I'm relieved to be all caught up on reviews for the time being. And I'm especially excited that I'll be able to write my mini-reviews in a more timely manner going forward. Expect Reel Recaps at the end of each month from now on. In case you missed them, I recently shared my November Reel Recap and 1917 review. Tonight, I will unveil my Top 10 Films of 2019 list. Otherwise, I’ll continue writing standalone reviews for the films I believe warrant a thorough analysis.
Reel Recap: December 2019
Dark Waters (2019) - Watched December 5, 2019
Synopsis: A tenacious attorney uncovers a dark secret connecting unexplained deaths to one of the world's largest corporations. While trying to expose the truth, he finds himself risking his future, his family, and his own life.
Runtime: 126 minutes
MPAA Rating: PG-13 (for thematic content, some disturbing images, and strong language)
Who should see it? Those interested in the story behind DuPont’s PFOA scandal.
Based on actual events and Nathaniel Rich’s magazine article “The Lawyer Who Became DuPont’s Worst Nightmare,” Todd Haynes’ Dark Waters is a harrowing but necessary watch. Due to the recency of these events, you'll be unsettled to discover it’s believed that there are traces of PFOA in every living being. Thankfully, exposure is limited and nowhere near the extent of being harmful for most people, but seeing the effects of the chemical will be an alarming wakeup call nonetheless. The procedural nature of the film’s subject matter is relatively dry as lawyer Robert Bilott purses a paper trail of evidence over several years. Therefore, Dark Waters can be tedious to watch at times. It’s a testament to Haynes, the screenwriters, and his cast that it’s the slightest bit compelling. Mark Ruffalo and Anne Hathaway elevate their material as their characters could have quickly fallen into the cliche attorney and stay-at-home wife. Though Dark Waters features conventional filmmaking, the core story is essential. Haynes ensures the audience understands the severity of DuPont’s elaborate coverup as well as the lengths they were willing to go to keep it under wraps.
Film Assessment: B
Waves (2019) - Watched December 6, 2019
Synopsis: Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss.
Runtime: 135 minutes
MPAA Rating: R (for language, drug and alcohol use, some sexual content and brief violence involving teens)
Who should see it? Adult fans of indie dramas.
Written and directed by Trey Edward Shults, Waves is an ambitious and unconventional examination of a broken family. The energy and creative vigor behind the first half are relentless till Shults switches gears for a quieter account of a family dealing with the fallout of a devastating event. Conceptually, this stark contrast is an interesting approach for telling this story. In execution, the distinct separation is quite jarring, and the latter half feels sluggish and overlong in comparison. Though, even when Waves meanders, Shults maintains the vitality of unorthodox filmmaking. The framing of the camera was unlike anything I’d ever watched before, seamlessly moving around its subjects in increasingly complex ways, and the vibrancy of colors onscreen was absolutely breathtaking. The film is gorgeous from beginning to end, so hats off to the colorists as well as cinematographer Drew Daniels. The acting also doesn’t disappoint as Taylor Russell, Kelvin Harrison Jr., Alexa Demie, Sterling K. Brown, and Renée Elise Goldsberry are phenomenal. I wholeheartedly respect Shults' aspirations, but that didn't wash away my recognition of Waves' shortcomings.
Film Assessment: B
Jumanji: The Next Level - Watched December 13, 2019
Synopsis: When Spencer goes back into the fantastical world of Jumanji, pals Martha, Fridge, and Bethany re-enter the game to bring him home. But the game is now broken and fighting back. Everything the friends know about Jumanji is about to change, as they soon discover there's more obstacles and more danger to overcome.
Runtime: 123 minutes
MPAA Rating: PG-13 (for adventure, action, suggestive content and some language)
Who should see it? Fans of the Jumanji franchise.
On the heels of the surprisingly successful Jumanji: Welcome to the Jungle, writer-director Jake Kasdan returns to the lucrative digital realm of Jumanji. Welcome To The Jungle cleverly revitalized the concept by transforming the board game into a video game. The Next Level shakes things up further with the introduction of new cast members and game mechanics, but it's really just more of the same. If you enjoyed Welcome To The Jungle, you'd probably like The Next Level. The returning cast of avatar characters and their real-life counterparts offer adequate performances but hardly differentiate from their last outing. That said, Awkwafina, Danny Glover, and Danny Devito are exciting additions. Still, the novelty of video game avatars pretending to embody elderly characters wore thin fast. Kasdan, Pinkner, and Rosenberg recycle similar humor throughout, which grew stale quickly for me since most jokes were featured prominently in the marketing. The Next Level could have really benefited from taking more narrative risks since everything fell into place too easily. Though I was mostly underwhelmed, it's not game over for this franchise just yet.
Film Assessment: C+
Richard Jewell - Watched December 14, 2019
Nominated For: Best Supporting Actress; Kathy Bates.
Synopsis: American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist.
