrayal of Tony Stark is effortless as usual, and drives the essence of the entire franchise. His final film is subtle, but full of emotional baggage, and inner-struggles (par for the course with Tony).

If Iron Man is the face of the franchise, Captain America (Chris Evans) is the heart. His moral compass is always true, and it's his unwavering courage, loyalty, and spirit of fight that has made him so endearing over the years. Evolving from a boy scout to a jaded, scorned warrior, and back to somewhere in between. It's Captain's journey that is the most heartbreaking in the end, and to be candid, Captain America is the strongest character developed from start to finish in "Endgame" and it's a fitting ending to his legacy.

Thor is my favorite Avenger, and admittedly, his role in "Endgame" was disappointing to say the least. After his rip-roaring showing of might as the God of Thunder at the end of "Infinity War" he descends into more comic relief and less godliness than is necessary. It's probably the most glaring mistake by the writers and directors, but hey, you can't expect perfection.

Captain Marvel (Brie Larson) joins the team (obviously) to help balance the scales of power in the revenge plot against the Mad Titan, and we are treated to a glorious three hours of ebbs and flows of action, emotion, and ultimately, a finale fitting of "Return of the King" or "Return of the Jedi" status.

The final battle sequence will go down in history as one of the more epic battles in cinematic history, and makes the whole buildup worthwhile. The whole twenty-two film, ten-year journey.

After a year of speculation, anticipation, theories, set photo leaks, scrutinized interviews, and attempts to figure out what finally happened after Thanos' snap, we have closure. Maybe now we can all rest now. Until July's "Spider-Man: Far From Home." "Avengers: Endgame" is tremendous, and checks all of the boxes of what makes a cinematic titan. Personally, a little disappointed, but critically, I was blown away in every way imaginable. 9/10.

Captain Marvel

After an agonizing wait since "Avengers: Infinity War" last April, we finally have the next step toward resolution of the longest-running action film universe soap opera in history (aside from the Skywalker saga). "Ant-Man and the Wasp" and "Spider-Man: Into the Spiderverse" did very little to move the MCEU story forward.

The biggest disappointment to me personally occurred even before the film began. No new "Avengers: Endgame" preview? and no new "Spider-Man: Far From Home" preview? What kind of malarkey is this? To add insult to injury, the regularly anticipated post-credits scene(s) did little to nothing to illuminate the direction of the highly shrouded mystery that is the next film, coming a mere six weeks from now. Since that is the source of my biggest disappointment, it speaks volumes of the magic that Marvel has created in making every new film release feel like Christmas Eve.

Captain Marvel is a new character to the uninitiated, but we flash back to the time of grunge, slow internet dial-up, and generic government sedans. There's even a Blockbuster Video cameo to boot. Nick Fury (Samuel L. Jackson) is a young, jaded S.H.I.E.L.D agent who stumbles upon the discovery that there are two warring alien species, and their fight has landed on Earth. The Kree are the intelligent, brave, noble warrior species who are battling the reptilian, shapeshifting Skrulls, who hold a secret that will be revealed by the end of the movie (and hopefully even more by the end of "Endgame.")

Carol Danvers, aka Captain Marvel (Brie Larson), is a Kree warrior with long-term memory loss. She awakes with strange powers amidst a flurry of flashbacks, and we are immersed in back-story in a somewhat clever trope. She's a human daredevil Air Force pilot, but how did she end up as a blue-blooded alien superhero? Don't worry, you'll find out by the end of the film. Her mission finds her following a rogue Skrull detachment, while uncovering her own truth along the way, and after meeting with Nick Fury, we see the birth of the Avengers Initiative.

Brie Larson plays the role with a breezy ease that is at first annoying, but becomes endearing over time as you get to know her wit and confidence. She has a strong rapport with her Kree mentor, Yon-Rogg (Jude Law) but more importantly, opens up a side of Nick Fury that we haven't seen before. In a sense, this is his origin as well, and frankly, opens up a twenty-year window of prequel opportunities in the process.

