'1917' Review

Nominated For: Best Picture, Best Director; Sam Mendes, Best Original Screenplay, Best Cinematography, Best Makeup and Hairstyling, Best Production Design, Best Visual Effects, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Cinematography, Best Visual Effects, and Best Sound Mixing.

Synopsis: Two young British privates during the First World War are given an impossible mission: deliver a message deep in enemy territory that will stop 1,600 men from walking straight into a deadly trap.

Runtime: 118 minutes

MPAA Rating: R (for violence, some disturbing images, and language)

Who should see it? Adults who are interested in war movies or technical filmmaking.

Inspired by stories from Sam Mendes' grandfather who fought in World War I, 1917 is directed by Sam Mendes, who also co-wrote the screenplay alongside Krysty Wilson-Cairns. The film's defining feature is that it was shot and edited to resemble a single continuous take from start-to-finish. The one-take approach has been implemented before (most famously in Birdman), but never quite like this. Though the technique may seem like a cheap gimmick, what Sam Mendes and his crew have accomplished is nothing short of incredible and unlike any war film I've ever seen. As Christopher Nolan did in Dunkirk, Mendes seems keen on ushering in a fresh perspective on the war genre.

Now, I feel it's important to note that this film isn't literally filmed in one-take. There are some hidden edits along the way, just as there were in Birdman, and one clear cut that's remarkably effective. That said, renowned cinematographer Roger Deakins and Nolan's frequent editor Lee Smith found some very creative ways to maintain the illusion that everything was filmed in one go. Even though I recognized the filmmaker's cheats around shooting an actual one-take, I couldn't help but be awestruck by the craftsmanship on display. Every technical aspect of this production is incorporated to the fullest, culminating into an experience that's explosive, immersive, and intimate. Maneuvering the camera through such a long stretch of land as it's forced to follow the subject every step of the journey is plenty impressive. But as I considered the nitty-gritty contributions required to pull that off, my appreciation grew substantially.

An element of 1917 that's being somewhat overlooked is the production design. Due to the nature of the one-take, the filmmakers can't cheat by hiding incomplete pieces of the set. Everything is on display. Visual effects were likely used to extend portions of the set. Still, practically an entire battlefield had to be constructed with careful consideration for blocking actors and guiding the camera to pull this off. The claustrophobic and chaotic conditions of the trenches make this feat all the more outstanding. Considering George MacKay and Dean-Charles Chapman sustain performances for such lengthy periods, their work may not garner the attention it deserves either. The supporting cast is excellent as well, but none of them face the same challenge to the rigorous extent that MacKay or Chapman does.

Additionally, there's the matter of lighting. Roger Deakins had to factor every inch of the set into his layout. Though Deakins has the advantage of select edits, there are still lengthy sequences filmed in a single take with specific lighting demands for the entire duration. Whereas Birdman was mostly confined to a theater and the streets of New York, Deakins is forced to reckon with a sprawling tapestry that's ever-changing. To no one's surprise, Roger Deakins rises to the task and meets the impossible demands, cementing himself as one of the greatest living cinematographers. And I can't conclude this review in good conscience without applauding the versatile score composed by Thomas Newman. Newman's music ranges from bombastic to ethereal, underscoring the frenzied state of war and the serene moments whenever soldiers Lance Corporal Schofield and Lance Corporal Blake can catch a breath in their hurried quest.

If it weren't already clear, director Sam Mendes manages the ambitious production without a single misstep. A few plot conveniences aside, I fail to think of a single issue that plagued me after sitting on my thoughts for nearly a month. Everything works. I hesitate to call it a masterpiece, but Sam Mendes' one-take First World War epic is undoubtedly a stunning, cinematic tour de force! Above all, it serves as a stark reminder that filmmaking is a coordinated effort. And when everything comes together this nicely, something extraordinary is born that'll inspire generations to come.

Film Assessment: A+

Reel Recap: November 2019

Sorry for the delay on this Reel Recap, but I hope to review everything I watched in 2019 before the year comes to a close. I didn’t feel that I could condense my thoughts on Jojo Rabbit to one paragraph, so you’ll find that I expanded that review a tad. My final in-depth review of the year will be over 1917, and I intend to share my December Reel Recap before I unveil my Top 10 Films of 2019. The latter two will likely be shared around New Year’s Eve, so I may consider everything I saw this year when finalizing my list. The good news is that I’ll be all caught up and plan on writing my mini-reviews in a more timely manner going forward so I can share my recaps at the end of each month. Otherwise, I’ll continue writing standalone reviews for the films I believe warrant a thorough analysis.

Reel Recap: November 2019

The Elephant Queen - Watched November 2, 2019 (Apple TV+)

Synopsis: Athena will do everything in her power to protect her herd when they are forced to leave their waterhole. This epic journey takes audiences across the African savannah and into the heart of an elephant family.
Runtime: 96 minutes
MPAA Rating: PG (for some thematic material)
Who should see it? Those with an affinity for Elephants and nature documentaries.

