Reel Recap: December 2020

I know that I had previously said I would share my Reel Recaps in chronological order. However, I've changed my plans since the Academy Awards ceremony is tomorrow, and I have already completed three reviews for Best Picture nominees in this specific Reel Recap. I have a lot on my plate at the moment, but I'll focus on catching up on these in the coming months. Without further ado, this Reel Recap includes reviews for Nomadland, The Santa Clause, Home Alone, Wolfwalkers, Ma Rainey's Black Bottom, News of the World, Promising Young Woman, and Sound of Metal.

Reel Recap: December 2020

Nomadland - Watched December 4, 2020 (NYFF Virtual Screening)

Nominated For: Best Picture, Best Director; Chloé Zhao, Best Actress; Frances McDormand, Best Adapted Screenplay, Best Film Editing, and Best Cinematography.

Won: Best Picture, Best Director; Chloé Zhao, and Best Actress; Frances McDormand.

Synopsis: After losing everything in the Great Recession, a woman embarks on a journey through the American West, living as a van-dwelling modern-day nomad.
Runtime: 108 minutes

MPAA Rating: R (for some full nudity)

Who should see it? Adults interested in indie dramas.

Based on Jessica Bruder's book, Nomadland was written, edited, and directed by Chloé Zhao. Zhao's character study is an introspective drama with methodical pacing, so that may test your patience. That said, the genuine performances will emotionally move those who persevere. Frances McDormand is consistently incredible in everything she does, but she bares the deepest parts of her soul here, and it shows. Other than David Strathairn, the supporting cast are real nomads portraying themselves, and that aspect enhanced the authenticity of Zhao's narrative. Nomadland is also a film that thrives on atmosphere, and I was constantly taken aback by the grandeur of Joshua James Richards' stunning cinematography and the previously recorded music Zhao selected from composer Ludovico Einaudi. For all of Nomadland's poignancy, I discovered a disconnect. I struggled to pinpoint the exact source but kept circling back to Fern's characterization and the film's perspective. You spend the entire runtime with her, yet she remains steadfast in her convictions till an abrupt ending. I'm hard-pressed to identify any personal growth that Fern undergoes on her journey. Zhao's perspective also feels detached as a passive observer of life. As a result, the film rides the line of feeling like a documentary. Nomadland is a beautiful, human film to  behold but failed to resonate with me fully. 

Film Assessment: B+

The Santa Clause - Watched December 24, 2020 (Disney+)

Synopsis: When a man inadvertently makes Santa fall off of his roof on Christmas Eve, he finds himself magically recruited to take his place.

Runtime: 97 minutes
MPAA Rating: PG (for a few crude moments)
Who should see it? Families in the holiday spirit.

The Santa Clause is directed by John Pasquin and features a script from Leo Benvenuti and Steve Rudnick. While enjoyable at times, the film never quite exceeds the novelty of its premise. Tim Allen fully embraces the story's absurdity, and there are quite a few chuckle-worthy moments. However, I never realized just how incessantly repetitive the surface-level messaging and "becoming Santa" gimmick were. Granted, I haven't watched this from start to finish in several years, but The Santa Clause doesn't hold up too well under older eyes without the benefit of nostalgia.

Film Assessment: B-

Home Alone - Watched December 24, 2020 (Disney+)

Nominated For: Best Original Song "Somewhere in My Memory" (written by John Williams and Leslie Bricusse) and Best Original Score.

Synopsis: An eight-year-old troublemaker must protect his house from a pair of burglars when he is accidentally left home alone by his family during Christmas vacation.

Runtime: 103 minutes
MPAA Rating: PG
Who should see it? Families in the holiday spirit.

Widely considered a holiday classic, Home Alone was directed by Chris Columbus and written by John Hughes. The premise of a neglected child being left behind to fend off a home invasion is just as amusing now as it was thirty years ago. I hadn't seen Home Alone in a few years and all but forgotten how much Columbus and Hughes leaned into the preposterousness of Kevin's situation. While silly and arguably sadistic at times, the film is quite endearing, in large part to Macaulay Culkin's performance. Culkin embraces the absurdity of the role and convincingly portrays an insecure kid's desperate attempt at maturity. Thanks to Daniel Stern and Joe Pesci, the Wet Bandits are surprisingly suitable antagonists for Kevin. In the wrong hands, Kevin's house traps could quickly diminish their roles as cartoonish, but the two actors struck a nice balance between intimidation and laughing stock. Roberts Blossom rounds out the primary cast quite nicely as a mysterious figure with touches of kindness. Another mind-boggling tidbit was the reminder that John Williams composed the music for Home Alone. It's easy to forget that this humble family comedy sits snuggly alongside blockbuster franchises like Harry Potter, Jurassic Park, Star Wars, and Superman on his resume. Home Alone's not particularly deep, but it's endlessly charming and leaves you feeling warm and fuzzy inside. 

Film Assessment: B+

Wolfwalkers - Watched December 30, 2020 (Apple TV+)

Nominated For: Best Animated Feature.

