'Marriage Story' Review

Nominated For: Best Picture, Best Actor; Adam Driver, Best Actress; Scarlett Johansson, Best Supporting Actress; Laura Dern, Best Original Screenplay, and Best Original Score.

Won: Best Supporting Actress; Laura Dern.

Synopsis: A stage director and his actor wife struggle through a grueling, coast-to-coast divorce that pushes them to their extremes. An incisive and compassionate portrait of a marriage breaking up and a family staying together.

Runtime: 136 minutes

MPAA Rating: R (for language throughout and sexual references)

Who should see it? Teenagers and adults who are interested in emotional indie dramas.

Written and directed by Noah Baumbach, Marriage Story ranks among the filmmaker's most personal work. Earlier this decade, Baumbach experienced a divorce of his own, and I'm sure creating Marriage Story was his eventual catharsis. While I'm not married, I could at least relate to the onscreen heartbreak as a child of divorce. And in case it wasn't already apparent, you better have tissues ready because it packs an emotional wallop. However, I'd rather not reduce Marriage Story to the simple designation of "tear-jerker." There's surprisingly a proper dosage of humor to be discovered as well. Baumbach finds natural comedy amidst the tragedy, never forcing a joke for the sake of a laugh.

Aside from deftly handling contrasting tones, Baumbach strikes a delicate balance in presenting the perspective of both his leads. Baumbach has no interest in choosing a side or encouraging the audience to gravitate towards either corner. Instead, Baumbach depicts divorce as it is. A messy, complex disagreement between people who love one another. Both sides have valid concerns and interests in the details of their separation. Marriage Story feels especially authentic in that regard, as the couple begins on amicable terms, and animosity is encouraged by those surrounding them.

Baumbach's direction is subtle, but emotional beats are enhanced a thousandfold by the technical presentation. Everything from the blocking-to-Robbie Ryan's intimate cinematography channels the honest intensity of the piece. Notably, it's the work from editor Jennifer Lame and composer Randy Newman that hits the hardest. There are specific cuts, transitions, and motifs that will shatter your heart into a million pieces due to their symbolic connotations.

Sustaining the film's raw emotional core are first-rate performances from an incredible ensemble. Adam Driver is an actor who I've followed with intense interest since I was first introduced to him via Star Wars: The Force Awakens and this role is undoubtedly the apex of his career thus far. As Charlie, Driver's reserved introspection speaks volumes while his passionate outbursts gave me goosebumps. Opposite Driver, Scarlett Johansson also turns in one of the best performances of her career. She's three-for-three this year in my eyes. As Nicole, Johansson demonstrates a tenderness and ferocity in both the heartwarming and heartbreaking moments. The two really share a convincing connection to the extent that their history together is palpable. From the first frame, you'll believe they've been married for several years. Even though I knew their marriage was unsalvageable, I become very invested in their relationship throughout the runtime. To the extent that I suddenly began sobbing uncontrollably during one of their heated arguments. Even as an objective observer to a couple falling out of love, you find yourself concerned with the outcome.

It should go without saying, but the supporting cast is also exemplary. Laura Dern, Alan Alda, and Ray Liotta portray three wildly different lawyers with a varied array of eccentric personalities, and each one leaves a distinct impression. Meanwhile, Azhy Robertson provides a poignant illustration of a kid lost in the shuffle of a decision outside his grasp. 

Deeply affecting and littered with profound messaging about the nature of love, Marriage Story is one of the year's best films that will move even the most steadfast soul. You'll laugh, and you'll cry, often at the same time. But it's the crushing realism with which Baumbach depicts the calamity of divorce that makes Marriage Story so memorable.

Film Assessment: A+

The Endgame: Whatever It Takes

Now that it's been almost two weeks since the release of Avengers: Endgame, I think spoilers are fair game. This won't be a spoiler review, but I'm going to discuss why I believe Endgame is an excellent companion piece to Infinity War. If you haven't seen either film, click away and come back to read this another time! Though my reviews for both films are safe to read if you'd like to check those out! Without further ado, let's dive into spoiler-territory.