What I loved about this film is the homage to Stan Lee first and foremost. The narrative moves quickly and with the wit that would make James Gunn proud (sidebar, I am very optimistic on the upcoming "Suicide Squad 2" since Idris Elba took over Will Smith's spot and James Gunn was attached). The dialogue, and casual tone of the characters make this a sharp detour from the heavy "Avengers" tone, and opens a new, more family-friendly interstellar universe (assuming the "Guardians" franchise is dead). We see Korath (Djimon Honsou) and Ronan the Accuser (Lee Pace) make appearances, so it seems like the sequel(s) will be the connective tissue for the upcoming "Eternals" storyline (2020 and beyond).

You may never look at cats (flurkin?) in quite the same way, as Goose plays an eerily important role in this one. Additionally, the trending toward establishing strong antagonists (Thanos, Killmonger) continues to bode well for the MCEU as Ben Mendelsohn kills it as Talos, the rogue Skrull infiltrator.

In the end, this is an exciting new character full of franchise potential galore. She's part of the new core Avengers going forward (Black Panther, Spider-Man, Dr. Strange) and fills the red, yellow, and blue suit as well as Chris Evans did in his star-spangled getup. You know you're going to see it, even if you're just killing time until "Endgame." 7/10.

Oscar Predictions 2019

The event of the year has snuck up on me, and fortunately I was able to watch every contender in every major category, so there are no asterisks or excuses. Instead of doing my usual who will and who should win contrast, I'm going to simply mention the most deserving award winner based on a variety of factors. Are these the individuals I think will actually win? Not in every case, but these are the best in their respective categories this year nonetheless. Keep in mind that I don't have a vote, and I don't have the arrogance to think I have the eye or ear for some of the more technical categories, so I will stick with the big 4 acting, the big 4 production, and cinematography and song because those are fun and I think the cinematographer is the unsung hero of a film in many cases (Deakins, you're my hero!) Anyhow, here are the most deserving winners of the year. Drumroll please.

Best Actor - The best actor of the year was most definitely Rami Malek of "Bohemian Rhapsody". The film was a fun journey down the road of familiar rock anthems, and his portrayal of the iconic Freddy Mercury was nothing short of captivating. I intentionally limited digging into the production details as there's the whole Bryan Singer thing, and although I don't know how much actual singing there was, the performance was picture perfect. Christian Bale will get his Best Actor Oscar before his career is over, but this year belongs to Rami.

Best Actress - Glenn Close kills it in "The Wife" and wins the category with little competition. Long thought of as an A-list actress, it took the perfect role (opposite a truly magnificent Jonathan Pryce) to break the nomination curse at the lucky number seven.

Best Supporting Actor - Jonathan Pryce deserves the award, but he may not technically qualify, so I'll move to my second choice, Michael B. Jordan for his subtle and brilliant role as the antagonist Killmonger in "Black Panther". Of the nominated, Mahershala Ali has the best performance, but I would say supporting actor is a stretch as he shared screen time with Viggo Mortensen. This category is typically my perennial favorite, but this is a weak year. Ali gets the statue, but Pryce or Jordan really deserved it.

Best Supporting Actress - Also a weak year for nominations, my award goes to an actress who tragically wasn't nominated. Thomasin McKenzie of "Leave No Trace". Only eighteen years young, and performing in a low-budget independent film that was one of the best of the year, but didn't get the exposure it needed for Oscar gold. A shame, but keep your eye on this young woman in the future.

Best Director - Probably the least exciting category because Alfonso Cuaron demolished the competition with "Roma". I didn't care for the narrative, but admired the detail, the beauty, and the emotion conjured by his masterful eye. He should win and will win with relative ease.

