'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+

Recollection Reflection Review: 'Sicario'

Sorry that this review's delayed, but I had my wisdom teeth removed last Wednesday and rewatched Sicario later than anticipated as a result. With the recent release of a sequel, I figured I might revisit the original and provide my updated thoughts. Since we've passed the midway point of 2018, I'l be recapping my favorite and least favorite films of the year fairly soon in addition to providing an updated ranking of the Marvel films once I've seen Ant-Man and the Wasp. In the meantime, you can look forward to Throwback Thursday Reviews of Mission: Impossible III, The Equalizer, and Mamma Mia!, Triple-R Reviews for Ant-Man, Mission: Impossible - Ghost Protocol, and Mission: Impossible - Rogue Nation, and reviews of new releases Sicario: Day of the Soldado, Ant-Man and the Wasp, Skyscraper, The Equalizer 2, Mamma Mia! Here We Go Again, Mission: Impossible - Fallout, and Teen Titans Go! To The Movies.

'Sicario' Review

Nominated For: Best Original Score, Best Cinematography, and Best Sound Editing.

Recollection- Sicario Review

Reflection- I actually never saw Sicario in theaters. I remember having an urge to see it based on the cast and buzz surrounding it, but didn't get around to it till much later. I didn't catch Sicario till it was released on Blu-Ray and actually picked it up at Best Buy because I saw it was marked down substantially for a New Years 2016 sale. I watched it soon afterwards and was immensely satisfied with it. Interestingly enough, this was my introduction to Denis Villenueve and I've been a huge fan of every film he's made since. I still need to find time to watch the rest of his filmography, but I'm sure I'll get to it eventually. Anyways, I wanted to re-review the film because I looked back and saw that my first review hardly scratched the surface. Knowing there was huge room for improvement and the timing was right with the release of its sequel, I decided to rewatch the film and write this Triple-R Review.

Review- Sicario accompanies an idealistic FBI agent named Kate as she's enlisted by a government task force to aid in the escalating war on drugs at the border between the United States and Mexico. Led by an enigmatic consultant, the team sets out on a clandestine journey that forces Kate to question everything she believes in order to survive.

Sicario was directed by Denis Villenuve and featured the first feature screenplay to be written by Taylor Sheridan. In the time since, the two filmmakers have annually been responsible for some of my favorite films to be released (this includes Arrival and Blade Runner 2049 from Villeneuve and Hell or High Water and Wind River from Sheridan). As a director, Villeneuve seems to thrive in the subtlety of letting a story slowly unfold, a talent that serves him well here.

Fundamentally, Sicario is a brilliant exercise in authentically building tension. There's an over-looming sense of dread and paranoia established at the onset that never really goes away. Villeneuve plays with the perspective of the protagonist in fascinating ways by keeping Kate and the audience completely in the dark. Both the audience and Kate know something bad is coming. It's just a matter of when. Because of this, the slightest movement in the background will catch your eye and put you even further on edge. It seems to capture the experience of this clandestine lifestyle in a way that's invigorating and authentic. The scene in which the characters must cross the U.S.-Mexican border is a masterful demonstration of this technique coming to fruition. The uneasiness originates from Jóhann Jóhannsson's nail-biting score as the music propels the narrative forward and accentuates the suspenseful ambiance.

Unfortunately, Jóhannsson passed earlier this year of an overdose, so may he forever rest in peace as an extraordinary film composer whose unique sound was and forever will be unparalleled. The tense proceedings are then further enhanced by the film's narrative drive. Villeneuve is also aided by Sheridan's script, Roger Deakins' cinematography, Joe Walker's editing, and some sensational sound design work. Everything coalesces in a masterful, slow-burn crime thriller. For all the outbursts of intensity, there are preceding scenes of serene quietness. The audience and the characters both seem to recognize that it's the calm before the storm, and that storm isn't for the faint-hearted. Like Kate, the audience is treading into treacherous waters, and there are horrific truths underneath the surface which are uncovered slowly, but steadily. Ultimately, the violence is gruesome, grungy, and unnerving on account of its realism. 

Leading the film, Emily Blunt offers what many consider a career-best performance, and I can certainly agree that she was quite deserving of an Oscar nomination that year at the very least. Blunt expertly conveys Kate's internal imbalance as she ventures closer to the truth and expresses the manifestation of trauma and pain remarkably well.

Alongside Blunt, Josh Brolin and Benicio Del Toro play a pair of shady operatives. The sleazy charm of Brolin's Matt Graver works wonders while the enigma surrounding Del Toro's Alejandro will knaw at your insides. Del Toro leans heavily into the mysterious nature of the character which winds up making him all the more intimidating as the plot proceeds. Meanwhile, I must say it was neat to spot Victor Garber, Jon Bernthal, and Daniel Kaluuya whom I've come to appreciate in various other television series and films. They're not given a lot to do in the grand scheme of things, but I appreciated their involvement and willingness to elevate the material provided to them. 