**Spoiler Warning for Avengers: Infinity War and Avengers: Endgame**

Thematically, Infinity War and Endgame are both about sacrifice. There's certainly more at play than that, but a recurring question through these two films is where do these characters draw the line? There are many contributing causes to Thanos' victory and subsequent snap at the end of Infinity War, but the Avengers lost primarily due to an unwillingness to set aside personal differences and trade one life for the sake of saving billions till it was too late. 

Why The Avengers Lost

Captain America: Civil War left our main heroes divided, with Tony Stark harboring a bitter resentment towards Steve Rogers. Rogers knew that Hydra had assassinated Tony's parents and suspected Bucky may have had some involvement, but kept that information from Tony to protect his friend. However, it's important to remember that Steve offers an olive branch at the end of Civil War by sending Stark a flip-phone so Tony can call whenever he needs him. Steve is open to patching things up, but it's up to Tony to make that phone call and forgive Steve. 

It's understandable why Tony was upset, but his reservation to contact Steve may have doomed the heroes from the outset. Not to mention that a majority of the Earth-bound Avengers were on-the-run or under house arrest as a result of the Sokovia Accords. Since Tony didn't call Steve and the heroes were scattered, the Avengers were unable to present a united front against Thanos. Would that alone have been enough to stop him? Probably not. 

Another significant factor which held the Avengers back was Captain America's insistence that the team doesn't trade lives. A noble sentiment, but one which enabled Thanos to collect the Mind Stone eventually. Vision recognized that the stone could be destroyed and, while it would come at the cost of his own life, his sacrifice could protect half of all life. Instead, the team sought out assistance from Shuri in Wakanda to attempt safely removing the stone. Unfortunately, Shuri didn't have enough time to complete the procedure, and Wanda waited to destroy the stone at the last possible moment. Though she was successful, Thanos was able to reverse things with the Time Stone and claim his prize. 

Why Thanos won

On the flip-side, Thanos wins in Infinity War because he was willing to sacrifice everything to achieve his goal and wipe out half of all life. Thanos' relentless conviction drives him to do the worst things imaginable in pursuit of balance. He conquers planets, kills half the population, submits his adopted children to physical, emotional, and psychological torture, and even pushed his daughter off a cliff to obtain the Soul Stone. Thanos justifies his behavior by believing his actions will restore order in the universe. His experience on his homeworld lead him to believe it was his destiny to spare the universe of a similar fate. In Endgame, Thanos remains devoted to his cause by destroying the stones so his work can't be undone. Even when the past version of Thanos learns of his fate, he's dedicated to the cause.

Doing Whatever It Takes To Avenge The Fallen

A recurring message in the Endgame marketing campaign has been that the Avengers were setting out to do "whatever it takes" to defeat Thanos and bring back everyone who was lost to the snap. It's only once they've lost that they truly understand what was at stake. Sure, they knew of Thanos' intentions, but they didn't think he'd actually wipe out half the universe and instantaneously disintegrate their loved ones right in front of them. Like Nick Fury says in The Avengers, "They needed the push." They're called the Avengers, but this is the first time they're actually avenging.

Atonement and reconciliation are more powerful motivators. The bitter sting of defeat has strengthened their resolve, and this time the Avengers know they must be willing to put everything on the line to possibly emerge victoriously. This time around, the team takes risks whenever, wherever, and however they can. The group collectively risk their lives by embarking on the time-travel venture and later standing against Thanos' armies to defend the gauntlet and restored order. Then, the core six team members individually jeopardize their desires for a chance at repairing the universe.

Tony sacrifices a peaceful existence with his newfound family to ensure their survival and Thanos' defeat. On top of that, he sets aside his resentment towards Steve and returns the shield because he recognizes trust and teamwork will be required to possibly pull this off. Steve leaves behind an opportunity to reunite with the love of his life so he and Tony can return to the present with the Tesseract and he can see the mission through to the end.

Thor also abandons an opportunity to dwell in the past before the destruction of his family, friends, and Asgard. Everything Thor's lost is in front of him, but he leaves because he's needed in the future. Meanwhile, Bruce Banner risks everything by wearing the Infinity Gauntlet and snapping his fingers to bring everyone back. Fortunately, the deed did nothing more than severely char his arm, but Banner was unsure whether Hulk would survive nonetheless.