Synopsis: In a time of superstition and magic, a young apprentice hunter, Robyn Goodfellowe, journeys to Ireland with her father to wipe out the last wolf pack. While exploring the forbidden lands outside the city walls, Robyn befriends a free-spirited girl, Mebh, a member of a mysterious tribe rumored to have the ability to transform into wolves by night. As they search for Mebh’s missing mother, Robyn is drawn further into the enchanted world of the wolfwalkers.

Runtime: 103 minutes
MPAA Rating: PG (for sequences of violence and peril, scary images, some thematic elements and brief language)
Who should see it? Families and fans of animation.

Co-directed by Tom Moore and Ross Stewart, Wolfwalkers features a screenplay from Will Collins and credits Jericca Cleland as a story and script consultant. After some cursory research to verify this claim's validity, I believe that Wolfwalkers is the first original animated feature released on Apple TV+. Though the tech giant's budding service admittedly has minimal original programming, Wolfwalkers is a solid addition to their virtual catalog and a promising glimpse into the potential of their future offerings. In any case, enough about streaming semantics. Wolfwalkers contains a wealth of breath-taking hand-drawn animation and captivating voice work. Stylistically, Cartoon Saloon's animators settled on an aesthetic deeply embedded in the Celtic culture that's gorgeous to behold. I also appreciated the film's spin on classic fantasy elements. At the risk of nitpicking, the story leaves much to be desired due to its simplicity and predictability. However, the filmmakers navigate these tropes quite well, so I can overlook the narrative's familiarity. That said, Wolfwalkers is a riveting fantasy that distinguishes itself from much of modern animation.

Film Assessment: A

Ma Rainey's Black Bottom - Watched July 14, 2020 (Netflix)

Nominated For: Best Actor; Chadwick Boseman, Best Actress; Viola Davis, Best Costume Design, Best Makeup and Hairstyling, and Best Production Design.

Won: Best Costume Design and Best Makeup and Hairstyling.

Synopsis: Tensions rise between Ma Rainey, her ambitious horn player, and the white management determined to control the uncontrollable "Mother of the Blues."

Runtime: 94 minutes
MPAA Rating: R (for language, some sexual content and brief violence)
Who should see it? Adult fans of August Wilson's play and those interested in seeing Chadwick Boseman's final performance.

Adapted from August Wilson's stage play, Ma Rainey's Black Bottom is directed by George C. Wolfe and features a screenplay from Ruben Santiago-Hudson. The film has garnered plenty of attention for featuring Chadwick Boseman's final performance after the actor passed late last year. On that front, Boseman unknowingly delivered a sublime swan song. Boseman always brought otherworldly star power to his roles, and that's once again the case here. Bustling exuberance and roguish charm define his portrayal of Levee, so you're drawn to the character despite his arrogance and temperament. Opposite Boseman, Viola Davis' Ma Rainey also commands the screen to green effect. Ma Rainey will be written off as a full-blown diva at first, but I appreciated the layered reasoning behind her seemingly absurd demands. Amongst the supporting cast, Colman Domingo shines as Rainey's observant band leader Cutler. Although Wolfe imbues the story with some cinematic flourishes here and there, several dialogue-heavy scenes

within limited, confined settings accentuate the source material's stage origins. In that regard, Ma Rainey's Black Bottom brought another August Wilson adaptation to mind, Fences, which also happens to star Viola Davis and produced by Denzel Washington. Both films excel as performance pieces but fail to make the most of their medium.   

Film Assessment: B+

News of the World - Watched December 30, 2020

Nominated For: Best Cinematography, Best Production Design, Best Sound, and Best Original Score.

Synopsis: A Texan traveling across the wild West, bringing the news of the world to local townspeople, agrees to rescue a young girl. They travel hundreds of miles and face grave dangers in search of a place either can call home.

Runtime: 118 minutes
MPAA Rating: PG-13 (for violence, disturbing images, thematic material and some language)

Who should see it? Fans of the Western genre and Tom Hanks.

Based on Paulette Jiles' novel, News of the World is directed by Paul Greengrass and co-written by Greengrass and Luke Davies. Westerns are a scarcity these days, so it's always refreshing to see a new one roll by. Considering director Paul Greengrass and Tom Hanks previously struck gold with Captain Phillips, and I admire Greengrass' work on the Bourne franchise, I was intrigued to see News of the World. Unfortunately, Greengrass's latest film is an uneven adaptation with inconsistent cinematography and a script lacking in depth. Though the film boasts excellent period elements, the story's anchored by companionship between Tom Hanks and Helena Zengel. As a relative newcomer, Zengel holds her own despite sharing the screen with a veteran actor like Hanks. She proves to be quite charismatic as well as selling the moments of apathy and despair. Hanks is a steadfast presence, as is to be expected. The arc of their friendship is a compelling journey but simultaneously felt superficial to me. The barebones structure is there for a great Western. However, Paul Greengrass started his wagon train with faulty wheels and neglected to take a pitstop. 