The Elephant Queen is a nature documentary co-directed by Mark Deeble and Victoria Stone. I don't often watch nature documentaries since they're usually quite similar. However, elephants are my favorite animal, and this was one of the few features to debut on Apple TV+, so I figured I'd give it a shot. Deeble's extensive background with nature photography proved to be a valuable asset for the production as he lends a visual flair to simple shots of the African savannah. The documentary also captures wholesome and horrifying moments as animals enjoy one another's company while traversing an unforgiving landscape. The Elephant Queen doesn't sugarcoat the harsher realities of this perilous journey, so it's not for the faint of heart either. The stunning imagery, coupled with an engaging narrative constructed around wildlife footage, set The Elephant Queen above the typical National Geographic television special.

Film Assessment: B

Motherless Brooklyn - Watched November 6, 2019 

Synopsis: Lionel Essrog is a lonely private detective who doesn't let Tourette's syndrome interfere with his job. Gifted with a few clues and an obsessive mind, Lionel sets out to solve the murder of his mentor and only friend, Frank Mina.
Runtime: 144 minutes
MPAA Rating: R (for language throughout including some sexual references, brief drug use, and violence)
Who should see it? Fans of Edward Norton and Jonathan Lethem's novel.

Edward Norton writes, directs, and stars in his adaptation of Jonathan Lethem's novel Motherless Brooklyn. Though Norton has noble intentions and a star-studded cast at his disposal, I considered Motherless Brooklyn to be a scatterbrained doldrum. The pieces eventually come together as Lionel unravels the truth. Still, each plot thread feels almost entirely unrelated to the others. The A-list actors are squandered in an overstuffed narrative, as they offer sufficient performances, albeit of a lower caliber than their usual work. Though Norton's depiction of a detective with Tourette's syndrome is the element that makes-or-breaks Motherless Brooklyn, and his spastic portrayal unfortunately grated on my nerves. On a more uplifting note, Dick Pope and Daniel Pemberton captivated me with their sumptuous cinematography and musical score, respectively. I also liked Thom Yorke's new song, "Daily Battles." All in all, Motherless Brooklyn is competently made. That said, it could have benefitted from another pass at the script and trip to the editing bay since it seems rather aimless and lengthy for a duration of nearly two-and-a-hours. 

Film Assessment: C-

Jojo Rabbit - Watched November 7, 2019 

Nominated For: Best Picture, Best Supporting Actress; Scarlett Johansson, Best Adapted Screenplay, Best Film Editing, Best Production Design, and Best Costume Design.
Won: Best Adapted Screenplay.

Synopsis: Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend - Adolf Hitler - Jojo must confront his blind nationalism as World War II rages on.
Runtime: 108 minutes
MPAA Rating: R (for mature thematic content, some disturbing images, violence, and language)
Who should see it? Fans of satire and Taika Waititi's work.

Written and directed by Taika Waititi, Jojo Rabbit is an anti-hate satire based on Christine Leunens's book Caging Skies. Taika Waititi is an especially unique filmmaker among those working today, so naturally, I was curious to discover how he'd handle such a bizarre premise. With Thor: Ragnarok, I felt Waititi's comedic tendencies impeded on every emotional beat, rendering the severe stakes weightless. Thankfully, that's not the case this time. Waititi deftly balances the extremes of slapstick satire and bleak consequences of Germany's Nazi regime, walking a fine line between the two. Waititi hilariously ridicules Nazis, but he doesn't render them toothless. Through Jojo’s perspective, he strikes a delicate balance. Indoctrinated by Nazi's, Jojo initially has a naive perception of the truth. But as the story unfolds, Jojo realizes the harsh severity of their actions. This is reflected most in the surrounding environment, which begins as wacky and colorful but darkens as the theater of war encroaches, signaling the abrupt tonal shift. Even his imaginary friend Hitler becomes more authentic as Jojo's fascination with the Nazi regime begins to falter.

On second viewing, I noticed several understated setups and payoffs for fulfilling various arcs. Waititi wisely takes advantage of Jojo's naivety to foreshadow significant developments unbeknownst to first-time viewers, so the emotional beats hit harder once they finally arrive. The cast is composed of a mixture of veteran acting talent and newcomers with a tremendous rapport between them all. Roman Griffin Davis and Archie Yates are particularly phenomenal discoveries, radiating a bonafide friendship and great comic timing as two budding members of Hitler's Youth. Davis acts opposite every member of the ensemble as Jojo, and the varying dynamics are delightful to watch.

Most noteworthy in this regard were Scarlett Johansson and Thomasin McKenzie as Jojo's mother and the Jewish girl secretly lodged in Jojo's home. Johansson plays Rosie as a comforting, motherly presence with a playful attitude. At the same time, McKenzie's Elsa struggles to confide in Jojo, given her present situation. On the flip side, Taika Waititi depicts Adolf Hitler with a cartoonish deviousness and genuine malice in certain moments. Sam Rockwell, Rebel Wilson, Alfie Allen, and Stephen Merchant then fill the ranks of prominent Nazis, providing comic relief and unease as required. In the wrong hands, Jojo Rabbit could have gone horribly wrong. Nevertheless, Waititi's sensibilities proved to be a suitable match for the material. Spearheaded by an essential message about recognizing immoral authority, Jojo Rabbit wears its heart on its sleeve as a hilarious and surprisingly poignant satire everyone should see.

