'Godzilla vs. Kong' Review

Synopsis: Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The epic clash between the two titans -instigated by unseen forces- is only the beginning of the mystery that lies deep within the Earth's core.

Runtime: 113 minutes

MPAA Rating: PG-13 (for intense sequences of creature violence/destruction and brief language)

Who should see it? Fans of Godzilla and King Kong.

After seven years, Warner Bros. and Legendary's MonsterVerse culminated in the greatly anticipated, super-sized showdown between King Kong and Godzilla. However, this isn't the first time these creatures have come face-to-face, as they previously duked it out in the 1962 King Kong vs. Godzilla. Regardless, the appeal of this updated confrontation is clear. It's purely a matter of witnessing this silly spectacle on the largest screen possible. Audiences expect a giant monkey and gargantuan gecko to fight one another with zero regard for their surroundings- however, with modern special effects this time around. Directed by Adam Wingard with a story and screenplay from Terry Rossio, Michael Dougherty, Zach Shields, Eric Pearson, and Max Borenstein, Godzilla vs. Kong delivers on that very promise.

Like prior MonsterVerse installments, Godzilla vs. Kong is especially disinterested in its human characters. There are also stupid contrivances that happen purely to move the plot along and ensure the titans fight one another. These observations aren't huge revelations, as it's become the norm for this franchise and is to be expected at this point. However, sheer spectacle compensates for the absurdity. This blockbuster extravaganza is best enjoyed on the largest screen you currently feel comfortable seeing it, with your brain turned off and a tub of popcorn in your lap. For all its shortcomings concerning story and character, the action and effects in Godzilla vs. Kong will keep your eyes occupied. Wingard knows precisely the kind of movie he's making, and entertainment value is rightfully his highest priority.     

One noticeable improvement from King of the Monsters is the clarity in kaiju fight sequences. The environmental effects enhance the atmosphere rather than obscure the action. And on that note, the two titular combatants look incredible thanks to the many talented visual effects artists' phenomenal work. This movie wouldn't be possible without them. And I'd be remiss to ignore the sound department and composer Thomas Holkenborg for their essential contributions. This movie is downright ridiculous, but the soundscape lends a sense of gravitas to the smackdown.

As I attested to earlier, meaningful human characterization is severely lacking here. An ensemble of A-listers imbues a series of stock characters with as much life and personality as they can, but the script offers very little substance. Kaylee Hottle and Rebecca Hall share a sweet maternal bond while Brian Tyree Henry and Julian Dennison flex their comedic chops. Strangely, Godzilla vs. Kong downplays recurring characters from King of the Monsters in favor of introducing many fresh faces. Millie Bobby Brown's Madison Russell has a subplot but feels tangential to the central conflict, with that thread existing to introduce a surprise third combatant. Her father, Mark Russell, portrayed by Kyle Chandler, has been promoted to director of Monarch, the government agency monitoring these monsters. However, the promotion comes with the caveat of reduced screen time and personality. Though I like these actors, Alexander Skarsgärd and Eiza González seemed the most inconsequential among the cast. And it was a pleasant surprise to see Demián Bichir play a mustache-twirling corporate executive, considering I like his role in The Hateful Eight.

That said, humans aren't the main attraction. Godzilla and King Kong are headlining this crossover blockbuster brawl, and audiences want to see these behemoths fight each other. The movie delivers on that front, and the spectacle is well worth the price of admission (or HBO Max subscription). For those curious, the filmmakers sympathize much more with Kong over his reptilian counterpart, practically begging viewers to root for the underdog. Godzilla's diehard fans probably won't be swayed, but there are convincing arguments that advocate for Kong as humanity's champion.  

At the end of the day, Godzilla vs. Kong is exactly what you expect. The plot dictates that a giant monkey and lizard should fight one another to accumulate ticket sales and HBO Max subscriptions. It's incredibly entertaining but equally as stupid. However, fun blockbusters are in short supply right now, so who am I to complain? Let them fight!

Film Assessment: B

'Joker' Review

Nominated For: Best Picture, Best Director; Todd Phillips, Best Actor; Joaquin Phoenix, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Actor; Joaquin Phoenix and Best Original Score.

Synopsis: Arthur Fleck struggles to find his way in Gotham's fractured society. A clown-for-hire by day, he aspires to be a stand-up comic.. but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.

Runtime: 121 minutes

MPAA Rating: R (for strong bloody violence, disturbing behavior, language and brief sexual images)

Who should see it? Adult fans of DC Comics and the Joker.