Lastly, Natasha Romanoff and Clint Barton are both willing to sacrifice their lives on Vormir so the other may live to collect the Soul Stone and hopefully correct things. Considering they're assassins, they each have several sins to atone for. Barton knows that he went off the rails during his time as Ronin and is unsure he can face his family. Meanwhile, Romanoff wants Barton to have that opportunity. After all, we're told in The Avengers he made the call not to eliminate her as ordered and instead recommended she be recruited by S.H.I.E.L.D. She's finally returning the favor.

I've seen complaints that Black Widow "deserved better." Well, none of these heroes "deserve" to die. However, that doesn't render their sacrifices meaningless. If anything, Natasha's sacrifice is just as meaningful and earned as Tony's. Both are irreversible, imperative to eventually defeating Thanos, and cap off their arcs beautifully. Throughout these films, Romanoff found a sense of belonging and purpose with the Avengers. Despite all she's done, she was welcomed and accepted by the Avengers. Her entire arc is based on atoning for her past. Wiping out the red in her ledger. Now that she has the chance to contribute, why should she step aside and let her friend kill himself? Why should her choice to lay down her life mean less on account of the character's gender? It shouldn't... Black Widow's death is earned because she's given everything she can to this cause and this is the ultimate atonement. To quote Steve Rogers in Captain America: The First Avenger concerning his repeated attempts to enlist in World War II, "There are men laying down their lives. I got no right to do any less than them." Why should that statement not apply to Black Widow?

Conclusion

Revisiting my earlier observation, the lessons learned in Infinity War are imperative to the outcome in Endgame. Naturally, that should be the case for a two-part story, but these films pair nicely in spite of differing approaches. Where Infinity War focused on plot and spectacle, Endgame is more of a character-driven finale. Infinity War seems out-of-this-world while Endgame remains grounded amidst characters traveling through time and space. The through-line of sacrifice ties them together very well, and everything lost in Infinity War casts a shadow of dread over Endgame which brings the heroes down-to-Earth more so than any previous entry. Hope, unity, and sacrifice lead them to victory. The Avengers win in the end because they persisted in the face of ultimate adversity, fought together, and were willing to lay down their lives when the time was right. They were willing to do whatever it takes.

'Avengers: Endgame' Review

Sincerest apologies for the delay on this review, as I understand it's probably one many of you were looking forward to reading, but there were some final school assignments and other miscellaneous obligations which required my attention. However, waiting this long has allowed me a chance to see the film a second time and given my thoughts time to marinate. Even though I'm sure many of you reading this have already seen the film, I will refrain from discussing spoilers or anything not shown in the marketing material for the sake of those who haven't watched it yet. To compensate for what will surely be a vague review, I'm going to write a spoiler-filled article later this weekend on why I believe Endgame is an excellent companion piece to Infinity War. Without further ado, let's get this show on the road!

'Avengers: Endgame' Review

Nominated For: Best Visual Effects.

Synopsis: After the devastating events of Avengers: Infinity War, the universe is in ruins. With the help of remaining allies, the Avengers assemble once more to figure out a way to undo Thanos' actions and restore order to the universe.

Runtime: 181 minutes

MPAA Rating: PG-13 (for sequences of sci-fi violence and action, and some language)


Who should see it? Marvel fans of all ages.

As the fourth Marvel film directed by Joe and Anthony Russo (known to many as the Russo Brothers) and featuring a screenplay from Christopher Markus and Stephen McFeely, Avengers: Endgame is an unprecedented achievement. Like Infinity War, Endgame is also the cinematic culmination of several years of storytelling. Only this time, it's a closing chapter for the Marvel Cinematic Universe and some of its more prominent characters. Though the MCU will likely continue for years to come (with Spider-Man: Far From Home only two months away), Endgame is a satisfying conclusion for the journey Marvel has taken audiences for the last eleven years and twenty-two films. 