Best Picture - I've waffled on this one in recent days, and have arguments for several films to win, but honestly, it seems like the stars are in the right alignment for "A Star is Born" to take home the trophy. "Green Book" was fantastic, but missed some of the opportunities to portray a raw character, although some of the scenes were beautifully done. It came off as a bit too commercial in the end. "Vice" was my favorite of the nominees, but it was the writing and witty humor along with A-list acting the pushed it over the edge for me. "A Star is Born" just had enough of everything to win me over in the end. The acting, direction, writing, music, and execution of story was tremendous, and speaks volumes to Bradley Cooper's future behind the camera. It deserves the award in a year when there is no clear favorite.

Best Original Screenplay - I judge an original screenplay by a variety of indicators; dialogue obviously, character depth, story, and how it made me feel. Not all films are designed to make you feel happy in the end, but if it achieved its desired objective (see "Manchester by the Sea"), it's a truly great film. Of the nominees, I have to say Adam McKay's "Vice" gave me the most satisfaction and left the biggest impression on me. I love his work, and am truly excited about his future stories, and judging by his casting in recent films, most of Hollywood is pretty excited about it too.

Best Adapted Screenplay - I tend to look at adapted screenplays as a smidge less impressive than original, but that's the writer snob in me. This year, I have to go with "Blackkklansman" as the most well-written piece. I was pleased when it was included on the best picture list, and much of that is because of the sharp, breezy writing by Spike Lee and his colleagues. Great movie.

Best Cinematographer - Alfonso Cuaron will pick up a trifecta with his masterful cinematography combined with his Foreign Film win as well. If for some reason "Roma" wins best picture, he will net himself an impressive 4 Oscars in one night, which to my knowledge is unprecedented. I'm speculating that he gets 3, which is not too shabby.

Best Song - Shallow by Lady Gaga and Bradley Cooper. This was the most riveting musical ditty of the year, and not just because it was catchy. The song itself contributed to the gravitas of the film and contained more emotional beauty than can be described. It just frankly worked wonders in bridging the narrative, and exposing and developing the characters. It's a beautiful song when you peel back the layers and look at it as a metaphoric plot device. Sheer cinematic magic.

Other winners? "Spider-Man: Into the Spider-verse", and "Free Solo" (because Mr. Rogers got snubbed). The rest of the categories, I could predict, but I'd be throwing a dart blindfolded.

It will no doubt be an interesting evening, full of potential Monday morning arguments, but it's good for the industry to have categories up in the air until the envelope is opened. Let's just hope that Faye Dunaway and Warren Beatty don't screw it up this time.

Alita: Battle Angel

An innocent cybernetic super-soldier warrior girl (Rosa Salazar) is found in a scrap heap by a child-longing cyber-surgeon (Christoph Waltz), leading to a rebirth that will change the way civilization has regressed. Without getting into too much detail of the clever but cliche dystopia, there are haves and have nots. The lowly Iron City dwellers, and the mysterious upper crust living in Salem (pronounced Solemn), a majestic city in the sky. Lawlessness in the city leads to gangs of hunter warriors, futuristic bounty hunters who work for the kingpin, Vector (Mahershala Ali). He in turn works for the faceless eye in the sky, Nova, who is played in a hilarious creditless cameo by... I won't spoil it. As Alita learns about her past, she learns about her future, and she begins to embrace her destiny.

"Alita: Battle Angel" has been in gestation for decades. James Cameron created "Dark Angel" back in 2000, and although unrelated ("Alita" is based on the graphic novel "Gunnm" by Yukito Kishiro) it was a preview of a concept Cameron had of a dystopian future where an elite female warrior saves humanity. It's a timeless tale of... wait, it's not. Cameron is unarguably one of the most visionary directors in history, but his storytelling leaves much to be desired. Remember that little thing he did awhile back, "Avatar?" Everything except the story (and dialogue) was absolute golden brilliance. It was a visual orgasm that moviegoers had never experienced before, and likely won't again (until "Avatar 2" hits in 2020). I'm not saying "Avatar" wasn't worth watching more than once, it is a well-executed and supercool experience, but let's be honest, the "Fern Gully" criticisms and one-with-nature zen message didn't really add value to the action and effects.

