'Solo: A Star Wars Story' Review

Nominated For: Best Visual Effects. 

Solo: A Star Wars Story chronicles the early escapades of a young Han Solo as he winds up deep in the dark, dangerous criminal underworld and joins a crew of smugglers looking to pull off a huge heist for a notorious crime lord.

Now it's no secret that Solo: A Star Wars went through some significant behind-the-scenes drama, as reports of the director shake-up and extensive reshoots were highly publicized and it was all slung around by the press as though this film might be Lucasfilm's first flop. For those curious what I'm referring to, directing duo Phil Lord and Chris Miller were taken off the project mid-way through production last summer due to creative differences only to be replaced by the Academy Award winning director Ron Howard. We recently saw something similar happen to Justice League, so I'm sure many have feared the worst since the news broke, but I've gotta say that the change-up is not noticeable in the slightest within the context of the film itself. You can tell this is a film guided by a singular vision at the helm of it all. It's not a hodgepodge of conflicting voices strung together by a committee purely to sell more merchandise.  

Howard's actually got something else in store for Star Wars fans. Solo is an origin story for Han in the vein of a western/gun-slinger with a youthful exuberance and the added benefit of a heavy criminal element. While Howard certainly deserves credit for the execution of it all (especially considering the amount of time he had), I've gotta hand it to Lawrence and Jonathan Kasdan for writing a tight script. Larry Kasdan is quite familiar with Han Solo because he's been writing the character since The Empire Strikes Back, and it really shows in the dialogue and story-framework. The scope of the story is small, but the stakes felt intimate as a result, which is precisely how it should be. It's actually quite refreshing to see a blockbuster with such an adventurous spirit that ironically brought Indiana Jones to mind. 

Howard and the Kasdans also found a nice balance between treating fans to fun nuggets of Han's origin and revealing an excessive, unnecessary amount of Han's backstory. For those angered that the Expanded Universe lore was stricken from canon when Disney purchased Lucasfilm, you'll probably be pleasantly surprised to see quite a bit of Han's Expanded Universe history reintroduced in Solo. Of course, there are many easter eggs to be found as well, but I was really relieved to see none of them take precedence over the story at hand as a cheap wink to the fans. While there are certainly moments of fan-service, none of it felt egregious or unnecessary. Although, there's one surprise cameo that will likely confuse casual fans of the franchise. All I have to say to that is you'll understand it if you go watch the animated Star Wars: The Clone Wars series (it's on Netflix). Before I move away from the fan discussion, I should also probably mention that Solo bucks many longtime Star Wars traditions so just be prepared for that. 

Technically, Solo is as proficient as any of the Disney era Star Wars films. There's nothing particularly game-changing for the medium of film or the franchise in general, but the costumes, production design, editing, visual effects, sound editing and sound mix are all very well-polished examples of exemplary work from the crew. It's also worth noting that John Powell composed an accomplished score which occasionally incorporated an appropriate use of familiar John Williams musical motifs while the action sequences on display were quite exhilarating. In particular, I most enjoyed the Conveyex train heist sequence in addition to finally watching the infamous Kessel Run unfold. 

If I were to rattle off some nitpicks, I'd have to start by saying I found it difficult to see everything that was going on in certain scenes due to dim lighting. I largely just found this disappointing because Bradford Young was the director of photography on Solo and I loved his work in Arrival. This perhaps could be chocked down to a poor projector in the auditorium I watched the film in (I'll know for sure after a second viewing), but everything just looked very dark and dingy at times. Part of me thinks the projector was operating perfectly fine and the color palette was just grittier to match the backdrop of the criminal underworld as a stylistic choice, but one can never be too certain. 

One of my favorite things about Star Wars is the world-building that accompanies fleshing out a galaxy far, far away. So, naturally, I'm a sucker for introducing new locales and abstract aliens. However, I found myself a little let down by that component of Solo. The production team did very little to differentiate the "new" planets (some are pre-existing in the canon) from anything seen previously. Normally, I find myself so enraptured by the scenery that I unrealistically wish I could venture there. With Solo, that simply wasn't the case despite top-notch production quality... The settings in Star Wars are almost a character of their own, but they just felt like set dressing in this instance.