Film Assessment: B-

Promising Young Woman - Watched December 31, 2020

Nominated For: Best Picture, Best Director; Emerald Fennell, Best Actress; Carey Mulligan, Best Original Screenplay, and Best Film Editing.

Won: Best Original Screenplay.

Synopsis: A young woman, traumatized by a tragic event in her past, seeks vengeance against those who cross her.

Runtime: 113 minutes
MPAA Rating: R (for strong violence including sexual assault, language throughout, some sexual material & drug use)
Who should see it? Adult fans of revenge thrillers.

Emerald Fennell's Promising Young Woman is an incisive revenge thriller intent on exhibiting the lasting repercussions of toxic masculinity and sexual assault. This isn't meant to be a startling revelation by any means, but an uncomfortable truth too often ignored or forgotten. And Fennell explores the frequent dismissal of victims' allegations with such deftness. I was astounded to learn that the film was Fennell's first feature credit as a writer and director due to how well she maneuvers through the twists and turns of such a heavy narrative. Central to the whole affair, Carey Mulligan is exceptional in the vindictive lead role. Mulligan masks Cassie's trauma with wry wittiness and assuredness, proving to be a very resourceful schemer. And Cassie's plots are quite elaborate. Bo Burnham, Alison Brie, Alfred Molina, and Chris Lowell impress with surprisingly layered performances. In just about every way imaginable, Promising Young Woman maximizes its potential. I suppose the title is also an apt description for Emerald Fennell as a rising filmmaker. 

Film Assessment: A+

Sound of Metal - Watched December 31, 2020 (Prime Video)

Nominated For: Best Picture, Best Actor; Riz Ahmed, Best Supporting Actor; Paul Raci, Best Original Screenplay, Best Film Editing, and Best Sound.

Won: Best Film Editing and Best Sound.

Synopsis: A heavy-metal drummer's life is thrown into free fall when he begins to lose his hearing.

Runtime: 120 minutes
MPAA Rating: R (for language throughout and brief nude images)
Who should see it? Adult fans of indie dramas.

Sound of Metal is Darius Marder's first directorial credit on a narrative feature (he previously directed a documentary entitled Loot). Marder co-wrote the screenplay with his brother Abraham and developed the story alongside fellow filmmaker Derek Cianfrance. Sound of Metal's premise is compelling in its own right, but Marder's approach to the film's soundscape accents the intrigue. As Ruben loses his hearing, viewers begin to hear a ringing in their ears as well. While this isn't prevalent throughout the entire runtime, Marder ensures that the audience often shares Ruben's auditory experience (or lack thereof). At times, the dialogue is muffled or entirely absent, and subtitles offer no help in these instances. This creative choice acts to enhance the audience's understanding of Ruben's experience. 

One commendable aspect of the Marder brothers' script is that it doesn't present deafness as a handicap. Though Ruben initially perceives it as such, his journey towards acceptance offers an uplifting affirmation to the deaf community. And Riz Ahmed is exceptional in the lead role, offering a grounded performance that delves into the subtleties of sudden change and addiction. To prepare for the role, Ahmed learned American Sign language and how to play the drums, and the authenticity of his performance shines through. Supporting Ahmed, Olivia Cooke and Paul Raci resonate as encouraging girlfriend/bandmate and wise addiction counselor. It's also worth noting that many of the supporting deaf characters were portrayed by deaf actors, with Lauren Ridloff and Chelsea Lee standing out amongst the cast. Marder's drummer drama moves at a leisurely tempo, but the story's emotional momentum is dead on. 

Film Assessment: A-

Reel Recap: February 2020

Sorry for the delay. This post is mostly comprised of reviews for the Oscar-nominated short films plus The Call of the Wild and The Invisible Man. I've included hyperlinks to sites where you can watch the shorts, and The Invisible Man is available early to rent on various video-on-demand platforms due to the COVID-19 outbreak and resulting theater closures. I suspect The Call of the Wild will make its way online soon as well, whether it be VOD or Disney+.

Reel Recap: February 2020

Brotherhood - Watched February 8, 2020 (Vimeo)

Nominated For: Best Short Film, Live Action.

Synopsis: Mohamed is deeply shaken when his oldest son Malik returns home with a mysterious new wife.
Runtime: 25 minutes
Who should see it? Adults who are interested in watching the Oscar-nominated shorts.

Your mileage on Meryam Joobeur's Brotherhood may vary. I felt that 25 minutes wasn't long enough for me to become emotionally invested in this family, and honestly struggled to get through watching the short due to lack of interest.

Film Assessment: C+

The Neighbors' Window - Watched February 8, 2020 (YouTube)

Nominated For: Best Short Film, Live Action.
Won: Best Short Film, Live Action.

Synopsis: A middle-aged woman's life is shaken up when two younger people move in across the street.
Runtime: 21 minutes
Who should see it? Adults who are interested in watching the Oscar-nominated shorts.