This was the reason I was excited to experience the IMAX 3D version of "Alita" to just get a glimmer of cutting edge visual effects. Well, I have some good news and I have some bad news. Which would you like first? The bad news is that the story is weak and recycled from more 1980's sci-fi action films than I could name. The love story is awkward and frankly kind of uncomfortable, and the dialogue is next to awful. The weapons and fight scenes are a bit clunky and blunt (lots of oversized hammers, saws, axes, etc.) and the sporting event sidebar is just unnecessary and adds distraction and cheese to the narrative.

The good news is that two Oscar winning actors, Jennifer Connelly, Jackie Early Haley's voice (my favorite part of the movie) and Rosa Salazar in a stunning motion-capture performance salvage the scrap heap of a story, but just barely. They don't spend too much time developing the 26th century universe, and don't waste our time with the back story flashbacks, or explaining how things work in the new time frame. They just jump into it and move forward. Kudos to Cameron for that. Additionally, and most importantly, the film is visually stunning from start to finish.

The first installment of a trilogy, the next episode will be based on "Last Order" and the third on "Mars Chronicle." I would expect this trilogy to continue as it is clearly a passion project of Cameron, and is likely to make money globally due to the high quality visual effects. Besides, Cameron will get to play with new technology in his spare time while he's developing "Avatar 3, 4, and 5". This is assuming director Robert Rodriguez is interested in continuing, as this was certainly no easy feat. The attention to detail is obvious, and I admire the work and toil this must have taken.

It's for these reasons that I give it a slightly higher rating than I would typically to a movie of this type. I was impressed and disappointed at the same time, but honestly, it synced up with my expectations pretty closely. This is a typically weak time of year for films, and with a lack of viable entertainment options, there are certainly worse ways to spend two hours of your time. 7/10. For the love of Cameron.

Why Disney has Already Won 2019

Disney has long been a titan in the pantheon of cinema, but 2019 just might be a landmark year, and I would recommend purchasing stock before it goes through the roof.

No fewer than six films will certainly cross the $1 billion dollar mark, and the collection in its totality should easily surpass the $10 billion threshold (2019 releases continuing to earn into 2020 included). Personally, I have some interest in the live-action remake genre that has dabbled in years past, only to find an under-the-radar smash hit in 2017's "Beauty and the Beast."

Breaking the films into four distinct categories (Disney, Pixar, Marvel, Lucasfilms), my prediction is that Disney will carry the five highest grossing films of the year, something that has never been done by a single studio in history.

March is typically the early entries for Box Office supremacy, and we will see "Captain Marvel" take an early lead on the global market. Although highly anticipated and a massive step for Marvel into new territory (powerful female, cosmic powers) it won't echo the success of last year's "Black Panther." Following a few short weeks later is Tim Burton's imaginative take on the beloved classic, "Dumbo." Of all the films on this list, there are perhaps four that I don't intend to see, and "Dumbo" is probably the one I am least interested in.

April brings the documentary "Penguins" as well as the mother of all superhero films, "Avengers: Endgame." Surprisingly, I predict that "Avengers" will fall to fourth place in the annual list. It is certain to be the most satisfying of the films, and I intend to see it multiple times myself, but at three hours, and marking the certain deaths of multiple heroes, it may be a bit too heavy for some audiences. Also, rated PG-13, it loses a certain core demographic that Disney has targeted since the 1930's.

May is when the box office will heat up. "Avengers" will dominate most of the month until "Aladdin" comes out. Headlined by Will Smith as the blue genie, it should do well at the box office, but I don't imagine it will gain the critical acclaim it may be seeking.

June brings "Toy Story 4" which will move "Avengers" to number two on the list, and become the darling of the year until something a bit more frigid hits in November.