Where Infinity War focused on plot and spectacle, Endgame is more of a character-driven finale that seeks to resolve as many lingering plot threads and character arcs as it possibly can. For the first time, our heroes failed (semantics aside). Thanos won, and half of the universe was turned to dust. These characters were then helpless to watch as their loved ones disintegrate in front of their very eyes and, as you'll see in Endgame, they each handle that remorse in different ways. As a result, these characters are the most vulnerable, human, and down-to-earth audiences have seen since their respective origins. But one thing's for sure. If they can't protect half of the universe, you can be damn sure they'll do whatever it takes to avenge it. Believe it or not, but this is the first Avengers installment that involves any genuine attempt at "avenging." Before, they tried to prevent disaster. This time, it's already struck. 

So you're probably wondering what their next course of action is going to be, as the marketing left the details of their mission purposefully unclear. In the year following that heart-stopping cliff-hanger, fans have speculated relentlessly about how the Avengers would bring everyone back. I won't disclose the answer because I think it's one best discovered for oneself, but don't allow your own expectations to interfere with your enjoyment of the direction Markus, McFeely, and the Russo Brothers choose to take these characters. Let the filmmakers guide you on the journey they deem best for the story before you compare it to what you'd hoped to see. I say this because I'm noticing more and more fanbases become narrow-minded about storytelling having to meet their individual needs and desires. 

So, as I'm sure many of you have figured out by now, I quite literally can't discuss the plot of the film without spoiling something. The marketing for this film has been so secretive that it mostly features footage from the first twenty minutes of the movie, with everything other shot carefully selected to not reveal much of anything about the story. With that in mind, there are many twists and turns that I didn't really expect. As I mentioned, go along for the ride for your first watch. If there's a choice that didn't work for you, that's totally okay. There were a few things I wasn't 100% on board with as well. Those being where they chose to take Thor's character and some nitpicky spoiler-related complaints I've since retracted due to thorough and insightful answers from the Russos in a recent Q&A. 

To address the aspect of Thor's character which I didn't like, I can't elaborate on what annoyed me without spoiling the movie. Don't worry! I'm not going to do that, but this paragraph will probably seem vague to those who haven't watched Endgame yet. Those who have seen it probably know precisely what I'm talking about... I'll say that I appreciated the intent behind Thor's character arc, but I felt there was a change incorporated mostly for shock value and comedy that quickly grew old. I liked the idea, but wasn't keen on the execution and think it could have been handled more tastefully. Considering that's one of my few nitpicks about a movie of this scale goes to show just how impressed I was overall.

I haven't really mentioned action yet, and that's because it comes in small doses till the INSANE third act confrontation. This battle is absolutely sensational and delivers many of the best moments of grand spectacle throughout the entire MCU. Some of these may be shrugged aside as pure fan service, but I don't care... This movie is a conclusion to a twenty-two movie story. Of course, there was going to be fan service and rightfully so! None of it obnoxiously caters to fans, and it serves the narrative quite well. Now, the MCU has gotten plenty of flack from film fans for some flat color grading, unmemorable music, and focus on furthering the overall narrative. I disagree with some of those points but acknowledge there's always been room for improvement. Endgame corrected that for me.

Concerning the film's technical prowess, Avengers: Endgame is the Russos' most confident film. Their consistent cinematographer Trent Opaloch has delivered imagery that will stand the test of time as some of the most iconic shots ever to grace the MCU. Since they've had over a year to polish the visual effects, I didn't notice particular instances of lackluster digital effects on either of my viewings and the CGI is truly remarkable from start-to-finish! Then, I've gotta acknowledge Alan Silvestri who's composed a sweeping score full of leitmotifs referencing prior MCU installments and epic new arrangements. The best moments in this movie would be meaningless without his score, and "Portals" is legitimately one of the coolest pieces of music I've ever heard (especially in a Marvel movie). Go to Spotify and listen once you've watched Endgame. You won't regret it since it accompanies one of the coolest scenes in the entire film. 

If I were to address every actor present in Endgame, this review would be ridiculously long. Even though Thanos did me a favor by whittling down the cast, there's still a large, leftover ensemble. I'm going to devote a few sentences to Thanos and each of the original six Avengers, but would be remiss not to mention Don Cheadle, Paul Rudd, Bradley Cooper, Brie Larson, Gwyneth Paltrow, and Danai Gurira who once again portray their respective roles to the fullest whenever onscreen! Simply because I feel he's gone overlooked in the Endgame discourse, I'd like to highlight Paul Rudd for showcasing some stellar dramatic chops. He, of course, was cast as Ant-Man because of his comedic sensibilities, but it was refreshing to see another side of the actor beyond being a quip-machine.