Directed by Marshall Curry with a short story co-written by Curry and Diane Weipert, The Neighbors' Window evokes a modern take on Rear Window. Overall, it's a pleasant watch with an endearing moral and quality production value.

Film Assessment: A

Hair Love - Watched February 8, 2020 (YouTube)

Nominated For: Best Short Film, Animated.
Won: Best Short Film, Animated.

Synopsis: A father tries to do his daughter's hair for the first time.
Runtime: 7 minutes
MPAA Rating: G
Who should see it? Families who are interested in watching the Oscar-nominated shorts.

Hair Love is written by former American football player Matthew A. Cherry and co-directed by Cherry, Bruce W. Smith, and Everett Downing Jr. It's well-animated, full of heart and sincerity, and well-deserving of its Oscar win.

Film Assessment: A-

Memorable - Watched February 8, 2020 (Vimeo - No longer available)

Nominated For: Best Short Film, Animated.

Synopsis: An aging painter and his wife struggle increasingly to cope with his advancing dementia.
Runtime: 12 minutes
Who should see it? Those interested in watching the Oscar-nominated shorts.

Bruno Collet's Memorable is probably the most depressing of the nominees. The claymation is impeccable, and it offers an honest depiction of dementia that's harrowing, to say the least. This short will stick with me for a long time.

Film Assessment: B

Dcera (Daughter) - Watched February 8, 2020 (Vimeo Rental)

Nominated For: Best Short Film, Animated.

Synopsis: The bond between a father and a daughter is imperiled by matters that go unspoken and hurts that are slow to heal.
Runtime: 15 minutes
Who should see it? Those interested in watching the Oscar-nominated shorts.

Dcera is Czech writer-director Daria Kashcheeva's second short and, perhaps, the most perplexing of the animated short nominees. The paper mâché-style animation was admittedly impressive, and it's also a downer like its fellow nominees, but the subtleties of Kashcheeva's symbolism were lost in translation. I'd take a rain Czech on this one.

Film Assessment: C+

Sister - Watched February 8, 2020 (Vimeo Rental)

Nominated For: Best Short Film, Animated.

Synopsis: A man thinks back to his childhood memories of growing up with an annoying little sister in China in the 1990s. What would his life have been like if things had gone differently?
Runtime: 8 minutes
Who should see it? Those interested in watching the Oscar-nominated shorts.

Written and directed by Siqi Song, Sister is a heartbreaking examination of China's One-Child Policy. The stop-motion animation's well done, the message tugs on the heartstrings, and Song encapsulates the experience of growing up with a sibling quite effectively. Just like a younger sibling, the short endeared me as it developed and found its voice.

Film Assessment: B

The Call of the Wild (2020) - Watched February 20, 2020 

Synopsis: A sled dog struggles for survival in the wilds of the Yukon.
Runtime: 100 minutes
MPAA Rating: PG (for some violence, peril, thematic elements and mild language)
Who should see it? Families who enjoy adventurous dog movies.

Serving as the fifth iteration of Jack London's beloved adventure novel, The Call of the Wild is directed by Chris Sanders and features a script from Michael Green. It sets itself apart through its extensive use of visual effects. Rather than film a real dog, Sanders implemented a computer-generated version of Buck. While the fur rendering was very lifelike, Buck is clearly a digital creation. This degree of separation never fades and became even more apparent when Buck interacts with real surroundings or people. That said, I understand why Buck needed to be a visual effect. An actual dog wouldn't be nearly as expressive and couldn't feasibly accomplish the required stunt-work. Though you'd suspect Harrison Ford might phone it in here, he actually gives a genuinely moving performance. Filled to the brim with silliness, heart, and a sense for adventure, The Call of the Wild harkens back to old fashioned family-friendly outings of simpler times. You can use as much CGI as you'd like, but it's tough to teach old source material new tricks!

Film Assessment: B-

The Invisible Man (2020) - Watched February 27, 2020 

Synopsis: After staging his suicide, a crazed scientist uses his power to become invisible to stalk and terrorize his ex-girlfriend. When the police refuse to believe her story, she decides to take matters into her own hands and fight back.
Runtime: 124 minutes
MPAA Rating: R (for some strong bloody violence, and language)
Who should see it? Adult fans of horror.

Based on H.G. Wells' novel, The Invisible Man is written and directed by Leigh Whannell. Whannell's adaptation modernizes the premise while maintaining the suspenseful atmosphere of its predecessor. Frequently, the camera lingers on Cecilia and her surroundings for an uncomfortable amount of time. This approach justifies Cecilia's paranoia, as the uneasy feeling she's always being watched by somebody is quickly communicated to the audience. The foreboding ambiance is further intensified by the film's sinister soundscape. Between Benjamin Wallfisch's score and hair-raising sound design, The Invisible Man is almost always audibly unnerving. Most astounding of all, though, is that Whannell made it for a mere $9 M (a relatively small budget for a major Hollywood production). Throughout his career, Whannell's shown himself to be a very economical filmmaker by maximizing the sparse resources at his disposal. Technical merits aside, Elisabeth Moss offers an exceptional lead performance as an anxious individual prone to horrific torture at the hands of her ex. In the role of Cecilia, Moss walked a fine line between hysterical and measured as well as helpless and self-sufficient. As Adrian Griffin, Oliver Jackson-Cohen makes for an appropriately intimidating oppressor. While this may sound like a contradiction, I can assure you that The Invisible Man is a must-see!