Directed by Todd Phillips with a screenplay from Phillips and Scott Silver, Joker is a standalone film removed from the baggage of a shared cinematic universe. Audiences should prepare themselves for an unsettling, artistic character piece about DC Comics' preeminent villain. While not necessarily a faithful iteration, the representation of Joker put forth by Phillips and Phoenix encapsulates the character's essence to a tee. Arthur lashes out with no particular ideology in mind, choosing to instead relish in the ensuing chaos he's caused. There's no rhyme or reason to his actions. He's crazy. Drawing inspiration from the work of Martin Scorsese (notably Taxi Driver & The King of Comedy), Joker depicts a troubled individual surrendering to his darkest impulses and retaliating against society.

For the past few months, Joker has been a hot topic of conversation as many speculated whether the film might incite real-world violence or not. Frankly, I find this controversy to be absurd and grossly overblown. If anything, the media coverage over the controversy is more likely to inspire acts of violence than the movie itself. Phillips doesn't glorify Arthur's disturbing behavior in the slightest and makes it very clear that he is unhinged. Not to mention, onscreen violence and mentally ill protagonists are nothing new for Hollywood. With that said, I understand this isn't a film for everyone. The violence and subject matter will undoubtedly add to its polarizing reception among other things. 

However, I was riveted and spellbound by an increasingly twisted turn of events. Evocative imagery from cinematographer Lawrence Sher coupled with Hildur Guðnadóttir's nerve-wracking musical score and Mark Friedberg's grungy production design forms an enticing and dread-inducing atmosphere. That maddening sensation festers in a slow-burn leading towards the film's inevitable chaotic conclusion, ideally embodying the Clown Prince of Crime's manic mental state. All the while, Arthur's status as an unreliable narrator further contributed to the insanity.

The Joker is a notoriously challenging role which has enabled all-time great performances and a few not so memorable ones, but Joaquin Phoenix proved to be well up to the task as he commands the screen for the film's entire two-hour duration. His portrayal's not only mentally and psychologically taxing, but physically transformative as well. An emaciated and unhinged Phoenix skillfully contrasts Arthur's sinister nature and naivety to match the profile of a potential serial killer. Phoenix's intensity lends a layer of realism to the role that makes his incarnation all the more frightening when all is said and done. Scattered amongst the supporting cast, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, and Brian Tyree Henry are noteworthy, but this is Phoenix's showcase through and through. 

In a year filled with lighthearted comic-book adaptations, Joker is a refreshing change of pace. It dances to the beat of its own rhythm. Uninterested in appeasing the masses, it offers an uncompromising glimpse into the origins of an iconic antagonist. For better or worse, it's what Joker would have wanted. So stop clowning around and go see Joker!

Film Assessment: A+ A-

'If Beale Street Could Talk' Review

Nominated For: Best Supporting Actress; Regina King, Best Adapted Screenplay, and Best Original Score.

Won: Best Supporting Actress; Regina King.

In early 1970s Harlem, daughter and wife-to-be Tish vividly recalls the passion, respect, and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny. Friends since childhood, the devoted couple dream of a future together, but their plans are derailed when Fonny is arrested for a crime he did not commit. 

Written and directed by Barry Jenkins as his follow-up to the Academy Award-winning film Moonlight, If Beale Street Could Talk is based on the acclaimed James Baldwin novel. Jenkins actually wrote both screenplays around the same time while on a trip to Europe and received authorization from the Baldwin estate to adapt If Beale Street Could Talk while filming Moonlight. Now, if Jenkins' passion for the source material somehow doesn't come across onscreen, I can personally vouch that the man makes an excellent case for caring deeply about it in person. I don't say this to brag about attending a screening in which Barry Jenkins was in attendance for a Q&A afterward, but because his genuine care and attention for these characters, this story, and even the novel itself would have been quite evident to me regardless of whether I'd met the man or not. It just so happens that I had an excellent opportunity to see him express his affection for Baldwin's work myself, and it was crystal clear that Baldwin's words struck a chord with him. 

In Jenkins' third feature, he sought to explore the purest form of love and how it perseveres through unbridled tragedy while also addressing racial injustice. Told non-sequentially with deft, wistful guidance from Jenkins, Tish reminisces over the past, sharing treasured memories and melancholy moments alike. Yellows and greens can often be glimpsed in the lighting, costuming, and set dressing to reflect Tish's blissful state throughout her untroubled experiences. As a result, If Beale Street Could Talk resembles a cinematic diary of sorts, offering an intimate window into Tish's life. The film is breathtakingly beautiful with idyllic imagery abound, and audience members will certainly swoon over Nicholas Britell's sumptuous score, James Laxton's splendid cinematography, and the other fine camerawork on display.  

