'Alita: Battle Angel' Review

Synopsis: Set several centuries in the future, the abandoned Alita is found in the scrapyard of Iron City by Ido, a compassionate cyber-doctor who takes the unconscious cyborg to his clinic. When Alita awakens, she has no memory of who she is, nor does she have any recognition of the world she finds herself in. As Alita learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield her from her mysterious past.

Runtime: 122 minutes

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

Who should see it? Teens and up, as the action can be quite gruesome for PG-13.

Based on Yukito Kishiro's manga series Gunnm, Alita: Battle Angel is directed by Robert Rodriguez and features a screenplay by James Cameron and Laeta Kalogridis. Originally Cameron was slated to direct, but his fixation on the future of the Avatar franchise kept him preoccupied. After impressing the visionary with a condensed version of Cameron's script, Rodriguez was enlisted to helm the film adaptation by Cameron himself. Cameron still produced the feature though, and his influence is quite evident in Alita's digital aesthetic since it employs the same CG-technology utilized on Avatar. If there's one thing to be said about Alita: Battle Angel, it's that the visual effects are extraordinary.

You're undoubtedly paying first-and-foremost for sensational cybernetic spectacle, as the combat sequences and motor-ball matches are particularly eye-catching. The world itself is also quite fascinating, with a unique appearance compared to other cinematic dystopian societies. I will say though that the universe's internal logic could have been better explained, as a friend of mine familiar with the source material had to clarify a few things for me afterward. 

While I don't disagree with the consensus that Alita prioritizes style over substance, the filmmakers clearly made an effort to imbue the character and over-arching narrative with a touch of sentiment. The heart of this film is derived from the lead character, and it wouldn't function without her. Thankfully, Roza Salazar provided an excellent motion-capture performance and modern technology's progressed far enough for Alita to be well-realized on the big screen. The large eyes may look a bit peculiar at first glance, but you'll adjust to them as the story progresses. On that note, that's where I deemed Alita underwhelming. You can give me two and a half hours of thrilling action, but it ultimately doesn't matter if I'm not invested in the characters and story. Unfortunately, I just didn't care about much aside from Alita. 

With virtually no chemistry between the two leads, the romantic subplot is a bore. Otherwise, the plotting drags, and the narrative's crammed with so many other threads that it's difficult to latch onto any while dialogue teeters between being exposition-heavy and inherently cheesy. The characterization for the supporting cast is notably light as well. However, I'd say Alita's most significant drawback is that too much source material was stuffed into two hours along with sequel set-up. It'd be better served as a series with more time available to flesh out the world and characters.

As I mentioned earlier, there weren't any sparks flying between Roza Salazar's Alita and Keean Johnson's Hugo. Since Salazar's nuanced expressions and mannerism were expertly translated through motion-capture, I think this was mostly due to Johnson's wooden dialogue delivery. However, writing and direction are equally at fault. Elsewhere, Christoph Waltz, Ed Skrein, and Mahershala Ali made the most of their respective roles while Jennifer Connelly felt a bit underutilized in the grand scheme of things. I do wish these characters had been more substantial though.

In spite of its shortcomings, Alita: Battle Angel's quite endearing and awe-inspiring when all is said-and-done! It's well worth the price of admission for striking visuals and thrilling action, but be prepared for artificial, automated storytelling.

Film Assessment: B-

'Green Book' Review

Nearly a month and a half ago, I saw Green Book and a couple other films over the course of a few weeks. However, I never began writing about them because I got caught up in the hustle and bustle of finals and the holiday season. Then, I had to prioritize reviewing recent releases when I was prepared to get caught up, so this review was even further delayed. I've ultimately decided not to review everything I saw since it's an overwhelming amount that's only further discouraged me from writing this review. Therefore, I will merely discuss Can You Ever Forgive Me?, First Reformed, American Animals, and You Were Never Really Here to highlight some overlooked 2018 films and ensure I address prime awards contenders. If I see anything new amidst all of this, I'll probably prioritize it.

'Green Book' Review

Nominated For: Best Picture, Best Actor; Viggo Mortensen, Best Supporting Actor; Mahershala Ali, Best Original Screenplay, and Best Film Editing.

Won: Best Picture, Best Supporting Actor; Mahershala Ali, and Best Original Screenplay.

When a tough-talking bouncer from an Italian-American neighborhood in the Bronx, is hired to drive a world-class African-American pianist on a concert tour from Manhattan to the '60s Deep South, they must rely on the Green Book to guide them to the few establishments that were then safe for African-Americans. Despite their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation.