Sicario falters most for me in regards to pacing, as it's occasionally too slow for its own good. Otherwise, it's an outstanding crime thriller that's unafraid to explore the gritty shades of gray morality. 

Film Assessment: A

'Black Panther' Review

Nominated For: Best Picture, Best Costume Design, Best Production Design, Best Sound Editing, Best Sound Mixing, Best Original Song "All The Stars" (written by Sounwave, Kendrick Lamar, Anthony Tiffith, and SZA), and Best Original Score.

Won: Best Costume Design, Best Production Design, and Best Original Score.

After the death of his father in Captain America: Civil War, T'Challa returns home to the secluded and technologically advanced African nation of Wakanda to take his rightful place as king. However, T'Challa's mantle as king and Black Panther is quickly challenged when a powerful enemy suddenly reappears and the young king is drawn into a conflict which puts Wakanda and the entire world at risk. T'Challa must now rally his allies and unleash his full potential as the Black Panther if he's to defeat his foes and secure the safety of his people and the world at large.

Black Panther is the eighteenth addition to the ever-expanding Marvel Cinematic Universe, and while many would suspect that this franchise would have started to show signs of wear and tear by now, the Wakandan King proves otherwise thanks to the assured direction of Ryan Coogler. I'm ecstatic to report that Coogler's hot streak is still going with Black Panther, as Coogler's ushered his highness into fresh, foreign territory for a unique superhero solo story.

It's crazy to believe that this is only Coogler's third feature following Fruitvale Station and Creed, but it makes a lot of sense once you consider the quality of those other two films. One of Coogler's greatest strengths as a storyteller is undoubtedly focusing first and foremost on character, and the screenplay written by Coogler and Joe Robert Cole is only further evidence of this. Black Panther adds plenty to the MCU in terms of intense and invigorating action sequences, but Coogler never loses track of his captivating characters amidst all the hub-bub. For every second of surreal spectacle, there's a scene dedicated to the importance of legacy and the challenges of kingship.

In the department of world-building, Black Panther does not disappoint at all. Wakanda is truly like nothing we've previously seen in the MCU, or film in general for that matter! The environment feels fully fleshed out and is remarkably sophisticated as the advanced vibranium technology utilized by the Wakandans is absolutely otherworldly. Most importantly, the exploration of this fictional African nation is an interesting expansion on the setting depicted in the source material, which stretches the boundaries of the Marvel Universe in fresh, exciting directions. 

It should also be noted that Black Panther is easily one of Marvel's most visually-striking works to date! Every shot captured by recently Academy Award nominated cinematographer, Rachel Morrison, is breathtaking to say the least, and the vibrant visual effects only accentuate her work. On top of that, the production design and elaborate cultural costumes worked wonders in regards to meshing Wakanda's astounding technological achievements with a tribal aesthetic, and I haven't even mentioned Ludwig Göransson's sumptuous score! Göransson's compositions are delightfully diverse and feature an extensive arrangement of instruments including everything from upbeat African drums to a swelling string section. For those hooked on the film's accompanying album assembled by Kendrick Lamar though, you may disappointed to learn that most of the music didn't make it into the film (barring a few exceptions).

As for action, Black Panther's a little light on that front when compared to other MCU-fare, but that doesn't make the engagements any less interesting. In fact, the Korean casino fight and car chase is one prominent sequence that you won't be forgetting anytime soon, the scenes involving T'Challa's ritual combat for the throne were especially suspenseful, and the third act showdown's appropriately epic. My only minuscule complaints would be that I found the beginning to be a little slow and the CGI was noticeable on occasion when characters looked a bit more like video game avatars. However, it was never jarring enough to completely take me out of the viewing experience. 

While I already felt Chadwick Boseman was a perfect casting choice for the role of T'Challa based on his standout stint in Civil War, Black Panther doubled down and confirmed my suspicions. Boseman wears a calm composure as King, but the challenges that accompany sitting on the throne seem no less burdensome on his shoulders. Boseman projects a regal attitude, yet he imbues T'Challa with enough nuanced uncertainty for you to buy into his internal struggle of accepting the mantle of King. Where Civil War didn't quite allow him to flex his acting muscles, Boseman is able to demonstrate a wide acting range here and I was quite impressed. He's truly fit for the Wakandan throne.

By his side, Lupita Nyong'o and Letitia Wright provide sufficient support as noble spy Nakia and good-hearted, genius teen sister Shuri while standing apart as noteworthy individuals in their own right. Wright, in particular, really stole the show for me as Shuri. She's gifted with the funniest lines of dialogue and her excellent comedic timing made the wisecracking work wonders. On that note, Black Panther's use of humor is relatively subdued in comparison to recent MCU entries, more akin to Captain America: The Winter Soldier than say Thor: Ragnarok. The humor's interwoven sparingly and never compromises dramatic weight for the sake of a quippy one-liner.