The camera movements in If Beale Street Could Talk are very steady and controlled yet free-spirited in a sense. There was one overhead shot at the start of the film in particular which astounded me as it swiveled and swooped above the young, content couple. But Jenkins never finds himself lost in the complacency of crafting an alluring image. Tragedy inevitably strikes, and when it does, the color palette shifts to darker tones and the cheery atmosphere sours as the audience is once again faced with the harsh, unfair nature of reality. While systemic injustice is a through-line in If Beale Street Could Talk, Jenkins isn't demanding riots and violent action against the system... He's presented a level-headed acknowledgment of the persisting racial injustice in hopes there may eventually be a level-headed solution. For the time being, audiences will be faced with a soul-crushing truth they may have turned a blind eye towards. 

Meanwhile, Stephan James and newcomer KiKi Layne share an unshakable connection as Tish and Fonny. Every tender moment between the two is blissful, poetic, and brimming with passion. You truly believe that these two have known each other for their entire lives and the two leads each demonstrate remarkable range amidst the trials and tribulations of their relationship. As their situation worsens, their profound love for one another deepens. 

The supporting cast consists of the couple's family played by Regina King, Colman Domingo, Teyonah Parris, Michael Beach, Aunjanue Ellis, Ebony Obsidian, and Dominique Thorne. Of the bunch, Regina King stands out most and has justifiably garnered lots of love amongst regional critics groups that hopefully will carry over to an Oscar nomination. She shows herself to be resilient and compassionate, poignantly walking the fine line between the two. Otherwise, I'll say Brian Tyree Henry has had a stellar year as an actor between starring in If Beale Street Could Talk, Widows, and Spider-Man: Into The Spider-Verse. His screen time is fleeting, but the monologue he delivers is very powerful.

Following up a Best Picture winner is a lofty ordeal (especially when it will go down as one of the most infamous wins in the Academy's history), but Jenkins has done so gracefully and delivered a wonderful heart-aching adaptation. It's a timeless tale which reminds us never to lose hope in the face of adversity. While things may not turn out how we'd like, pure love will persevere. Above all, If Beale Street Could Talk is about an unconditional love that can't be broken. 

Film Assessment: A

'Spider-Man: Into The Spider-Verse' Review

Spider-Man: Into The Spider-Verse doesn't release for another two weeks (December 14th for those curious), but I saw the film at an early screening tonight, and since the embargo's already been lifted, I figured I'd review it early!

'Spider-Man: Into The Spider-Verse' Review

Nominated For: Best Animated Feature.

Won: Best Animated Feature.

Bitten by a radioactive spider, teenager Miles Morales suddenly develops mysterious powers that transform him into Spider-Man. He then must team up with Spider-Men from other dimensions to stop a threat to all reality.

Spider-Man: Into The Spider-Verse is co-directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman and features a screenplay penned by Rothman and Phil Lord. Believe it or not, but it's actually the first feature-length animated Spider-Man film to be released in theaters, and as a devout reader of the initial 2015 Spider-Verse comic series run, I was very excited by the announcement of this project. Though I remained skeptical since it would be produced and distributed by Sony's animation division, whose two most recent films were Hotel Transylvania 3 and The Emoji Movie... Not to mention that Sony has done a disservice to Spidey fans many times over the years... 

So it is with great pleasure that I say Spider-Man: Into The Spider-Verse is an experience like no other! Not only is the hybrid animation style a vibrant and refreshing-of-pace, but it's unlike anything I'd ever seen in an animated film before. Into The Spider-Verse resembles a three-dimensional comic book in the most interesting way imaginable. You get everything from text blurbs and speech bubbles to the web-slinger's trademark thwips and spidey sense. Just as The LEGO Batman Movie was for Batman, Into The Spider-Verse is a fitting tribute to everyone's favorite web-head because there are plenty of easter eggs and references to Spidey's longstanding history across all forms of media. There is, of course, a Stan Lee cameo, and since it's the first time Lee's voice has been heard in a film since his unfortunate passing, my entire audience erupted with applause while I admittedly shed quite a few tears. On that note, stick around through the credits not only for a hilarious post-credits scene but also to read a heartfelt dedication to Lee. 

Though there are multiple versions of Peter Parker to be found in the film, this is Miles Morale's story first and foremost. Fortunately, Morales' cinematic debut offers a very faithful depiction of the character and his origin. However, this strict adherence to the source material may make certain major twists and reveals a tad predictable for any comic book readers already familiar with his backstory. It's admittedly a trade-off because fans would probably be up-in-arms if anything were to be substantially altered, but integrating his story with the Spider-Verse hi-jinks kept things engaging.