Film Assessment: A

Last Christmas (2019) - Watched November 10, 2019

Synopsis: Nothing seems to go right for young Kate, a frustrated Londoner who works as an elf in a year-round Christmas shop. But things soon take a turn for the better when she meets Tom. As the city transforms into the most wonderful time of the year, Tom and Kate's growing attraction turns into the best gift of all - a Yuletide romance.
Runtime: 103 minutes
MPAA Rating: PG-13 (for language and sexual content)
Who should see it? Fans of rom-coms and those keen to get in the Christmas spirit.

Based on the hit George Michael Christmas song, Last Christmas is directed by Paul Feig and features a screenplay co-written by Bryony Kimmings and Emma Thompson (who shares story credit with Greg Wise). Though painfully predictable (especially to those who have seen the trailer), Last Christmas is a breezy watch that coasts on the charm of Emilia Clarke, Henry Goulding, Emma Thompson, and Michelle Yeoh. I can think of no better way to summarize my feelings then with a critique to the tune of "Last Christmas": "Last Christmas, it isn't high art. It's a pleasant foray for the holidays. One thing's clear, it's sure to endear. Though it may as well come from Hallmark."

Film Assessment: B-

Pain and Glory - Watched November 13, 2019

Nominated For: Best International Feature Film and Best Actor; Antonio Banderas.

Synopsis: A film director reflects on his life as past and present come crashing down around him.
Runtime: 113 minutes
MPAA Rating: R (for drug use, some graphic nudity and language)
Who should see it? Adults fans of Antonio Banderas who either speak Spanish or don't mind reading subtitles.

Written and directed by Pedro Almodóvar, Pain and Glory is a contemplative reflection on the nature of art and life. As Salvador Mallo reconciles his past, audiences get a glimpse of his upbringing, and what follows is an intimate exploration of his identity. While I felt the film was very well-crafted, it never fully resonated with me. There were periods where the story came to a screeching halt, and I thought it could have flowed better between past and present. Otherwise, Antonio Banderas delivers a brilliantly subdued performance. He lends an excellent portrayal of an artist at odds with his own work. Banderas won the Best Actor award at the Canne's Film Festival for this role and has since continued to be a prominent, well-deserved player in a competitive Best Actor field this awards season. Among the supporting cast, Penélope Cruz, Asier Etxeandia, Leonardo Sbaraglia, Asier Flores, and Julieta Serrano are also impressionable. Almodóvar's latest film is restrained and meditative, creatively channeling pain into glory.

Film Assessment: B

A Hidden Life - Watched November 15, 2019 (Houston Cinema Arts Festival) 

Synopsis: The Austrian Blessed Franz Jägerstätter refuses to fight for the Nazis in World War II.
Runtime: 173 minutes
MPAA Rating: PG-13 (for thematic material including violent images)
Who should see it? Fans of Terrence Malick willing to endure the nearly three-hour runtime.

Terrence Malick's A Hidden Life is based on the real story of a conscientious objector, Franz Jägerstätter. The filmmaking alone is exquisite as Malick wonderfully conveys the serene nature of a peaceful existence only to contrast that idyllic bliss with the horrors of isolated imprisonment under the Nazi regime. Cinematographer Jörg Widmer captures lush landscapes and intimate interactions with a fisheye lens while a poignant musical score composed by James Newton Howard also underscores the expansive natural surroundings and a profound human connection. Of which it's worth noting, August Diehl and Valerie Pachner have remarkably genuine chemistry. Serving as Malick's foundation, the two lend exceptional performances and demonstrate immense range as they're tested to the brink of their humanity. And the story itself is incredibly inspiring as a testament to the human spirit's resolve. Malick presents viewers with the conundrum of whether it's more honorable to walk the path with least resistance in the interest of safety or stand for your ideals and face the consequences. All that said, A Hidden Life is far too long. It could easily be abbreviated, considering Fox Searchlight practically condensed the entire film into a two-minute trailer already.

Film Assessment: B+

Ford v Ferrari - Watched November 16, 2019 

Nominated For: Best Picture, Best Film Editing, Best Sound Editing, and Best Sound Mixing.
Won: Best Film Editing and Best Sound Editing.

Synopsis: American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.
Runtime: 152 minutes
MPAA Rating: PG-13 (for some language and peril)
Who should see it? Car enthusiasts and those interested in films about friendship and American ingenuity.

Directed by James Mangold, Ford v Ferrari tells the true story of Ford’s bid to engineer a vehicle capable of winning the 24 Hours of Le Mans race. The end result is a robust crowdpleaser about teamwork, creative freedom, and good old fashioned American ingenuity. Ford v Ferrari is the type of movie that doesn't get made too often. Similarly to Once Upon A Time... In Hollywood, Ford v Ferrari is entertaining on the surface level and offers abundant subtext for those willing to look deeper. Mangold surprisingly provides plenty of meta-commentary on the nature of filmmaking within the studio system through the lens of car manufacturing. Still, it tackles a wide variety of other topics in a feel-good manner as well. Matt Damon and Christian Bale are strong co-leads with a unique rapport, though Bale has the flashier role of the two. The supporting cast bode well, but occasionally resemble one-note caricatures rather than fleshed-out individuals. Standouts for me were Tracy Letts, Caitriona Balfe, and Noah Jupe. Without a doubt, Ford v Ferrari's main draw is its exhilarating racing sequences. Boasting stunning cinematography and roaring sound design, Mangold immerses audiences in the thick of it and rarely lets up. However, the company's inner workings aren't nearly as engaging. Though necessary to set the stage and establish key plot details, the behind-the-scenes semantics can never compare to the thrill of getting behind the wheel. In spite of a standard script and predictable plotting, the technical bravado and ace performances ensure Ford v Ferrari made it across the finish line in spectacular fashion!