Of the six, it only makes sense to begin with the one who started it all... Iron Man revitalized Robert Downey Jr. in the pop-culture consciousness, and the actor's embodied Tony Stark across nine movies now, so it's no surprise that Downey once again knocks it out of the park. Downey digs deep into the story's core and goes all in concerning the character's comedic and dramatic beats. I'm not exaggerating when I say this may just be a career-best performance. 

Second up is my favorite Avenger, the star-spangled man with a plan. I felt Steve Rogers was handled PERFECTLY in this film, and cannot overstate how satisfied I was with his arc. In Endgame, Chris Evans exhibits a ruthlessness previously unseen from the character as he's willing to do whatever it takes to make things right. Captain America is sometimes ridiculed for being a patriotic pantheon, but Evans skillfully encapsulates Roger's virtue and conviction to the point I'm unsure any actor would be able to match Evans should Marvel choose to later reboot or recast. 

I've spoken my piece on Thor's character in this entry, but I still must commend Chris Hemsworth for committing to the bold new direction the Russos have taken the character in spite of my issues. Hemsworth really sells his moments of emotional vulnerability considering Thor's not in the best headspace after everything he's endured. 

Next up is Mark Ruffalo as Bruce Banner. I'll just say the Russos swung for the fences with a new take on Hulk that you'll either enjoy or detest. I personally liked it, though I'm not particularly invested in the Hulk as a character. It's campy for sure, and I don't think I can describe it beyond that without spoiling things. 

Rounding out the team are Scarlett Johansson and Jeremy Renner, who each depict perhaps the most undervalued Avengers, Black Widow and Hawkeye. You'd expect that their characters would feel irrelevant when the heroes are facing insurmountable odds in the form of Thanos and his intergalactic armies, but the filmmakers find an essential narrative purpose for the two of them. Thanks to prior MCU entries, Johansson and Renner already have a great rapport with one another, and that established dynamic comes into play in a meaningful way. 

Last but not least, there's the big bad himself. Thanos is portrayed via motion capture by Josh Brolin and, though the film isn't centered around him like Infinity War, Brolin leaves just as large of an impression and cements himself as one of the best MCU villains. Just keep in mind that Thanos has a reduced role compared to Infinity War. 

Of the 14,000,605 versions of Endgame Doctor Strange saw in Infinity War, I believe this was the best possible outcome. It brings the original Avengers' arcs to an emotional ending which I was abundantly satisfied and heartbroken to see. Though this sentiment won't mean much till you've watched it, I love Avengers: Endgame 3,000. 

Film Assessment: A+ A-

Throwback Thursday Review: 'The Avengers'

Sorry for the lack of Throwback Thursday Reviews recently, as well as the delay on this review, but I'm finding it increasingly more difficult to set aside time to write these in the final weeks of my spring semester as assignments, projects, and exams head my way. If you'd like to have an idea of upcoming content for the blog, read the next few paragraphs. Otherwise, go ahead and skip past to read my review of The Avengers.

I mentioned this in my last Throwback Thursday Review, but all my finals are scheduled the same week Avengers: Infinity War will be released, so there won't be any Throwback Thursdays for the remainder of this month. Reviews you can expect for the remainder of April include my thoughts on Rampage and Avengers: Infinity War, and I'll be writing a Triple-R for Avengers: Age of Ultron next week instead of a Throwback Thursday Review to tie into the Marvel motif. 

Speaking of which, I began my Marvel marathon to prepare myself for Infinity War and successfully watched all of Phase One last weekend (this means Iron Man, The Incredible Hulk, Iron Man 2, Thor, Captain America: The First Avenger, and, of course, The Avengers). I hope to watch all the Phase Two this weekend and get through Phase Three next weekend. I won't be re-reviewing all of them because that's a daunting task to complete before April 27th, but it's been a while since I last shared my MCU ranking so I'm reranking the films as I watch them to share my most accurate ranking with you all. However, I'm going to hold off till Ant-Man and the Wasp is released in July since that will be the twentieth installment to the Marvel Cinematic Universe and I like the idea of rounding out my list by ranking twenty rather than nineteen. I'll also have a better idea of where Infinity War fits by then, so it's truly for the best.