Film Assessment: A-

Reel Recap: December 2019

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.

Film Assessment: B+

Reel Recap: November 2019

Sorry for the delay on this Reel Recap, but I hope to review everything I watched in 2019 before the year comes to a close. I didn’t feel that I could condense my thoughts on Jojo Rabbit to one paragraph, so you’ll find that I expanded that review a tad. My final in-depth review of the year will be over 1917, and I intend to share my December Reel Recap before I unveil my Top 10 Films of 2019. The latter two will likely be shared around New Year’s Eve, so I may consider everything I saw this year when finalizing my list. The good news is that I’ll be all caught up and plan on writing my mini-reviews in a more timely manner going forward so I can share my recaps at the end of each month. Otherwise, I’ll continue writing standalone reviews for the films I believe warrant a thorough analysis.

Reel Recap: November 2019

The Elephant Queen - Watched November 2, 2019 (Apple TV+)

Synopsis: Athena will do everything in her power to protect her herd when they are forced to leave their waterhole. This epic journey takes audiences across the African savannah and into the heart of an elephant family.
Runtime: 96 minutes
MPAA Rating: PG (for some thematic material)
Who should see it? Those with an affinity for Elephants and nature documentaries.

The Elephant Queen is a nature documentary co-directed by Mark Deeble and Victoria Stone. I don't often watch nature documentaries since they're usually quite similar. However, elephants are my favorite animal, and this was one of the few features to debut on Apple TV+, so I figured I'd give it a shot. Deeble's extensive background with nature photography proved to be a valuable asset for the production as he lends a visual flair to simple shots of the African savannah. The documentary also captures wholesome and horrifying moments as animals enjoy one another's company while traversing an unforgiving landscape. The Elephant Queen doesn't sugarcoat the harsher realities of this perilous journey, so it's not for the faint of heart either. The stunning imagery, coupled with an engaging narrative constructed around wildlife footage, set The Elephant Queen above the typical National Geographic television special.

Film Assessment: B

Motherless Brooklyn - Watched November 6, 2019 

Synopsis: Lionel Essrog is a lonely private detective who doesn't let Tourette's syndrome interfere with his job. Gifted with a few clues and an obsessive mind, Lionel sets out to solve the murder of his mentor and only friend, Frank Mina.
Runtime: 144 minutes
MPAA Rating: R (for language throughout including some sexual references, brief drug use, and violence)
Who should see it? Fans of Edward Norton and Jonathan Lethem's novel.

Edward Norton writes, directs, and stars in his adaptation of Jonathan Lethem's novel Motherless Brooklyn. Though Norton has noble intentions and a star-studded cast at his disposal, I considered Motherless Brooklyn to be a scatterbrained doldrum. The pieces eventually come together as Lionel unravels the truth. Still, each plot thread feels almost entirely unrelated to the others. The A-list actors are squandered in an overstuffed narrative, as they offer sufficient performances, albeit of a lower caliber than their usual work. Though Norton's depiction of a detective with Tourette's syndrome is the element that makes-or-breaks Motherless Brooklyn, and his spastic portrayal unfortunately grated on my nerves. On a more uplifting note, Dick Pope and Daniel Pemberton captivated me with their sumptuous cinematography and musical score, respectively. I also liked Thom Yorke's new song, "Daily Battles." All in all, Motherless Brooklyn is competently made. That said, it could have benefitted from another pass at the script and trip to the editing bay since it seems rather aimless and lengthy for a duration of nearly two-and-a-hours. 

Film Assessment: C-

Jojo Rabbit - Watched November 7, 2019 

Nominated For: Best Picture, Best Supporting Actress; Scarlett Johansson, Best Adapted Screenplay, Best Film Editing, Best Production Design, and Best Costume Design.
Won: Best Adapted Screenplay.

Synopsis: Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend - Adolf Hitler - Jojo must confront his blind nationalism as World War II rages on.
Runtime: 108 minutes
MPAA Rating: R (for mature thematic content, some disturbing images, violence, and language)
Who should see it? Fans of satire and Taika Waititi's work.