Film Assessment: B+

Harriet - Watched November 17, 2019

Nominated For: Best Actress; Cynthia Erivo and Best Original Song "Stand Up" (written by Cynthia Erivo and Joshuah Brian Campbell).

Synopsis: The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
Runtime: 125 minutes
MPAA Rating: PG-13 (for thematic content throughout, violent material and language including racial epithets)
Who should see it? Those interested in Harriet Tubman.

Harriet is directed by Kasi Lemmons and with a screenplay co-written by Lemmons and Gregory Allen Howard. By all means, it's a conventional biopic that contains the story beats of nearly every other slave movie. The empowerment angle and aspect of Tubman's faith were admirable inclusions, but again, neither of these elements is particularly radical. Additionally, some inclusions caused me to question the historical accuracy of certain scenes. I don't mind creative flourishes, but there were a few head-scratchers nonetheless. Cynthia Erivo's depiction of Harriet Tubman undoubtedly saves the production, exemplifying courage, confidence, and vulnerability in the titular role. Aside from Erivo, I doubt Harriet will be remembered for much else, which is a shame considering the significance of its subject.

Film Assessment: B-

Portrait of A Lady On Fire - Watched November 18, 2019 (HCAF) 

Synopsis: On an isolated island in Brittany at the end of the eighteenth century, the young daughter of a French countess develops a mutual attraction to the female artist commissioned to paint her wedding portrait.
Runtime: 121 minutes
MPAA Rating: R (for some nudity and sexuality)
Who should see it? Adults who don't mind reading subtitles and are receptive to stories about same-sex couples.

Written and directed by French filmmaker Céline Sciamma, Portrait of a Lady on Fire has set the festival circuit ablaze with widespread critical acclaim. Sciamma's narrative unfolds at a slow burn with hushed intensity and ample attention to detail. There's a rewarding payoff to the slightest details, and Claire Mathon's cinematography is utterly breathtaking to behold. Co-leading the picture in the roles of Marianne and Héloïse, Noémie Merlant and Adèle Haenel are both exceptional. The intimacy and attraction that slowly builds between the two feels very sincere, as their sparks radiate off the screen. However, their forbidden love can't ever fully come to fruition due to the period in which the story is set. That complication dramatically enhances the potency of their relationship. Sciamma shows her hand early by framing the film as a recollection from Marianne. Hence, viewers know from the beginning that separation is inevitable. Nevertheless, Sciamma fabricates an intoxicating romance, so the unfortunate parting is no less heart-wrenching.

Film Assessment: A+

Honey Boy - Watched November 27, 2019

Synopsis: A young actor tries to reconcile with his father after surviving a turbulent childhood.
Runtime: 94 minutes
MPAA Rating: R (for pervasive language, some sexual material, and drug use)
Who should see it? Those interested in an autobiographical account of Shia LaBeouf's upbringing.

Written by Shia LaBeouf as an autobiographical account of his life, Honey Boy is directed by Alma Har'el and sees LaBeouf portray a fictionalized version of his own father. Autobiographical work can be too self-glorifying or too self-deprecating, but LaBeouf's recollections seem devastatingly honest. LaBeouf's not interested in excusing or justifying his unruly behavior. This retelling is personal and therapeutic for LaBeouf as he reconciles a troubled past. Noah Jupe, Lucas Hedges, and Shia LaBeouf are all sensational, channeling raw emotion in their most vulnerable moments. LaBeouf's catharsis is hard to watch at times, but crucial for truly understanding who he is and all he's endured.

Film Assessment: B+

Queen & Slim - Watched November 29, 2019

Synopsis: A couple's first date takes an unexpected turn when a police officer pulls them over.
Runtime: 131 minutes
MPAA Rating: PG-13 (for violence, some strong sexuality, nudity, pervasive language, and brief drug use)
Who should see it? Those who were intrigued by the trailer.

Serving as Melina Matsoukas' feature debut, Queen & Slim features a script from Lena Waithe and also attributes a story credit to James Frey. While well-intentioned, Queen & Slim's handling of the police brutality subject is very heavy-handed. The heightened escalations that occur in the film often register as inauthentic since the circumstances are absurdly over-exaggerated for the sake of the film's argument. The setup is compelling, and the concept is interesting. Still, it rarely feels like the characters are in real danger during their time on the run. The duo encounters complications but easily maneuver around them. Whenever they take a genuine risk, there are no consequences or a sense of urgency. The eventual resolution to this reoccurring issue came far too late for me. There are also a few sequences in the film which are tonally confused in their presentation, editing together two perfectly fine scenes in a jumbled manner. Hence, the result feels awkward and out-of-place. Granted, Daniel Kaluuya and Jodie Turner-Smith are excellent in it, albeit with little chemistry between the two. Otherwise, I liked Tat Radcliffe's cinematography. Queen & Slim is ripe with potential but wound up a mixed bag in execution. Though, the good slightly outweighed the bad for me.