'The Avengers' Review

Nominated For: Best Visual Effects.

When Thor's mischievous, evil brother Loki gains control of the mystical, all powerful Tesseract, Earth is threatened by the prospect of alien invasion. In response, S.H.I.E.L.D. Director Nick Fury implements the Avengers Initiative and calls upon Earth's mightiest heroes to come together and learn to fight as a team to defeat this unprecedented threat. 

Believe it or not, but The Avengers is somehow the one entry of the Marvel Cinematic Universe that I have yet to review. I wasn't blogging at the time and hardly had any online presence aside from perhaps... Facebook? I was barely a freshman in high school and I'm now about to enter my Senior year of college. Nevertheless, I can remember my initial experience and anticipation going into the film vividly. This was among one of my first experiences watching a blockbuster that felt like a genuine event. It was the culmination of six other films that brought together characters on a scale never before seen or attempted for that matter. Sure, there have been other feature length crossovers before The Avengers, but never one that was THIS grand. It was like a comic-book crossover, but on the big screen. 

Comic-book movies had made big bucks before, but this was the first one to really break the bank as it emerged to be the third highest grossing film of all time worldwide with the highest opening weekend of all time at the time of release. It's since fallen to fifth highest grossing worldwide with the fourth highest opening weekend, but that's an impressive hold considering those above it are established franchises. I say all this not simply to tell you the film was successful, as you probably already know that, but to stress its importance as an instant worldwide phenomenon. B/C-list comic-book characters became easily recognizable and an integral part of modern pop culture in almost an instant. Anyways, enough about my attachment to The Avengers and its major success. You came here to read a review, didn't you?

The Avengers was written and directed by Joss Whedon, with Zak Penn co-credited for the feature's story. Say what you will about the man for his work on Justice League, but that was hardly his fault and there's no denying Whedon's got geek-cred when you look at his long list of writing credits. In fact, Whedon's ability to write quippy one-liners is undoubtedly his strongest asset as a filmmaker. I say this not because the lines are funny, but because they're genuinely quotable. I can recite an embarrassing amount of dialogue from The Avengers off the top of my head, and it's not just because I've seen the film countless times. It's because those lines are memorable and stuck with me through thick-and-thin for the last six years. While it may be a bit too early to cement The Avengers as a classic blockbuster, it's undeniably become a significant cornerstone of pop culture in the years since its release.

When you zero in on what Whedon brought to the project as a director, you'll quickly find that he handled tone and action remarkably well. The Avengers is equal parts serious, exciting, and immensely entertaining. A sense of stakes are integrated from the outset, it's a delight to see the heroes' personalities clash as they come together in middle, and the third act never ceases to amaze as I'm subjected to an overwhelming sense of awe and wonder with each and every viewing. I'm always particularly amazed by the tracking shot spotlighting each of the Avengers as they fight amidst the Battle of New York. The action spread throughout is all great though as some of Earth's Mightiest Heroes duke it out with each other before finally coming together for the greater good. One more element that definitely deserves a mention is the score composed by Alan Silvestri. Silvestri's score is really responsible for much of the film's gravitas, but is often overlooked in favor of complementing the film's other components. 

The Avengers is also one of many Marvel productions to have been nominated for Best Visual Effects by the Academy, and it's not too hard to see why. It's been six years since its release, yet the effects haven't aged a day. Go back to other effects-heavy blockbusters released in 2012 and you'll find that's not always the case. The respective designs for Hulk and Iron Man are among the best visual renderings of those characters to this very day. The Iron Man armor doesn't look too sleek and streamlined while Hulk isn't an odd rubbery-looking shade of green. They're each just right. 

If I were to nitpick, the first act doesn't lend itself well to rewatches in comparison to the rest of the MCU. However, the build-up is necessary and still entertaining. It's just a bit tedious as I always find myself eager to see the characters meet each other again, but the wait's always worth it because the character interactions are always incredible to behold. Just about every character thrown into the mix interacts with others in one form or another (whether it be verbal sparring or a physical confrontation). Which, in and of itelf, is kinda why The Avengers is still charming.