Written and directed by Taika Waititi, Jojo Rabbit is an anti-hate satire based on Christine Leunens's book Caging Skies. Taika Waititi is an especially unique filmmaker among those working today, so naturally, I was curious to discover how he'd handle such a bizarre premise. With Thor: Ragnarok, I felt Waititi's comedic tendencies impeded on every emotional beat, rendering the severe stakes weightless. Thankfully, that's not the case this time. Waititi deftly balances the extremes of slapstick satire and bleak consequences of Germany's Nazi regime, walking a fine line between the two. Waititi hilariously ridicules Nazis, but he doesn't render them toothless. Through Jojo’s perspective, he strikes a delicate balance. Indoctrinated by Nazi's, Jojo initially has a naive perception of the truth. But as the story unfolds, Jojo realizes the harsh severity of their actions. This is reflected most in the surrounding environment, which begins as wacky and colorful but darkens as the theater of war encroaches, signaling the abrupt tonal shift. Even his imaginary friend Hitler becomes more authentic as Jojo's fascination with the Nazi regime begins to falter.

On second viewing, I noticed several understated setups and payoffs for fulfilling various arcs. Waititi wisely takes advantage of Jojo's naivety to foreshadow significant developments unbeknownst to first-time viewers, so the emotional beats hit harder once they finally arrive. The cast is composed of a mixture of veteran acting talent and newcomers with a tremendous rapport between them all. Roman Griffin Davis and Archie Yates are particularly phenomenal discoveries, radiating a bonafide friendship and great comic timing as two budding members of Hitler's Youth. Davis acts opposite every member of the ensemble as Jojo, and the varying dynamics are delightful to watch.

Most noteworthy in this regard were Scarlett Johansson and Thomasin McKenzie as Jojo's mother and the Jewish girl secretly lodged in Jojo's home. Johansson plays Rosie as a comforting, motherly presence with a playful attitude. At the same time, McKenzie's Elsa struggles to confide in Jojo, given her present situation. On the flip side, Taika Waititi depicts Adolf Hitler with a cartoonish deviousness and genuine malice in certain moments. Sam Rockwell, Rebel Wilson, Alfie Allen, and Stephen Merchant then fill the ranks of prominent Nazis, providing comic relief and unease as required. In the wrong hands, Jojo Rabbit could have gone horribly wrong. Nevertheless, Waititi's sensibilities proved to be a suitable match for the material. Spearheaded by an essential message about recognizing immoral authority, Jojo Rabbit wears its heart on its sleeve as a hilarious and surprisingly poignant satire everyone should see.

Film Assessment: A

Last Christmas (2019) - Watched November 10, 2019

Synopsis: Nothing seems to go right for young Kate, a frustrated Londoner who works as an elf in a year-round Christmas shop. But things soon take a turn for the better when she meets Tom. As the city transforms into the most wonderful time of the year, Tom and Kate's growing attraction turns into the best gift of all - a Yuletide romance.
Runtime: 103 minutes
MPAA Rating: PG-13 (for language and sexual content)
Who should see it? Fans of rom-coms and those keen to get in the Christmas spirit.

Based on the hit George Michael Christmas song, Last Christmas is directed by Paul Feig and features a screenplay co-written by Bryony Kimmings and Emma Thompson (who shares story credit with Greg Wise). Though painfully predictable (especially to those who have seen the trailer), Last Christmas is a breezy watch that coasts on the charm of Emilia Clarke, Henry Goulding, Emma Thompson, and Michelle Yeoh. I can think of no better way to summarize my feelings then with a critique to the tune of "Last Christmas": "Last Christmas, it isn't high art. It's a pleasant foray for the holidays. One thing's clear, it's sure to endear. Though it may as well come from Hallmark."

Film Assessment: B-

Pain and Glory - Watched November 13, 2019

Nominated For: Best International Feature Film and Best Actor; Antonio Banderas.

Synopsis: A film director reflects on his life as past and present come crashing down around him.
Runtime: 113 minutes
MPAA Rating: R (for drug use, some graphic nudity and language)
Who should see it? Adults fans of Antonio Banderas who either speak Spanish or don't mind reading subtitles.

Written and directed by Pedro Almodóvar, Pain and Glory is a contemplative reflection on the nature of art and life. As Salvador Mallo reconciles his past, audiences get a glimpse of his upbringing, and what follows is an intimate exploration of his identity. While I felt the film was very well-crafted, it never fully resonated with me. There were periods where the story came to a screeching halt, and I thought it could have flowed better between past and present. Otherwise, Antonio Banderas delivers a brilliantly subdued performance. He lends an excellent portrayal of an artist at odds with his own work. Banderas won the Best Actor award at the Canne's Film Festival for this role and has since continued to be a prominent, well-deserved player in a competitive Best Actor field this awards season. Among the supporting cast, Penélope Cruz, Asier Etxeandia, Leonardo Sbaraglia, Asier Flores, and Julieta Serrano are also impressionable. Almodóvar's latest film is restrained and meditative, creatively channeling pain into glory.

Film Assessment: B

A Hidden Life - Watched November 15, 2019 (Houston Cinema Arts Festival) 

Synopsis: The Austrian Blessed Franz Jägerstätter refuses to fight for the Nazis in World War II.
Runtime: 173 minutes
MPAA Rating: PG-13 (for thematic material including violent images)
Who should see it? Fans of Terrence Malick willing to endure the nearly three-hour runtime.