Film Assessment: B-

The Good Liar - Watched November 30, 2019

Synopsis: Consummate con man Roy Courtnay has set his sights on his next mark: the recently widowed Betty McLeish, worth millions. But this time, a simple swindle escalates into a cat-and-mouse game with the ultimate stakes.
Runtime: 109 minutes
MPAA Rating: R (for some strong violence, language, and brief nudity)
Who should see it? Adult fans of thrillers, Ian McKellen, and Helen Mirren.

Based on Nicholas Searle's novel, The Good Liar is directed by Bill Condon and written by Jeffrey Hatcher. Its twists are anything but predictable, and it's relatively engaging once it gets going. Ian McKellen and Helen Mirren are delightful and play nicely off one another, as per usual. It's nothing extraordinary, but worth watching from home.

Film Assessment: B-

The Report - Watched November 30, 2019 (Prime Video)

Synopsis: Idealistic Senate staffer Daniel J. Jones, tasked by his boss to lead an investigation into the CIA's post 9/11 Detention and Interrogation Program, uncovers shocking secrets.
Runtime: 119 minutes
MPAA Rating: R (for some scenes of inhumane treatment and torture, and language)
Who should see it? Adult fans of procedural dramas.

Written and directed by Scott Z. Burns, The Report brings light to a troubling aspect of more recent American history. As the Senate pursues a paper trail, Burns wisely chose to depict the torture techniques in question to enliven things and better convey the inhumane and unreliable nature of this form of interrogation. Adam Driver has quickly become one of my favorite actors working today. Here, he’s concentrated but exudes a quiet intensity that comes to fruition in one critical emotional outburst. The subject matter of The Report is consistently gripping due to its desire to unfurl the truth, even when the research and impassioned Senate discussions may not be. Burns is keenly aware that the political jargon and procedure may deter viewers, so he uses that to his advantage. The length of time required to carry out the investigation, as well as the limitations imposed by the bureaucracy, are downright aggravating, as they should be.

Film Assessment: B

Star Wars Speculation: 'Star Wars: The Rise Of Skywalker' Spoiler Thoughts

Now that nearly a week has passed, and I've seen Star Wars: The Rise of Skywalker a total of five times, I felt it would be an appropriate occasion to discuss the film with no restrictions. If you haven't watched it yet, you can read my non-spoiler review and venture back here at a later date. Otherwise, I hope this clarifies my feelings about the film. 

**Spoiler Warning for all Star Wars films**

'Star Wars: The Rise Of Skywalker' Spoiler Thoughts

1) Rey Palpatine
To kick things off, the biggest surprise was the reveal that Rey's descended from the Emperor himself, Sheev Palpatine. I'll be honest and say that I rolled my eyes in the theater at this moment. One of my favorite things about The Last Jedi was Rian Johnson's decision that Rey's parents were nobodies. Anyone can be the hero of their story, regardless of their ancestry. Going into The Rise of Skywalker, I'd hoped that'd remain unchanged.

At first, I felt this twist was a betrayal of one of my favorite elements of The Last Jedi. However, I soon reconciled this as J.J. Abrams' intent unraveled. He and Chris Terrio were offering a complimentary message rather than detracting from Johnson's story. Your lineage doesn't determine your destiny. You have a choice and agency in deciding your future. In hindsight, I much prefer this to the other possibilities of Rey being a clone or biologically descended from a Skywalker or Kenobi. I don't view this as a stronger alternative to Johnson's proposal, but I think it holds weight as well.

It deepens her struggle between the light and dark side as she questions her own morality. This has been an underlying thread in the trilogy, but I love the notion that her noble and compassionate heart is stronger than blood. On the other hand, I still take issue with a few things. I loathe the line, "You have his power." I not fond of the idea that Rey's strength is attributed to someone else. She's strong on account of her own discipline. It's not because she's the Emperor's granddaughter. And that line seems made to dismiss the preposterous notion of her being a "Mary Sue."

2) Bendemption
By far, my favorite thing about The Rise of Skywalker is how Ben Solo's redemption was handled. I made an entire post about this topic and how I hoped it might play out. Above all, I love how his redemption relates to the poetry of the greater saga. First of all, it occurs on the remains of the second Death Star, which is also the site of Anakin’s redemption, where he made a choice to save Luke from the Emperor. There are deeper ties than that, though...

Anakin metaphorically died and was reborn as Vader in the lava of Mustafar. He faced a baptism by fire, which left him severely burned. With this fire came death, destruction, and pain. The evil Darth Vader was created. Towards the end of the duel between Rey and Kylo Ren on the oceanic moon of Kef Bir, she lands a fatal blow to Kylo Ren. However, rather than let him suffer, she heals him with the Force. In literature, water often represents life, rebirth, and purity. At this moment, Kylo Ren literally and figuratively died and is reborn as Ben Solo. It’s a baptism for Ben that cleanses him of his sins. This franchise is deeply rooted in spirituality and myth, so I love that Abrams and Terrio tapped into that.

One slight detail I've noticed in my successive viewings is that Ben's scar fades away as Rey heals him. Therefore, she heals all the physical wounds she ever caused him since she first gave him the scar in The Force Awakens. A beautiful gesture that underscores her kind heart in addition to further signifying his decision to be Ben Solo again. 