Runtime: 131 minutes
MPAA Rating: R (for language including some sexual references, and brief bloody images)
Who should see it? Those interested in the story surrounding the media coverage of the 1996 Olympic bombing.
Based on real events and Marie Brenner's magazine article, Richard Jewell is directed by Clint Eastwood and written by Billy Ray. Exploring the turbulent media coverage after the bombing, Richard Jewell shows firsthand how devastating fraudulent claims can be on an individual's life and general wellbeing. That said, the depiction of the FBI and media covering the story is absurdly skewed, so they're relatively one-note antagonists. One aspect of Olivia Wilde's reporter character feels especially fabricated to underscore Eastwood and Ray's distaste for the press. Otherwise, Paul Walter Hauser, Kathy Bates, and Sam Rockwell are each exceptional in their respective roles. A riveting true story coupled with dynamite performances makes Richard Jewell compelling to watch. It's the cartoonish lengths which Eastwood portrays the media as mustache-twirling villains determined to ruin lives for the sake of a headline that handicaps his message. Things weren't as black-and-white as Eastwood would like you to think.
Film Assessment: B
Cats (2019) - Watched December 19, 2019
Synopsis: A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life.
Runtime: 110 minutes
MPAA Rating: PG (for some rude and suggestive humor)
Who should see it? Fans of the stage musical.
Adapted from Andrew Lloyd Webber's stage musical, Tom Hooper's Cats has been the subject of public scrutiny since the debut of its first trailer five months ago. The digital fur technology employed to realize anamorphic cats soon unsettled the world over. Throughout its runtime, Cats operates on a wavelength of perplexingly bizarre to mind-numbing boredom. The tedious, repetitive musical numbers are freakish, to say the least, and tested my patience with every lyric and paw step. The blend of human faces on catlike bodies is absurdly unnatural and awkward. Despite their best efforts, the star-studded cast gets lost in the shuffle. Needless to say, Cats should have never left the litter box.
Film Assessment: F
Klaus - Watched December 25, 2019 (Netflix)
Nominated For: Best Animated Feature.
Synopsis: A simple act of kindness always sparks another, even in a frozen, faraway place. When Smeerensburg's new postman befriends a toymaker, their gifts melt an age-old feud and deliver a sleigh full of holiday traditions.
Runtime: 96 minutes
MPAA Rating: PG (for rude humor and mild action)
Who should see it? Families still in the holiday spirit or interested in seeing an original Christmas movie.
Klaus is co-directed by Sergio Pablos and Carlos Martinez López and features a script from Sergio Pablos, Jim Mahoney, and Zach Lewis. Positioned as an animated, family-friendly holiday release, Klaus offers an origin story for fabled traditions in the vein of the 1970 stop-motion Santa Claus Is Comin’ To Town. Boasting unique 2D animation, an all-star cast, and a valuable message, Klaus sets itself apart from the pack of universal Christmas movies in its depiction of seasonal customs. However, it maintains the heart and spirit of the cherished holiday by encouraging kindness towards others. All in all, Klaus is a festive feature I look forward to revisiting in the Christmases to come.
Film Assessment: B+
Bombshell (2019) - Watched December 27, 2019
Nominated For: Best Actress; Charlize Theron, Best Supporting Actress; Margot Robbie, and Best Makeup and Hairstyling.
Won: Best Makeup and Hairstyling.
Synopsis: A group of women takes on Fox News head and the toxic atmosphere he presided over at the network.
Runtime: 109 minutes
MPAA Rating: R (for sexual material and language throughout)
Who should see it? Those interested in an onscreen depiction of the 2016 Fox News scandal.
Deeply rooted in the relevancy of the Me Too movement, Bombshell details the true story of the Fox News scandal, which set off that chain of events. Directed by Jay Roach with a script from Charles Randolph, Bombshell strives to cast a spotlight on women who bravely spoke out against such obscene behavior. Devoid of the political bias the network is known for, Roach and Randolph aren't interested in alienating either side of the aisle. They're much more intrigued in exhibiting the details of the unfortunate situation for viewers to cast their own judgments. These unnerving events are accentuated by the powerhouse performers at Roach's disposal. You'll recognize many faces in quick cameos and even more substantial roles. However, Charlize Theron, Nicole Kidman, Margot Robbie, and John Lithgow are the main takeaways. Despite being household names, these four vanish entirely into their characters. Theron and Lithgow are aided by extensive makeup and prosthetics. At the same time, Kidman and Robbie are afforded an opportunity to demonstrate other facets of their acting range. While well-intentioned, Bombshell is tonally confused in regards to presentation and struggles to balance the seriousness of the subject matter with humor for occasional levity.
Film Assessment: B
Uncut Gems - Watched December 28, 2019
Synopsis: A charismatic New York City jeweler always on the lookout for the next big score, makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides, in his relentless pursuit of the ultimate win.
Runtime: 135 minutes
MPAA Rating: R (for pervasive strong language, violence, some sexual content, and brief drug use)
Who should see it? Fans of Adam Sandler's dramatic work, the Safdie brothers, and intense crime thrillers.