In July, it's time to back up the Brinks truck. "Spider-Man: Far From Home" (a Sony release, but in association with Marvel and Disney) is going to be the box office smash that "Black Panther" was last year. Then "Lion King" roars into theatres, and will supplant "Avengers" and "Toy Story" as the box office king of the year.

For those keeping score at home, we now have the top six (or seven) grossing films of the year; "Lion King," "Toy Story 4," "Avengers: Endgame," "Spider-Man: Far From Home," "Aladdin," and "Captain Marvel". "Dumbo" sits on the outside looking in, but don't feel too badly for the floppy-eared elephant, he will still make nine figures.

August brings the lone Disney action film of the year based on the kids novel, "Artemis Fowl." I don't have high hopes for this one, but it should be profitable nonetheless. It has the promise to fill the gap as we all hold our collective breath for the final two films of the year.

November brings the cold, harsh winter, and with it, the unfathomably anticipated "Frozen 2." This will immediately smash records, and will reign as box office queen of 2019, making its permanent mark on boxofficemojo's list of cinematic gladiators. Four films have broken the $2 billion mark in history, and for my money, "Frozen 2" has a strong shot at surpassing its predecessor and hitting that mark.

Closing out the year, we have the finale to the trilogy of trilogies in "Star Wars: Episode IX." It will take strong reviews and audience reception in order to overcome the disappointment of "Episode VIII" which seems a pretty challenging obstacle, even for JJ Abrams.

The executives at Disney Films have brilliantly spaced out their releases to capitalize on the demand and the market, and we will see the highest marketshare in history if you include the Sony/Marvel/Fox collaborations ("Dark Phoenix" and "New Mutants" will expand the X-Men universe this year, setting the table for a whole new world in the ever-expanding MCEU)

Thirty-seven films have grossed over $1 billion in history, and in 2019, Disney will add more than a half dozen films to that order (I predict eight). Not a bad year for a company founded on a mouse. I challenge any other studio to deliver any film that can break into the top six. I give "Pokemon," "Secret Life of Pets 2," and "Hobbs and Shaw" the best shots at climbing the list. Without further ado, here are your highest grossing films of 2019.

1. Frozen 2
2. Lion King
3. Spider-Man: Far From Home (in association with Marvel)
4. Toy Story 4
5. Avengers: Endgame
6. Star Wars: Episode IX
7. The Secret Life of Pets 2
8. Hobbs and Shaw
9. Aladdin
10. Captain Marvel

Best of 2018

2018 was a decent year in film, but lacked a real strong front-runner despite several very diverse films. I had high hopes for "Beautiful Boy," "The Favourite," "Roma," and "Boy Erased" but all were a bit lackluster. Lucas Hedges, Stephan James, Joe Alwyn, and Timothee Chalamet showed that they are the faces of the future in film, but nothing really stood out in terms of a cinematic masterpiece.

Top Ten (in alphabetical order)
A Star is Born
Avengers: Infinity War
Blackkklansman
Eighth Grade
Green Book
Hearts Beat Loud
If Beale Street Could Talk
Leave No Trace
Mary Poppins Returns
Vice

Best Film of the Year
My pick for Best Picture would have to be "Vice". "Green Book" is a close second and is my prediction to win the Oscar this year, but for my money, I thought Adam McKay's satirical dark-comedy-biopic was the most satisfying.

Best Action Film
"Avengers: Infinity War" was by far the most exciting film experience of the year, and the only film I felt compelled to see multiple times in the theatre. To see "Black Panther" given such an array of awards and recognition over the massive ensemble that the brothers Russo masterfully orchestrated is a bit of a shame. I would expect that if "Avengers: Endgame" is the film that everyone expects it to be, it should get some 2019 recognition.

Scariest Film
"Hereditary" haunted me. There were several scenes that seared their way into my brain, and Toni Collette's performance in particular was legendary, and worthy of Oscar nomination.