On top of that, there’s the beautiful parallel between The Force Awakens and The Rise Of Skywalker. When Ben Solo is left stranded on the planet, he's seen contemplating his next course of action. Ben's memory of Han Solo appears to console him. Ever since that fatal moment from The Force Awakens, Ben's been haunted by what he did to his father. It shook him to his core and left him more conflicted than ever. Han may not physically be there, but this time Ben can make things right. He can't undo anything, but he can choose to be better. To be a hero. Their conversation consists almost entirely of the same dialogue from their final encounter, but with a much different context. It provides a sense of closure between the two as Ben imagines how he desperately wishes that moment had happened.

I also love that the restoration of Ben Solo required both his parents reaching out to him. Only together, their final efforts bring their son back towards the light. It's tragic but poetic that Han and Leia each die in an attempt to redeem their fallen son. Han's death lingered with Ben, and, in tandem with the sensation that his mother is gone, Ben knows what he has to do. But he doesn't know if he has the strength to do it. Of course, Carrie Fisher's death made this hit home even more, but Harrison Ford and Adam Driver act the hell out of this scene, and it's stuck with me ever since. 

4) Ben Solo Comes To The Rescue
Perhaps, the biggest crowd-pleasing moment of the entire film is when Ben rushes in to help Rey. I'll touch on their bond momentarily, but it's such a triumphant moment when Rey passes his family's saber to him through the Force. In this sequence, he displays so much of his family's heroic bravado and even channels many of his father's iconic gif-able mannerisms. It's a phenomenal entrance and great payoff to his arc. Anyways, if there's one thing I'd tweak about the film, it would be for Ben Solo to live when all is said and done. I can accept his death and appreciate that it wasn't derivative of Vader's, but I still wish he'd survived. However, I really love that he was able to do what Anakin couldn't and save the one he loved from dying by transferring his life force to Rey. An upside regarding his tragic fate.

5) "Be With Me"

Another one of my favorite moments is when Rey hears the voices of the Jedi who came before. Heard in the scene are Anakin Skywalker, Luke Skywalker, Obi-Wan Kenobi (Ewan McGregor and Alec Guinness), Yoda, Qui-Gon Jinn, Mace Windu, Ahsoka Tano, Luminara Unduli, Aayla Secura, and Adi Galla. While I'd hoped to see several Force Ghosts, I prefer this approach because Rey doesn't really know any of them aside from Luke, so their appearance would mean nothing to her. I think this is a nice compromise that doesn't detract from Rey in the scene. 

6) A Dyad In The Force

Something else I really liked about The Rise of Skywalker was the expansion of Force-lore. I liked how J.J. developed the Force bond between Rey and Kylo Ren prominently seen in The Last Jedi, as physical objects transcend their connection (something first teased by Rian when Kylo Ren wipes his brow and water droplets appear). 

Concerning their complex dynamic, I find the continued contrast between them very interesting. Rey is dressed in white and struggles with inner darkness while Kylo Ren is dressed in black and struggles with an inner light. Previously, there was the angle that Rey came from nothing while Kylo Ren is descended from a dynasty of powerful Force-users. Now, Rey is related to the ultimate evil in the galaxy, while Ben Solo's parents are the embodiment of hope and goodness (even his grandfather brought balance to the Force). While I don't think The Rise of Skywalker thematically-rich as The Last Jedi, it's become abundantly clear to me that The Rise of Skywalker is all about the power of choice. As I alluded to earlier, your destiny isn't predetermined by blood. Only you can make the decision to be good or evil. 

7) Ending Where It All Began

The ending of the film sees Rey travel to the Lars homestead on Tatooine to bury Luke and Leia's lightsabers. She's asked who she is, to which she eventually responds, "Rey... Rey Skywalker" after looking to see the Force ghosts of Luke and Leia on the horizon. Then she and BB-8 gaze at the twin sunset. There's, of course, the reoccurring motif of "twins" with the binary sunset, the twin sabers, and twin Skywalkers, which I kinda dig. Then, I also like that Rey's chosen to take up the Skywalker name. I've seen a wide array of opinions on this, but it doesn't really bother me. 

After my initial viewing, I felt very conflicted about many decisions made in The Rise of Skywalker. It's been a process for me to sort them all out, but I think I've come to terms with them all and found a greater appreciation for this ending now that all is said and done. I'm not expecting to change anyone's mind, but I hope that my thoughts have inspired others to find a greater appreciation for the things that disappointed them or the aspects they also adore! 

There's plenty more to discuss, but I thought this analysis would be an excellent place to start. I'll continue to post about The Rise of Skywalker and the Skywalker Saga in the coming months as ideas come to mind.

-May the Force be with you, always!

'Star Wars: The Rise of Skywalker' Review

Nominated For: Best Visual Effects, Best Sound Editing, and Best Original Score.

Synopsis: The surviving Resistance faces the First Order once more as Rey, Finn, and Poe Dameron's journey continues. With the power and knowledge of generations behind them, the final battle commences.

Runtime: 141 minutes

MPAA Rating: PG-13 (for sci-fi violence and action)

Who should see it? Star Wars fans eager to see the end of the Skywalker Saga.