Into The Spider-Verse is charming from the outset thanks to the inclusion of so many Spidey-iterations, and the combination of differing animation styles and an A-list vocal ensemble really bolster this group of spider-people. Shameik Moore lends a youthful exuberance and vulnerability to Miles Morales while Jake Johnson portrays an older, burnt out Peter Parker (there's another actor who voices Peter Parker which hasn't been disclosed yet, so I'll preserve that casting secret). Meanwhile, Hailee Steinfeld, Nicolas Cage, John Mulaney, and Kimiko Glenn voice a self-reliant Spider-Gwen, shady private eye Spider-Man Noir, the porky Spider-Ham, and anime-inspired Peni Parker. Cage's Spider-Man Noir and Mulaney's Spider-Ham are honestly a treasure trove of comic relief, but that core ensemble had excellent chemistry between the six of them. Other notable actors are Mahershala Ali, Brian Tyree Henry, and Liev Schreiber as Miles' easy-going uncle Aaron Davis, strict father Jefferson Davis, and hulking mobster Kingpin.

After previously webbing up baddies in seven live-action features, the beloved wall-crawler's assuredly swung into the medium of animation, and Spider-Man: Into The Spider-Verse captures the spirit of Spider-Man better than any of its predecessors. In a surprising turn of events, Into The Spider-Verse is not only my favorite animated film to be released this year, but one of 2018's best films, period. Determining exactly where it ranks in relation to my other favorite comic-book movies will require at least one more viewing, but one thing's for sure, Stan Lee would have been very proud. 

Film Assessment: A+ 

'Widows' Review

A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows have nothing in common except a debt left behind by their spouses' criminal activities. Hoping to forge a future not their own terms, Veronica joins forces with the other three women to pull off a heist that her husband was planning.

Based on an '80s TV miniseries of the same name, Widows is director Steve McQueen's follow-up to the Academy Award-winning film 12 Years a Slave. In addition to helming the crime drama, Mc-Queen co-wrote the screenplay alongside Gone Girl and Sharp Objects scribe Gillian Flynn. The prestige names circling the picture don't stop there though, as the ensemble is stacked with all-star acting talent I'll discuss momentarily, and acclaimed film composer Hans Zimmer even scores the intricate heist flick. Whether Widows will be a prominent player in the awards race remains to be seen, but I believe it's rightfully earned its spot in the conversation for some coveted Oscars.

From the get-go, McQueen captivates audiences with an intense getaway intercut by glimpses of the tranquil domestic life shared by the four thieves and their spouses. Throughout the film, false reflections are employed as a reoccurring symbol which is not only beautifully photographed by cinematographer Sean Bobbitt, but indicative of the struggle of grieving a loved one as Veronica is often haunted by an image of her deceased husband Harry when she looks out the window. It's also worth mentioning that Widows contains the most unique camera placement I've seen all year, as a one-take conversation inside the back seat of a car is shot from the front passenger side exterior to highlight the change in locale from a poverty-stricken neighborhood to a wealthy one (there's deeper meaning to it, I promise).

On that note, Widows is loaded with commentary related to race, gender, socioeconomic status, political corruption, police brutality, and violence to name the topics most prominent in the narrative. However, the film never feels overburdened by the abundance of subject matter. In fact, everything eventually coalesces in an incredibly satisfying manner within a tense, enthralling thriller. Though it should be mentioned that Widows is not an action-heavy heist movie as it's being marketed. Action is present and incredible in execution, but not abundant. McQueen and Flynn are much more concerned with exploring the ensuing character drama, and Widows is all the better for it.

As I alluded to earlier, Widows has a star-studded cast, and everyone brings their A-game. Viola Davis is sensational in the lead role, demonstrating extensive range that should garner her another Oscar nomination at the very least, while Elizabeth Debicki and Michelle Rodriguez each turn in career-best performances. Cynthia Erivo, who was recently a highlight of Bad Times at the El Royale, continues to show a knack for acting as she matches her experienced costars at every opportunity while Liam Neeson, Jacki Weaver, and Carrie Coon are relegated to small but vital roles.

Brian Tyree Henry and Daniel Kaluuya portray Manning brothers Jamal and Jatemme respectively, lending a sense of gravitas to their characters which makes their screen presence all the more intimidating and impressionable. Kaluuya is only onscreen for about ten minutes, but he really makes the most of it by exhibiting a razor-sharp intensity and collected composure which will surely place him among the year's best supporting performances and most intimidating antagonists. Meanwhile, Colin Farrell and Robert Duvall juxtapose them as a father-son duo of scheming politicians.

I still need to watch American Animals, but for now, Widows easily curb-stomped Ocean's Eight and snatched its crown as the year's best heist film. Unlike the year's other diverse female-lead heist, Widows rejuvenates the genre with stylish filmmaking techniques and a sense of purpose. McQueen's got plenty to say and a lot of ground to cover but somehow gets away executing a complex smash-and-grab without ever sacrificing quality or entertainment value.

Film Assessment: A+