Green Book is directed by Peter Farrelly and features a screenplay from Farrelly, Brian Hayes Currie, and Nick Vallelonga (real-life son to protagonist Frank "Tony Lip" Vallelonga). Though Green Book garnered 3 Golden Globe wins, the distinction of being named the National Board of Review's Best Film of 2018, was honored as one of 2018's top 10 films by the American Film Institute, received audience awards at many film festivals, and a slew of nominations amongst prominent critics groups and industry guilds, it's quickly become the awards contender riddled with the most controversy. I'm currently reviewing it amidst a wave of backlash which will probably derail the film from securing certain Oscar nominations such as Best Director and Best Original Screenplay (If curious, you can read about the various controversies here as I'm not going to go completely down that rabbit hole in order to stay on track).

One relevant issue was that the screenwriters didn't consult with Shirley's surviving relatives for their side of the story, so the Shirley family has emerged to claim that the depiction of Dr. Shirley and the friendship between him and Vallelonga was entirely inaccurate. Whether that's true or not is inconsequential since Hollywood often embellishes the truth, but in hindsight, it makes the filmmakers look rather lazy regarding their research. Green Book's also been heavily criticized for pedaling a "white savior" narrative, but I disagree with that notion primarily because the two men are equally affected by one another as their viewpoints are challenged. The unfortunate reality of the situation though is that Shirley required the assistance a white man like Tony to safely navigate the South for obvious reasons. The very idea of the narrative in that setting requires as much, so while a white man is helping someone of another ethnicity, I wouldn't go as far to call it a "white savior" story. Whether you agree or not is up to you, but that's just the way I see it. 

From a technical perspective, Green Book is a competently made film which provides a surface-level examination of 1960s racism and all that entails. It's essentially a light-hearted romp the whole family can enjoy. While I wouldn't necessarily agree with the movie's awards campaign classification as a comedy by the studio and the Hollywood Foreign Press Association, there's a fair share of humor which stuck the landing. In general, the dynamic between Dr. Shirley and Tony is delightful due to their clashing personalities and the assured performances by these accomplished actors. Additionally, Viggo Mortensen and Mahershala Ali have an irresistible on-screen chemistry, and the two actors lend fairly nuanced portrayals of seemingly one-note characters. Of the two, I'd say Ali's more impressionable on behalf of a meatier role, but it's rather frustrating that we just get glimpses of greatness. Ali's an excellent actor, but the script is severely lacking in comparison and Shirley gets the short end of the stick. Meanwhile, Mortensen's Italian-American New York accent is quite convincing, and his jovial personality further contributes to the film's buoyancy.

In all honesty, I didn't care much for Green Book long before the film was blasted with negative publicity. Since seeing it, I've regarded it as a fine feel-good film, albeit not one deserving of its ongoing awards attention. In spite of all the controversy, it's proven to be a robust crowd-pleaser and will probably wind up with a Best Picture nomination at the very least (though my fingers are crossed the Academy will recognize First Man or If Beale Street Could Talk over it and Bohemian Rhapsody). I ultimately bestow it with a recommendation for being an accessible awards contender.

Film Assessment: B

'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+ 

'Hidden Figures' Review

Nominated For: Best Picture, Best Supporting Actress; Octavia Spencer, and Best Adapted Screenplay.

Hidden Figures is based on a book written by Margot Lee Shetterly that tells the true story of a trio of black women who worked at NASA and their contributions to the 1960s space race that have since been overlooked. I went into Hidden Figures somewhat concerned it would get too preachy with it's messages and wind up being a cliché bio-pic meant for television but thankfully it proved to be much more than that. 

Director Theodore Melfi is able to maintain a lighthearted tone while dealing with serious subject matter in regards to segregation and the screenplay Melfi pens alongside Allison Schroeder effectively incorporates the time period to convey the film's weightier messages. Hidden Figures finds itself juggling a lot with three major characters each getting a substantial arc, the various NASA missions, a romantic element, and a thing or two to say about segregation but the screenwriting duo don't allow the multitude of plot elements to ever overtake one another and strike a nice balance. 

The messages about discrimination are kept as a through line but never feel overbearing to the point where it entrenches on other story beats. The cinematography and editing were masterfully done by director of photography Mandy Walker and editor Peter Teschner and some other areas in which Hidden Figures shone was in the costuming and production design. 

The score composed by Benjamin Wallfisch, Pharrell Williams, and Hans Zimmer is incredibly fun and fitting for the time period with a '60s-'70s early pop vibe, however it feels like it was put together by the former and rarely felt Zimmer-esque. That's not to say I disliked the soundtrack but rather that when I listen to one of my favorite composers' pieces I'm typically able to recognize the artist who worked on it based on musical stylings. I can say that I would have never guessed that Zimmer worked on this since Zimmer's compositions are commonly epic and grandiose in nature. Contrasting that, Hidden Figures does have it's fair share of cliché moments that you will see coming from a mile away but they're few and far between and the material's elevated by the stellar cast. 