At last, the time has come to talk about another new Star Wars movie... And not just any new Star Wars movie. Directed by J.J. Abrams, Star Wars: The Rise of Skywalker concludes the nine-episode space opera, which first began forty-two years ago. Entering the auditorium, I was overcome with feelings of joy, sadness, and anxiety since I knew this story I cherished so much was finally coming to an end. Now, it's worth noting that this ending provides closure to the Saga while also leaving room for future installments. So we'll have to wait and see whether Disney and Lucasfilm maintain their stance on this genuinely being the end or not... Though, for the time being, this is it for the core saga. 

Those who know me are well-aware of what this franchise means to me, so naturally, it may seem that my opinion's slightly biased in the film's favor. However, I was very nervous about a good number of things. Before I continue, I'd like to preface my thoughts with a brief disclaimer, though... I'm incredibly gracious to have the opportunity to see The Rise of Skywalker early, so I'm going to offer my readers the same courtesy I'd expect from any other reviewer. I will tread carefully in writing my review to avoid even the slightest spoiler or plot detail currently unknown by the general public. At times, my critiques may seem vague, but I'll be more than happy to elaborate in a clearly marked spoiler review after opening weekend. It's taken time for me to process what I watched, and there was a lot of information to absorb. 

I want to start by addressing the elephant in the room. The Last Jedi is my favorite movie period. I have not been shy about this, but I am also aware of its divisive reception. One of my concerns regarding The Rise of Skywalker was that J.J. Abrams and his co-writer Chris Terrio might choose to "course-correct" and reverse specific creative choice made by Rian Johnson for the sake of mass appeal. I'm glad to report I didn't feel that was the case. However, when I returned to social media yesterday, I discovered a storm of controversy due to certain "retcons." I'll address this in more detail in my spoiler review sometime next week, but the magnitude of these "retcons" is being grossly overblown.

These "retcons" being answers to questions that fans have obsessed over since before the release of The Force Awakens. The answers actually altered my perception of the sequel trilogy as a whole, so I'm interested in rewatching it with them in mind. Still, I felt they made logical sense and didn't contradict anything previously established by Rian Johnson, George Lucas, or any of the other Star Wars filmmakers. For those concerned, I went into the film with a particular mindset of what I hoped wouldn't happen and was surprised that Abrams and Terrio convinced me otherwise on specific points. The execution sold me on the ideas I wouldn't have expected to like. So keep an open mind and go along for the ride before casting judgment. I'm still in the process of reconciling certain creative choices myself. 

Otherwise, J.J. Abrams absolutely delivers on the spectacle expected for a grand finale. The central lightsaber duel showcased heavily in the promotional material is unreal, and the final confrontation offers starship combat on a scale previously unseen in the franchise. I was also delighted to see Abrams and Terrio up the ante in terms of Force abilities. Needless to say, I was very giddy throughout and can't wait to experience my favorite crowd-pleasing moments with a packed theater of Star Wars fans due to the huge surprises in store! The technicality of everything ranging from cinematography to sound design to visual effects to John Williams' musical score was impeccable.

In a mega-blockbuster such as this, large casts are typical, and it'd honestly be excessive for me to discuss every actor's performance in excruciating detail. Therefore, I'm going to stick to the leads and significant supporting players, but know all characters, new and old, are great in it. If I were to single anyone out as a standout, it would be Daisy Ridley's Rey. This is the role that skyrocketed her to stardom, and this time around, Ridley offers her best performance yet. In her third and possibly final outing, Ridley feels more confident, which translates wonderfully to Rey's screen presence. Ridley also gets an opportunity to demonstrate more of her emotional range and excels on all accounts.

Opposite Ridley, Adam Driver continues to make Kylo Ren a very compelling character. Driver has quickly become my favorite actor working today, and he lends so much dimension to Kylo Ren with his multifaceted portrayal. This outing is no different, and Driver gives it his all! I was especially glad to see the unique dynamic between him and Rey further explored in greater detail because that's one of my favorite aspects of the sequel trilogy. Star Wars fans keen to see his devout followers, the Knights of Ren onscreen will be happy that they have some cool moments in the limelight. With that said, they're more-or-less an afterthought in the grand scheme of things so temper your expectations there. 

I'm sure many of you are rightfully wondering about Leia's inclusion, and I'll just say I was amazed at how J.J. Abrams was able to integrate archival footage of Carrie Fisher so naturally. Her presence lingers over the movie in a powerful way, and I'm glad to see Leia's send-off handled with such reverence. Among all the discourse which will surround this movie, I highly doubt anyone will be displeased with how she was treated. As for the other lingering inclusion, I was surprisingly pleased with the return of Ian McDiarmid's Emperor Palpatine. I can't say much else for fear of spoilers, but I was thrilled to hear his maniacal laughter once more, and his malevolent presence is stronger than ever! 