Most Overrated
"The Favourite" was an overhyped piece of mediocrity. Great acting by the three leading women, but the story was a bloated period piece that had desperate "Barry Lyndon" nuances. Yorgos Lanthimos is quirky and talented, but this wasn't the best film of the year, much less top ten.

Most Underrated
It is challenging to choose between three independent films that really moved me. "Hearts Beat Loud," "Eighth Grade," and "Leave No Trace" were all breaths of fresh air. Worthwhile viewing experiences filled with an emotional spectrum that a true cinephile would applaud. All driven by strong, young leading ladies, keep an eye on Kiersey Clemons, Thomasin McKenzie, and Elsie Fisher in the future. They are all terrific actresses.

Best Animated
I was a bit surprised by how weak "Ralph Breaks the Internet" ended up being (my son was disappointed as well), and "Incredibles 2" was certainly strong as a sequel, but the best animated film of the year was "Spider-Man: Into the Spiderverse." It was clever, fresh, and a visual feast. I'm hoping Marvel capitalizes on its dual success and keeps projects like it in the pipeline to make a parallel universe for us to enjoy.

Biggest Surprise
The decimation at the end of "Avengers: Infinity War" aside, the biggest surprise in film this year had to be that 7 of the 11 highest grossing films of the year are superhero flicks. When will audiences tire of the familiar tropes? Rhetorical question. The answer seems to be never, although DC needs to step up their game and has the opportunity with this year's "Shazam!" and next year's "Birds of Prey," "Wonder Woman 1984," and "Flash." I've said it before, and I'll say it again - DC needs to expand with a film that will move out of Gotham or Metropolis. Something that will rival what Marvel did with the "Guardians of the Galaxy" and the upcoming "Captain Marvel" arc. But alas, DC won't listen to me. Yet...

Biggest Disappointment
I'm not sure anyone expected "Solo" to be an instant classic, but it was destined to fail when the directors were canned mid-way through production. Alden Ehrenreich is an incredible actor, but perhaps wasn't the right pick to play the young Han Solo. Firmly placing doubt in my mind as to the future of the revered Star Wars universe, I think Episode 9 may be the end of the line (critically, not fiscally).

Must-See
Since everyone has already seen "Avengers: Infinity War" I would recommend none other than "Won't You Be My Neighbor." It was left out of the Best Documentary category in what is the biggest snub of the year, and the message is as timely as ever in today's challenging climate. It's beautiful and nostalgic and although you'll be sad to watch Mr. Rogers go again at the end, there is a ray of hope in his legacy. It's not the last we'll see of the Mr. Rogers story either, as Tom Hanks and Marielle Heller ("Can You Ever Forgive Me?") team up for 2019's Oscar hopeful "A Beautiful Day in the Neighborhood."

Always looking forward, 2019 promises to be even bigger and better than 2018. Here's hoping.

Golden Globes 2019

This upcoming weekend will officially set the pecking order for Oscar favorites in the film community, as the Golden Globes are often (but not always) indicators of who will take home the coveted statue. This year's list of Globe nominees left a few notable names and films off the list this year, which was surprising but not unexpected; after all, there are only five slots, and they haven't put me fully in charge of nominations (yet), so my projections aren't always reflected on the big evening. Anyhow, I'm sticking with film, and with the big categories only, so here are my predictions and corrections for next weekend:

Best Picture: Drama - "A Star Is Born" seems to be the favorite at this point, and given the company, I tend to agree that it deserves the win. I might argue that along with "Bohemian Rhapsody," they might be in the wrong category given their strong reliance on music for effect. Moving toward the big show, I don't see the Best Picture Oscar coming from any of these nominees. I would have liked to have seen some of the stronger independent films represented ("Leave No Trace," "First Reformed," "Eighth Grade," "Sorry to Bother You.")