As for other prominent Wakandans, Dana Gurira, Daniel Kaluuya, Winston Duke, Forest Whitaker, and Angela Bassett each contribute an influential attribute to their respective roles. Gurira's Okoye is a fierce general of the Dora Milaje, Kaluuya stands tall as a confident confidant W'Kabi, Duke measures M'Baku to be a resilient warrior, Whitaker imbues Zuri with sagely profound wisdom, and Bassett's Ramonda is remarkably regal as T'Challa's mother and Queen.

Meanwhile, Michael B. Jordan KILLS it as one the greatest villains the MCU has ever seen. Across the board, Marvel's really upped their game in that respect, but Jordan's Erik Killmonger kicks it further up a notch. Killmonger's an antagonist who's absolutely menacing and whose point-of-view can be completely understood. When you top this all off with another committed performance from Michael B. Jordan, you have an appropriately awesome antagonist.

Rounding out the cast, Black Panther offers audiences a Hobbit reunion between Martin Freeman and Andy Serkis. This time they're not playing Bilbo or Gollum of course, but rather returning as CIA operative Everett Ross and black market dealer Ulysses Klaue respectively. Freeman plays the agent to be a sardonic presence while Serkis delightfully cackles his head off as the kooky Klaue. Beyond their two characters and a few nods to the events of Age Of Ultron and Civil War though, Black Panther proves to be one of the MCU's more standalone stories. Audiences are still treated with a standard Stan Lee cameo and two post credit scenes, but Black Panther is fairly far removed. Instead, Black Panther devotes its energy to carving out a new niche location for audiences to invest themselves in, and it worked because I'm genuinely concerned what will happen to the nation in Avengers: Infinity War based on trailers.

Bolstered by powerful performances, striking visuals, a spectacular score, and a meaningful story, Black Panther proved to be much more than just another solid solo superhero outing from Marvel. Black Panther must have vibranium coursing through its veins, because it tells a worthy story for the Wakandan king that's nearly indestructible. 

Film Assessment: A

'Get Out' Review

Nominated For: Best Picture, Best Director; Jordan Peele, Best Actor; Daniel Kaluuya, and Best Original Screenplay.

Won: Best Original Screenplay.

In Get Out a young African American photographer Chris is invited by his white girlfriend Rose Armitage to visit her family over the weekend. Chris questions the invitation because he's unsure how Rose's parents will react to the revelation their daughter's involved in an interracial romantic relationship. Once the couple arrives, Chris notices plenty of suspicious behavior from Rose's family and while seeking the truth only gets further drawn into the bizarre ongoings.

Get Out is written and directed by Jordan Peele, marking his directorial debut and second feature length screenplay credit following last year's Keanu. Peele is most well-known for being part of the Keye and Peele comedy sketches and up to this point his career really specialized in comedy, but Get Out verges into the horror/thriller genre and stands well apart from Peele's previous work. Peele demonstrates social awareness with his direction and screenplay, not only creating suspenseful surroundings, but also effectively incorporating social commentary on current race relations. He doesn't skew it entirely on one side of the spectrum with racist generalizations or stereotypes and the way Peele is able to amplify the anxiety of real world situations to genuinely thrilling sequences is downright brilliant. 

Peele incorporates nice doses of comedic relief in Get Out you probably won't see coming and does a great job fleshing out his characters with his script. My only nitpicks are that certain twists don't hold up under scrutiny and that on occasion it's slightly predictable when it abides too closely to the formulaic design of most horror films. On the flip side, I need to give props to editor Gregory Plot, cinematographer Toby Oliver, the sound design team, and the score composed by Michael Abels for taking the tension to another level with precise execution in all areas. 

In the casting department, Daniel Kaluuya makes for an exceptional lead as Chris, providing a performance that's both subtle and well-defined. Kaluuya makes the suspense more believable with fantastic facial expressions extenuating his situation and authentically communicating awkward social environments. Elsewhere, Allison Williams puts forth a surprisingly complex characterization as Rose and the facets of Rose's family each get an opportunity to send a chill down your spine as respectively portrayed by Catherine Keener, Bradley Whitford, and Caleb Landry Jones. Marcus Henderson, Betty Gabriel, and LaKeith Stanfield are also unnerving in their respective roles and LilRel Howery stands out as Chris' friend Rod Williams with some great comedic delivery. 

Peele really outdid himself with his directorial debut and the talent at his disposal really worked wonders with the meager $5 Million budget. To sum it all up; stop what you're doing, Get Out and go see this!

Film Assessment: A-