Taraji P. Henson, Janelle Monáe, and Octavia Spencer are a terrific tightly-knit trio with charisma and standout moments aplenty. Henson demonstrates great range playing Katherine G. Johnson in a more reserved capacity as the shy, intelligent hard worker till she breaks and vents the characters' frustrations, an incredible scene that feels remarkably human and speaks to the struggles that accompany segregation. Monáe is the spunkiest of the group as Mary Jackson and Spencer is the wiser and older companion that's always thinking ahead.

Kevin Costner took what could have easily been a one dimensional caricature with the fictional NASA director Al Harrison (an amalgamation of NASA directors) and provides a more layered supporting portrayal. Costner actually delivers one of the best lines I've heard in recent memory when he says "Here at NASA we all pee the same color." Jim Parsons and Kirsten Dunst both play similar supporting roles in the narrative as prejudiced whites within NASA as Parsons' Paul Stafford comes across as a ridiculously mean Sheldon Cooper and Dunst's Vivian Mitchell evokes the stereotypical snobby superior.

Mahershala Ali dominated 2016 with screen-stealing work in both Marvel/Netflix's Luke Cage and critical darling Moonlight and his subdued role in Hidden Figures proved to be no exception (I'm considering Hidden Figures a 2016 release due to it's eligibility in last years awards race and the fact it had a limited release in late December, only recently expanding). Ali's screen time is limited but his presence is not as he plays the delightfully charming Colonel Jim Johnson with ease. 

Hidden Figures launched past my expectations thanks to a well-balanced script, capable direction, a fun soundtrack, and an incredible ensemble cast. Hidden Figures balances it's story arcs and solves it's problems with the precision of the most skilled mathematician resulting in a charming feature that uncovers a true story worth telling. 

Film Assessment: B+

'Moonlight' Review

Nominated For: Best Picture, Best Director; Barry Jenkins, Best Supporting Actor; Mahershala Ali, Best Supporting Actress; Naomie Harris, Best Adapted Screenplay, Best Film Editing, Best Cinematography, and Best Original Score.
Won: Best Picture, Best Supporting Actor; Mahershala Ali, and Best Adapted Screenplay.

Moonlight follows the coming-of-age story of a reserved youngster who gets bullied on a day-to-day basis and his search to discover himself. Moonlight is similar to the vein of Boyhood where it seeks to explore making a path for yourself but a little less gimmicky considering Moonlight didn't take twelve years to make (and if you click on the Boyhood hyperlink, you can visit my original review that was actually one of my first and see how far my reviews have come... I plan to revisit those down the line in some Recollection Reflection Reviews). 

Barry Jenkins writes and directs Moonlight based on the screen story penned up by playwright Tarell Alvin McCraney that splinters Chiron's life into three parts entitled "i. Little", "ii. Chiron", and "iii. Black" in correspondence to how he identifies himself at that respective stage of life. Jenkins manages to put forth a screenplay that doesn't share too much information with the audience, leaving them the responsibility to infer and fill in blanks and gaps left in Chiron's story, but also walks the fine line of showing significant events that aren't cliché and how those shape Chiron. 

Cinematographer James Laxton utilizes some great hand-held camera work and luminescent lighting to capture picturesque images that fit Chiron's story like a glove with both intensity and intimacy while Nicholas Britell's sweeping orchestrations paired with vulgar pop songs also hit the mark of auditorily juxtaposing Chiron's blissful and visceral experiences. 

Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes each portray Chiron in different phases of his life as Little, Chiron, and Black respectively and each manages to bring a slightly different take on the same character that remains true to Chiron as he's grown. Hibbert plays the shy child, Sanders gets to grapple with teen angst and emotional instability, and Rhodes puts up a hardened exterior that's been built up by childhood trauma but underneath that maintains the soft-spoken demeanor of Little and Chiron's sensitivity. Each actor adds another layer on top of the younger predecessor's work amounting to complex showing from young talent (Hibbert and Sanders) and incredible turn from Rhodes.

The film's supporting cast bestow a solid foundation for the three actors playing Chiron including Mahershala Ali, Janelle Monáe, Naomie Harris, Jaden Piner, Jharrel Jerome, and André Holland as the father figure and neighborhood crack dealer, sweet supportive mother figure, troubled mother, and three phases of the love interest respectively. Ali in particular stands out and I wouldn't be surprised to see him scoop an Oscar nomination for his work here.

Moonlight is certainly a well-made character study and performance piece that thoroughly examines identity, development, and black culture, but didn't personally resonate with me, and as a result, I was neither invested in the characters or the story at hand. Moonlight will likely appeal to a wide audience who find common ground with the protagonist, but the film's simply wasn't my cup of tea.

Film Assessment: B