Of course, the film needed to assemble a worthy ensemble if this was ever going to work, but Marvel's casting department thankfully hasn't let us down yet! Robert Downey Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, and Jeremy Renner are all the spitting image of their comic-book counterparts and embody their characters in a way that I can hardly see any other actors taking over in the future. I'm not going to get into the nitty-gritty for each character because you've probably heard me praise them all in other reviews, but Ruffalo in particular was a big step-up from Edward Norton's Bruce Banner/Hulk. Not that Norton's a bad actor, but Ruffalo has a better grasp on the character in my opinion. I think Ruffalo is a more believable scientist as Banner and better communicates the character's struggle and inner darkness in ways Norton just wasn't suited for. 

As for supporting S.H.I.E.L.D. agents, Samuel L. Jackson, Cobie Smulders, and Clark Gregg are equally perfect for the respective roles of Nick Fury, Maria Hill, and Phil Coulson. Jackson's got the grit for Fury, Smulders is sufficiently badass as Hill, and I can hardly end the review without taking time to spotlight Coulson. Clark Gregg was such a delightful presence in the cinematic side of things so, of course, that's how Agents of S.H.I.E.L.D. came about. I really have missed the character in the films and am ecstatic about the recent news he'd be returning in Captain Marvel since that takes place in the '90s. However, I'd still like to see Coulson encounter the Avengers again sometime in the future.

Last, but certainly not least, would be the God of Mischief. To this day, I think The Avengers is Tom Hiddleston's best outing as Loki because he really gets to relish in the villainy before being relegated to an anti-hero in the next two Thor flicks. Hiddleston chews the scenery like there's no tomorrow and plays well paired against the likes of Downey, Jackson, and Johansson to name a few. All the while, Loki's end goal is maniacal, yet understandable due to his upbringing and that's why he's still one of the very best Marvel villains despite his later flirtations with the light side.

I'd daresay The Avengers is irrefutably a defining blockbuster for my generation. It exploded onto the pop-culture scene because it's epic, action-packed, and full of humor and heart. It's been six years, and I still get giddy staring at the above iconic group shot. Few frames have that effect on an individual. Much less the whole globe. 

Film Assessment: A+

'Isle of Dogs' Review

Nominated For: Best Animated Feature and Best Original Score.

In the near future (twenty years from now), snout fever (aka "dog flu") ravages the canine population of Megasaki City. By executive decree of Mayor Kobayashi, all dogs are hereby banished to a gargantuan garbage-dump otherwise referred to as Trash Island. Isle of Dogs then follows a determined twelve-year-old boy named Atari as he hijacks a miniature plane and flies across the river in search of his bodyguard-dog, Spots. Once he crashes on Trash Island, a pack of mangy mutts join him on his epic odyssey to find and rescue his long lost friend. 

Isle of Dogs is the ninth feature length film to be written and directed by the idiosyncratic Wes Anderson. If you've ever seen a Wes Anderson production, you have a clear idea of what you should expect from an acclaimed auteur of his pedigree. There will be whip pans, symmetric shot composition, an obsessive attention to detail, colorful settings, obscure older music, quirky characters, and abundant instances of offbeat humor. Of course, all of these elements can be found within Isle of Dogs since the film champions Anderson's unique, eccentric style as its most defining attribute.

If you're a fan of Anderson's work, you'll likely be drawn to see Isle of Dogs because it's the distinctive director's return to stop-motion animation after his first foray utilizing the medium in 2009, Fantastic Mr. Fox. His obsessive-compulsive nature as a filmmaker simply means he's suited to deal with stop-motion because the process is absurdly tedious and requires an incredible attention-to-detail. In order for the models to move with an authentic fluidity, animators have to continually adjust puppets with the slightest alterations between individual photographed frames. It's truly a testament to the ability of these animators that I often forgot I was watching stop-motion because there was such a lifelike look to it all. It's really remarkable, and I'd consider it to be among the finest stop-motion animation I've ever seen on film. 