Terrence Malick's A Hidden Life is based on the real story of a conscientious objector, Franz Jägerstätter. The filmmaking alone is exquisite as Malick wonderfully conveys the serene nature of a peaceful existence only to contrast that idyllic bliss with the horrors of isolated imprisonment under the Nazi regime. Cinematographer Jörg Widmer captures lush landscapes and intimate interactions with a fisheye lens while a poignant musical score composed by James Newton Howard also underscores the expansive natural surroundings and a profound human connection. Of which it's worth noting, August Diehl and Valerie Pachner have remarkably genuine chemistry. Serving as Malick's foundation, the two lend exceptional performances and demonstrate immense range as they're tested to the brink of their humanity. And the story itself is incredibly inspiring as a testament to the human spirit's resolve. Malick presents viewers with the conundrum of whether it's more honorable to walk the path with least resistance in the interest of safety or stand for your ideals and face the consequences. All that said, A Hidden Life is far too long. It could easily be abbreviated, considering Fox Searchlight practically condensed the entire film into a two-minute trailer already.

Film Assessment: B+

Ford v Ferrari - Watched November 16, 2019 

Nominated For: Best Picture, Best Film Editing, Best Sound Editing, and Best Sound Mixing.
Won: Best Film Editing and Best Sound Editing.

Synopsis: American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.
Runtime: 152 minutes
MPAA Rating: PG-13 (for some language and peril)
Who should see it? Car enthusiasts and those interested in films about friendship and American ingenuity.

Directed by James Mangold, Ford v Ferrari tells the true story of Ford’s bid to engineer a vehicle capable of winning the 24 Hours of Le Mans race. The end result is a robust crowdpleaser about teamwork, creative freedom, and good old fashioned American ingenuity. Ford v Ferrari is the type of movie that doesn't get made too often. Similarly to Once Upon A Time... In Hollywood, Ford v Ferrari is entertaining on the surface level and offers abundant subtext for those willing to look deeper. Mangold surprisingly provides plenty of meta-commentary on the nature of filmmaking within the studio system through the lens of car manufacturing. Still, it tackles a wide variety of other topics in a feel-good manner as well. Matt Damon and Christian Bale are strong co-leads with a unique rapport, though Bale has the flashier role of the two. The supporting cast bode well, but occasionally resemble one-note caricatures rather than fleshed-out individuals. Standouts for me were Tracy Letts, Caitriona Balfe, and Noah Jupe. Without a doubt, Ford v Ferrari's main draw is its exhilarating racing sequences. Boasting stunning cinematography and roaring sound design, Mangold immerses audiences in the thick of it and rarely lets up. However, the company's inner workings aren't nearly as engaging. Though necessary to set the stage and establish key plot details, the behind-the-scenes semantics can never compare to the thrill of getting behind the wheel. In spite of a standard script and predictable plotting, the technical bravado and ace performances ensure Ford v Ferrari made it across the finish line in spectacular fashion!

Film Assessment: B+

Harriet - Watched November 17, 2019

Nominated For: Best Actress; Cynthia Erivo and Best Original Song "Stand Up" (written by Cynthia Erivo and Joshuah Brian Campbell).

Synopsis: The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
Runtime: 125 minutes
MPAA Rating: PG-13 (for thematic content throughout, violent material and language including racial epithets)
Who should see it? Those interested in Harriet Tubman.

Harriet is directed by Kasi Lemmons and with a screenplay co-written by Lemmons and Gregory Allen Howard. By all means, it's a conventional biopic that contains the story beats of nearly every other slave movie. The empowerment angle and aspect of Tubman's faith were admirable inclusions, but again, neither of these elements is particularly radical. Additionally, some inclusions caused me to question the historical accuracy of certain scenes. I don't mind creative flourishes, but there were a few head-scratchers nonetheless. Cynthia Erivo's depiction of Harriet Tubman undoubtedly saves the production, exemplifying courage, confidence, and vulnerability in the titular role. Aside from Erivo, I doubt Harriet will be remembered for much else, which is a shame considering the significance of its subject.

Film Assessment: B-

Portrait of A Lady On Fire - Watched November 18, 2019 (HCAF) 

Synopsis: On an isolated island in Brittany at the end of the eighteenth century, the young daughter of a French countess develops a mutual attraction to the female artist commissioned to paint her wedding portrait.
Runtime: 121 minutes
MPAA Rating: R (for some nudity and sexuality)
Who should see it? Adults who don't mind reading subtitles and are receptive to stories about same-sex couples.