Returning to a galaxy far, far away, John Boyega, Oscar Isaac, and Kelly Marie Tran comfortably reprise their roles in the fight against the First Order as Finn, Poe, and Rose. The marketing for The Rise of Skywalker prominently featured the companionship between the trio of Rey, Finn, and Poe, and they certainly had a great rapport between the three of them. Regarding the beloved legacy characters of Chewbacca, C-3PO, and R2-D2, Joonas Suotamo, Anthony Daniels, and Jimmy Vee are as endearing as ever, and each has memorable moments! Rolling back onscreen, BB-8 continues to delight while D-O is a fun new droid companion. Then, of course, it was truly wonderful to see Billy Dee Williams playing Lando Calrissian again. He may be 82, but he's still got his trademark swagger! Meanwhile, the new characters Zorii Bliss, Jannah, and Allegiant General Pryde, portrayed by Keri Russell, Naomie Ackie, and Richard E. Grant respectively, were terrific additions to the sprawling ensemble. If I didn't mention someone, it's likely because they had a smaller part or have a surprise appearance, but the remaining cast members fulfilled their roles to the fullest!

At times, Star Wars: The Rise of Skywalker is too overwhelming for its own good. The opening thrusts the audience right into the thick of it, and there's a lot of information to digest very quickly. Perhaps, the pacing will improve for me on repeat viewings, but that remains to be seen. It's not my favorite Star Wars movie, but it never needed to be. In the end, J.J. Abrams stuck the landing and delivered a finale that's epic, entertaining, emotional, and incredibly satisfying. 

Film Assessment: A-

'Parasite' Review

Nominated For: Best Picture, Best International Feature Film, Best Director; Bong Joon-Ho, Best Original Screenplay, Best Film Editing, and Best Production Design.

Won: Best Picture, Best International Feature Film, Best Director; Bong Joon-Ho, and Best Original Screenplay.

Synopsis: All unemployed, Ki-taek's family takes a peculiar interest in the wealthy and glamorous Park family for their livelihood until they get entangled in an unexpected incident.

Runtime: 132 minutes

MPAA Rating: R (for language, some violence, and sexual content)

Who should see it? Adults who don't mind reading subtitles since all of the dialogue is spoken in Korean.

Parasite is the latest offering from South Korean filmmaker Bong Joon Ho. You may have heard rumblings about Parasite considering it won the Palm D'Or (grand prize) at the Canne's Film Festival, remains one of the year's best-reviewed films, and also finds itself primed to be a major awards contender in the coming months. There's been a lot of chatter and buzz surrounding Parasite, but the less you know beforehand, the better your experience will be. To aid in preserving the mystery, I've provided a streamlined synopsis and will carefully avoid discussing the plot in too much detail. Though I first watched the film over a month ago, I've patiently bided my time before writing this review because I wanted to do Parasite justice with my analysis. And the flurry of significant November releases caused me to postpone time and time again, which lent me the benefit of a second viewing and plenty of time for reflection.

Co-written by Jin Won Han and director Bong Joon Ho, Parasite comments on classism in which the disparity between social classes is emphasized by differences in attitude and elevation. The filmmaking and storytelling are deceptively simple, but there's an abundance of subtext to savor with successive viewings. If you see it again, the stark contrast between the rich and poor families becomes increasingly apparent as you catch onto more parallels distinguishing the two. Otherwise, the narrative's quite engrossing as shocking plot-twists will secure every audience member's undivided attention in addition to drastically altering their perception of the onscreen events. Once you're comfortable yielding to the story's rhythm and feel confident in predicting the outcome, Bong pulls the rug right out from under you.

Recently, it's become trendy to belittle clever twists as an act of "subverting expectations" for the sake of surprise. However, these twists aren't implemented for the contrived purpose of shock-value. Bong Joon Ho stealthily lays the groundwork, but it's easy to overlook seemingly insignificant details on first viewing, provided nothing's been spoiled. Since all of the dialogue in Parasite is spoken in Korean, I suspect a subset of potential viewers may deter from watching. With that in mind, it's worth noting that Parasite is very accessible. Reading subtitles will quickly become a subconscious act as you're drawn in by a story that's equal parts funny, suspenseful, dramatic, and insightful.

Concerning craftsmanship, the Park family home created by production designer Lee Ha Jun is particularly impressive. The set is immaculately detailed, to the degree that the Canne's jury of directors was also duped by their illusion. Bong and Lee considered several factors into planning the layout, including blocking and a minimalist approach. Once Bong establishes the geography, he stages elaborate sequences that are heightened by the viewer's familiarity with this space. Meanwhile, the cinematography, editing, and score work in tandem to further supplement Bong's vision.

At its core, Parasite is bolstered by a sublime ensemble. Across the board, the cast is expressive, employing universal mannerisms, and wonderfully communicate the emotion of the scene in spite of a language barrier. Their performances never verge on overacting though, teetering between subtle and articulate. The Kim family portrayed by Song Kang Ho, Chang Hyae Jin, Choi Woo Shik, and Park So Dam evoke the genuine chemistry of a tight-knit unit. On the flip-side, the Park family is distant and aloof, as depicted by Lee Sun Kyun, Cho Yeo Jeong, Jung Ziso, and Hyun-jun Jung. The contrasting family dynamics lend additional weight to Bong's class commentary. Lee Jung Eun also deserves recognition for her humorous stint as the Park's housekeeper, a role that differs significantly with subsequent viewings. 

Aptly, Parasite is one of the few films which successfully infiltrated my mind this year. In the time since I've seen it, my thoughts often dwelled on the intriguing narrative threads that were meticulously unraveled by ace filmmaker Bong Joon Ho. If it wasn't clear already, I echo the sentiments of surely everyone who has seen it... See Parasite ASAP!

Film Assessment: A+