Like any other Wes Anderson production, the art direction, production design, cinematography, and score are all exceptionally executed as can be expected. Stylistically, the film pays homage to the traditional Japanese epic, and Japan in general, in so many ways. Tristan Oliver's cinematography excellently communicated a sense of scale and intimacy/aggression (depending on the scene's context) while sticking to the symmetrical shot composition characteristic of all Anderson's work. All the while, the film is immensely energized by the beat of Alexandre Desplat's percussive score that stands out as a unique addition to the two-time Oscar winning composer's resume. 

Meanwhile, the film is facing some online controversy of cultural appropriation... I'm not quite sure what exactly is being interpreted as such, but I didn't think there was anything in the film that could be construed as offensive. Perhaps I'm not "woke" enough to understand it, but I believe these claims are grossly over-exaggerated. If you see the film and think otherwise, feel free to let me know what I'm missing. I'd actually say Anderson does a great deal to honor Japanese culture by casting ethnically appropriate actors for the Japanese human roles, homaging Japanese cinema, art, and architecture, and incorporating elements of cultural significance. That's not even to mention the fact that Anderson made the stylistic choice for all the Japanese characters to speak in Japanese throughout the entire film. 

A title card appears in the beginning to inform the audience in addition to letting everyone know there won't be subtitles either. Fortunately, the dog barks have been translated to English and an interpreter and outside narrator are incorporated for occasional English translations. I'm sure this will be met with a divisive reaction from American audiences because we'd like to understand everything. I felt the decision paid off for the most part, but it admittedly impaired the narrative from as I found it difficult to completely connect with characters I didn't always understand. Although I respect Anderson's commitment to the concept, subtitles would have been immensely beneficial.

While I appreciated the broad overarching themes regarding the canine breed's celebrated characteristics of bravery, loyalty, and unconditional love, the film's storytelling is a little ruff (pun intended). This isn't to say film's story is entirely problematic, but rather to note it stands out as superficial when compared to Anderson's other work. The film relies heavily of the whimsical charm of these junkyard dogs cracking quips in deadpan, which worked wonders by the way. Otherwise, it's as if Anderson is holding audiences at an arm's distance from the human characters due to the aforementioned decision not to translate all the Japanese dialogue. There's enough expression for audiences to pick up on distinctive personalities, but they simply weren't fleshed out or developed as much as I'd have liked. 

Isle of Dogs does however feature an especially distinguished cast composed of Bryan Cranston, Scarlett Johansson, Francis McDormand, Greta Gerwig, Liev Schreiber, Kunichi Nomura, Koyu Rankin, Ken Watanabe, and common Anderson collaborators such as Bill Murray, Edward Norton, Jeff Goldblum, Bob Balaban, F. Murray Abraham, and Tilda Swinton voicing an assortment of humans and hounds. To discuss them all individually would be a logistical nightmare, but do know that each actor added a great deal of charm and lent themselves well to their respective roles. Cranston is undoubtedly the standout as the surly stray alpha dog, Chief, and I have to say Koyu Rankin did remarkably well for his first role in a feature film in spite of the Japanese language barrier I brought up earlier. 

Before I wrap things up, I suppose I ought to mention that adults will have more to take away from Isle of Dogs than children. I realize the appeal of cute dogs and a young protagonist might make it appear to be made with children in mind, but that couldn't be further from the truth. There's not really much in the way of inappropriate humor, but the comedy is dark on occasion and the story itself is fairly mature. Significant portions of the film also move at a slower pace that I can't really envision kids enjoying, especially when the humor will fly over their heads. One other thing well worth mentioning is that you may look to see where you can watch Isle of Dogs after reading this review to learn it may not be playing at a theater near you just yet. That is because the film's had an especially limited release roll-out from Fox Searchlight. They'll be expanding in the coming weeks, but I'm unsure when the wide release date is. I was fortunate enough to attend an advanced screening of the film though and wanted to share a review regardless of that.

I may not consider Isle of Dogs to be one of my favorite films from Wes Anderson, but Anderson sure is one sly dog, because I can't dispute the fact I left the theater with my tail wagging (metaphorically, of course). It's taken three months, but Anderson's given audiences the first animated feature worth barking about this year!

Film Assessment: B+