Written and directed by French filmmaker Céline Sciamma, Portrait of a Lady on Fire has set the festival circuit ablaze with widespread critical acclaim. Sciamma's narrative unfolds at a slow burn with hushed intensity and ample attention to detail. There's a rewarding payoff to the slightest details, and Claire Mathon's cinematography is utterly breathtaking to behold. Co-leading the picture in the roles of Marianne and Héloïse, Noémie Merlant and Adèle Haenel are both exceptional. The intimacy and attraction that slowly builds between the two feels very sincere, as their sparks radiate off the screen. However, their forbidden love can't ever fully come to fruition due to the period in which the story is set. That complication dramatically enhances the potency of their relationship. Sciamma shows her hand early by framing the film as a recollection from Marianne. Hence, viewers know from the beginning that separation is inevitable. Nevertheless, Sciamma fabricates an intoxicating romance, so the unfortunate parting is no less heart-wrenching.

Film Assessment: A+

Honey Boy - Watched November 27, 2019

Synopsis: A young actor tries to reconcile with his father after surviving a turbulent childhood.
Runtime: 94 minutes
MPAA Rating: R (for pervasive language, some sexual material, and drug use)
Who should see it? Those interested in an autobiographical account of Shia LaBeouf's upbringing.

Written by Shia LaBeouf as an autobiographical account of his life, Honey Boy is directed by Alma Har'el and sees LaBeouf portray a fictionalized version of his own father. Autobiographical work can be too self-glorifying or too self-deprecating, but LaBeouf's recollections seem devastatingly honest. LaBeouf's not interested in excusing or justifying his unruly behavior. This retelling is personal and therapeutic for LaBeouf as he reconciles a troubled past. Noah Jupe, Lucas Hedges, and Shia LaBeouf are all sensational, channeling raw emotion in their most vulnerable moments. LaBeouf's catharsis is hard to watch at times, but crucial for truly understanding who he is and all he's endured.

Film Assessment: B+

Queen & Slim - Watched November 29, 2019

Synopsis: A couple's first date takes an unexpected turn when a police officer pulls them over.
Runtime: 131 minutes
MPAA Rating: PG-13 (for violence, some strong sexuality, nudity, pervasive language, and brief drug use)
Who should see it? Those who were intrigued by the trailer.

Serving as Melina Matsoukas' feature debut, Queen & Slim features a script from Lena Waithe and also attributes a story credit to James Frey. While well-intentioned, Queen & Slim's handling of the police brutality subject is very heavy-handed. The heightened escalations that occur in the film often register as inauthentic since the circumstances are absurdly over-exaggerated for the sake of the film's argument. The setup is compelling, and the concept is interesting. Still, it rarely feels like the characters are in real danger during their time on the run. The duo encounters complications but easily maneuver around them. Whenever they take a genuine risk, there are no consequences or a sense of urgency. The eventual resolution to this reoccurring issue came far too late for me. There are also a few sequences in the film which are tonally confused in their presentation, editing together two perfectly fine scenes in a jumbled manner. Hence, the result feels awkward and out-of-place. Granted, Daniel Kaluuya and Jodie Turner-Smith are excellent in it, albeit with little chemistry between the two. Otherwise, I liked Tat Radcliffe's cinematography. Queen & Slim is ripe with potential but wound up a mixed bag in execution. Though, the good slightly outweighed the bad for me.

Film Assessment: B-

The Good Liar - Watched November 30, 2019

Synopsis: Consummate con man Roy Courtnay has set his sights on his next mark: the recently widowed Betty McLeish, worth millions. But this time, a simple swindle escalates into a cat-and-mouse game with the ultimate stakes.
Runtime: 109 minutes
MPAA Rating: R (for some strong violence, language, and brief nudity)
Who should see it? Adult fans of thrillers, Ian McKellen, and Helen Mirren.

Based on Nicholas Searle's novel, The Good Liar is directed by Bill Condon and written by Jeffrey Hatcher. Its twists are anything but predictable, and it's relatively engaging once it gets going. Ian McKellen and Helen Mirren are delightful and play nicely off one another, as per usual. It's nothing extraordinary, but worth watching from home.

Film Assessment: B-

The Report - Watched November 30, 2019 (Prime Video)

Synopsis: Idealistic Senate staffer Daniel J. Jones, tasked by his boss to lead an investigation into the CIA's post 9/11 Detention and Interrogation Program, uncovers shocking secrets.
Runtime: 119 minutes
MPAA Rating: R (for some scenes of inhumane treatment and torture, and language)
Who should see it? Adult fans of procedural dramas.

Written and directed by Scott Z. Burns, The Report brings light to a troubling aspect of more recent American history. As the Senate pursues a paper trail, Burns wisely chose to depict the torture techniques in question to enliven things and better convey the inhumane and unreliable nature of this form of interrogation. Adam Driver has quickly become one of my favorite actors working today. Here, he’s concentrated but exudes a quiet intensity that comes to fruition in one critical emotional outburst. The subject matter of The Report is consistently gripping due to its desire to unfurl the truth, even when the research and impassioned Senate discussions may not be. Burns is keenly aware that the political jargon and procedure may deter viewers, so he uses that to his advantage. The length of time required to carry out the investigation, as well as the limitations imposed by the bureaucracy, are downright aggravating, as they should be.

Film Assessment: B