Josh and Benny Safdie rank among the most exciting up-and-coming indie directors. Their work is propulsive and chaotic, but deliberately so. For Uncut Gems, the Sadies co-direct once again and collaborated with Ronald Bronstein to write the screenplay. Narratively, Uncut Gems is an increasingly tangled web, but that's what makes it interesting. As Howard makes awful life choices in the pursuit of his growing ambitions, his situation becomes messier and more complex. Witnessing Howard dig a deeper and deeper hole for himself is oddly compelling to watch. Those more familiar with Adam Sandler's comedic roles will be utterly perplexed by the dimension Sander brings the character. Sandler's dramatic work tends to go unnoticed in the shadow of everything else he makes, but he's downright despicable here. Amongst the supporting cast, Idina Menzel, LaKeith Stanfield, Eric Bogosian, and Keith Williams Richards relish in their screen time. Meanwhile, Julia Fox and Kevin Garnett both make notable acting debuts. Thanks to a career-best performance from Sandler and riveting direction from the Safdie brothers, Uncut Gems shines through the grit and grime of its New York setting as an invigorating addition to the Safdies' blossoming feature filmography.
Film Assessment: A-
Little Women (2019) - Watched December 28, 2019
Nominated For: Best Picture, Best Actress; Saoirse Ronan, Best Supporting Actress; Florence Pugh, Best Adapted Screenplay, Best Costume Design, and Best Original Score.
Won: Best Costume Design.
Synopsis: Four sisters come of age in America in the aftermath of the Civil War.
Runtime: 135 minutes
MPAA Rating: PG (for thematic elements and brief smoking)
Who should see it? Fans of the novel and period dramas.
Greta Gerwig's Little Women is the seventh adaptation of Louisa May Alcott's classic novel. Gerwig deviates from tradition by telling the story in a non-chronological fashion through parallel timelines and adding an ambiguous ending. This approach heightens key moments significantly as the past informs the emotional subtext of the present and vice-versa. The renowned cast composed of Saoirse Ronan, Florence Pugh, Emma Watson, Eliza Scanlen, Laura Dern, Timothée Chalamet, and Meryl Streep, among others, turn in exemplary performances. Though, Ronan, Pugh, and Chalamet were undoubtedly the standouts. The marketing admittedly lowered my expectations by presenting Little Women as a conventional period piece and pleasant retelling of a beloved classic. Leave it to Sony to botch that... Nevertheless, Gerwig's vantage point put a refreshing spin on matters, lending ample nuance and femininity to simple storytelling. Gerwig's iteration will be fondly remembered as the most empowering and experimental of the bunch.
Film Assessment: A-
The Two Popes - Watched December 31, 2019 (Netflix)
Nominated For: Best Actor; Jonathan Pryce, Best Supporting Actor; Anthony Hopkins, and Best Adapted Screenplay.
Synopsis: Behind Vatican walls, the conservative Pope Benedict and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.
Runtime: 125 minutes
MPAA Rating: PG-13 (for thematic content and some disturbing violent images)
Who should see it? Those interested in the friendship between Pope Benedict and Pope Francis.
All about the Papacy, The Two Popes is directed by Fernando Meirelles and boasts a screenplay from Anthony McCarten. At times, it can be rather dull when bogged down in history and exposition. Still, I was captivated by the dynamic between Pope Benedict and Pope Francis. Anthony Hopkins and Jonathan Pryce are understated but exceptional. Their banter and interactions are quite enjoyable. I couldn’t help but smile watching them partake in such simple joys as dance Tango, eat pizza, and watch soccer together. I also never expected to hear ABBA’s “Dancing Queen” and “Clair De Lune” played within minutes of each other, but that happens here, and it’s glorious.
Film Assessment: B-
The Last Black Man In San Fransisco - Watched December 31, 2019 (Prime)
Synopsis: A young man searches for home in the changing city that seems to have left him behind.
Runtime: 121 minutes
MPAA Rating: R (for language, brief nudity and drug use)
Who should see it? Adult fans of indie dramas.
Featuring a story and screenplay from Joe Talbot, Jimmie Falls, and Roe Richert, The Last Black Man In San Fransisco is Talbot's feature directorial debut. Based on Jimmie Falls' own life, the film details his struggles with homeownership and gentrification (renovating a house or district to appeal to middle-class taste). Filled with precious moments of poignancy and intensity, The Last Black Man In San Fransisco offers its actors an abundance of riches. The co-lead performances by Jimmie Falls and Jonathan Majors are remarkable, and the devoted onscreen friendship between them is endearing. Aside from the acting, luscious cinematography from Adam Newport-Berra and a soothing musical score by Emile Mosseri are prime takeaways. With his feature debut, Joe Talbot's demonstrated plenty of potential as an up-and-coming filmmaker in The Last Black Man In San Fransisco. I can't wait to see it come to fruition.
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