Best Picture: Comedy/Musical - "Vice" was my favorite film of the year, but this category is stacked and will produce the Best Picture winner at the Oscars. "Green Book" and "The Favourite" are worthy adversaries, but the political dramedy is too timely and clever to be overlooked. It should and will win.

Best Actor: Drama - Ryan Gosling and Ethan Hawke were snubbed this year, but Rami Malek had the ripest role of the year, and should deservedly win. "Bohemian Rhapsody" was a bit too optimistic for a true biopic, but there was a remarkable transformation and Malek became Freddy Mercury, which is always a challenging proposition. Expect him to battle another biopic behemoth for Best Actor at the Oscars.

Best Actress: Drama - Full disclosure, I didn't see "The Wife" and I hear Glenn Close's performance is tremendous, but I am coming around on Nicole Kidman. "Destroyer" is the best performance of her long and distinguished career, and I'm a sucker for police dramas. I predict Close gets the award unless "A Star is Born" steamrolls all competition, but I would choose Kidman.

Best Actor: Comedy/Musical - Christian Bale will take this one, but if he doesn't, it will be the upset of the night. Anything can happen when you're dealing with the Hollywood Foreign Press. His portrayal of Dick Cheney in a not-quite-comedy portrayal should challenge all-comers on Oscar night for writing, picture, and multiple acting performances.

Best Actress: Comedy/Musical - I would love to see Elsie Fisher take home the gold, as her performance was heartbreaking and genuine (although there may not have been a considerable amount of "acting" going on) but I'm choosing Emily Blunt for resurrecting one of the most iconic roles in film history and actually doing it well. Not only was "Mary Poppins Returns" satisfying as a sequel 54 years in the making, but it was truly one of the best films of the year as well.

Best Supporting Actor - always my favorite category, and one that yields the most captivating performances, I am torn between Ali and Chalamet on this one. Although I suspect Ali will win because "Green Book" deserves some recognition and all the other nominations are overshadowed a bit, I am absolutely in awe of Timothy Chalamet. His summer film "Hot Summer Nights" was severely underrated, nearly making my top-10 list of the year, and I have yet to see him in a bad film, or in a poorly done role. He is the face of the next generation, and his work in "Beautiful Boy" is stellar, even if the film wasn't quite up to par. On an aside, Steve Carell was mis-cast, and the film could have really exploded on the awards scene if the father was played by someone a bit less known for humor.

Best Supporting Actress - an incredibly strong category this year, Weisz and Stone will cancel each other out, which leaves powerful biopic wives (Adams and Foy) as the front-runners in my book. Both were outstanding and deserving, but the edge has to go to Amy Adams for her portrayal of Lynne Cheney. "First Man" suffered from ultra-realism, and the Armstrongs just didn't have the drama in their lives or to their personalities that the Cheneys did, and for that reason, the acting seems stronger even if it truly wasn't. Watch closely at the acting of "First Man" and you will probably appreciate it more than at first glance. However, this is Amy Adams' year.

Best Foreign Film: The only one I saw was "Roma" but it was beautiful. Not particularly exciting, but the detail in the set and cinematography is remarkable. It should win best Foreign film, and absolutely deserves Best Director as well.

Best Animated Film - "Spider-Man: Into the Spiderverse" was absurd, but visually beautiful. You've never seen a film done quite this way, and I suspect that with the critical and box office success, Marvel (and DC) will venture more deliberately into this market with more offerings as soon as next year.

Best Director - McKay and Cooper do a fine job, and should be honored to be nominated, but Alfonso Cuaron is on another level with his vision and execution. "Roma" wins and should continue to earn honors through the Academy Awards.

Best Screenplay - I'm going with Adam McKay on this one. "Vice" certainly took liberties on the factual aspect (due conveniently to the secrecy of the subject matter) but much like "The Big Short," the film was intellectual, entertaining, funny, and more than anything else, a frightening commentary on history. The screenplay deserves recognition based on its execution.