In regards to its cast, Solo had some big hurdles to overcome. While he may not have had first shot at portraying the character, Alden Ehrenreich brings new life to Han Solo as a younger, inexperienced version of the beloved scoundrel. Ehrenreich delivers the essence of the character we all know and love while taking ownership of his own version. I'm sure many are skeptical about the idea of anyone else in the role of Han Solo other than Harrison Ford, but I can speak for myself in saying I was assuaged from the get-go. Opposite Ehrenreich is an actor who really doesn't get enough credit... Since The Force Awakens, Joonas Suotamo has put on the big furry suit and chortled onscreen as the big fuzzball we affectionally refer to as Chewie. However, this time, Suotamo gets to shine in ways the previous films simply didn't allow time for since the burgeoning bromance between Han and Chewbacca is a focal part of the film. The chemistry between Ehrenreich and Suotamo makes the companionship between these classic characters completely convincing and it's quite amusing to see their friendship flourish over the course of the film. 

The other familiar face to be found in Solo is Lando Calrissian, who's portrayed perfectly by Donald Glover. Like Alden, Glover brings his own spin to the role that's already been previously popularized by another actor. Glover's take feels like it's entirely his own, yet is also remarkably in line with the precedent previously set by Billy Dee Williams. Glover just oozes the eccentric ol' smoothie charisma required for the role and will charm your socks off. Phoebe Waller-Bridge plugs into the affairs as L3-37, Lando's navigator droid who's a vocal droids-rights activist. Waller-Bridge steals many scenes with some well-timed quips and certainly stood out as one of the funnier characters in the crowded cast.

 

Rounding out the cast, Emilia Clarke, Woody Harrelson, Thandie Newton, Jon Favreau, and Paul Bettany all do a fine job playing a host of characters with mysterious, ever-changing motivations. These are Qi'ra, Tobias Beckett, Val, Rio Durant, and Dryden Vos respectively, but I'm going to stay out of specifics to avoid spoiling anything. 

Lastly, a reoccurring threat for Solo and his band of smugglers is the marauder and leader of the Cloud-Rider gang, Enfys Nest. I found this character to be very cool along with her devoted group of followers and liked how they played into things, but I'll leave it at that since the character's masked and this is a spoiler-free review.

Really, Solo had everything I could ever want from a standalone Han Solo story. In spite of a troubled production, Solo: A Star Wars Story tells a fun, fairly risk-free adventure that I can't wait to experience again. You better buckle up baby, because Solo: A Star Wars Story is the summer blockbuster you're gonna want to ride over and over at light speed!

Film Assessment: B+

Star Wars Speculation: 'Solo: A Star Wars Story' Trailer Talk

Last night a new trailer for Solo: A Star Wars Story was released and I immediately debated whether I should bother posting anything about it or not. On one hand, I enjoyed the trailer and I've already made it a habit to discuss new Star Wars content via this Star Wars Speculation series. However, the new footage didn't really "reveal" much in terms of plot worth analyzing so I figured calling this a "Trailer Analysis" would be a little misleading. Ultimately, I've decided to rundown my favorite things from the trailer and add some occasional context to certain scenery.

**Keep in mind that this is all my interpretation of the scenery. I could be way off mark in regards to speculation, but provided I'm correct, potential spoilers lie ahead.**

'Solo: A Star Wars Story' Trailer Talk

My favorite things (No particular order):

1. Star Destroyer under construction- I love this shot for many reasons. One, we've never seen a Star Destroyer under construction before and it looks awesome. Two, I think the positioning of the camera communicates a lot about Solo's setting. Like Rogue One, you get the sense that the Empire is a powerful force that looms over everything. With the camera looking upward from a dingy, urban setting, you also get the sense this story will be told inside the criminal underbelly of the galaxy. Something that's rarely been examined in a Star Wars movie before. On top of all that, I'm guessing this takes place on Corellia because that is Han's homeworld which is known for building Imperial starships.

2. Enfys Nest and the Cloud-Riders- In my post about the first Solo teaser, I touched on these characters still unaware of who/what they were. At the time, I wasn't even able to provide any names or information for them whatsoever. Well, since then, details have surfaced that they're a pirate gang called the Cloud-Riders who are lead by Enfys Nest. While there's still no official word on this, Enfys Nest is said to be female and she and her gang will play an important role in the story as antagonists of sorts. Although, they supposedly aren't the main villains.

I included them to update my readers with more information and because I think Enfys Nest looks awesome.

I think they may also be trying to retrieve whatever the focal point of Han's heist is as there are numerous speeders in this sequence and I spotted Nest onboard the Conveyex (the train) in the last trailer. 

3. Sabacc- I've already touched on this in a previous post as well, but I believe this will be the game of Sabacc where Han wins the Falcon from Lando. Aside from that, we get another look at the cool crustacean Therm Scissorpunch (who may just have the greatest Star Wars name of all time) and the other aliens who will be present in the scene. I'm spotlighting this because I'm excited to see this sequence play out, I'm excited to hopefully learn the mechanics of Sabacc, and I really like the creature design as they reminds me of all the aliens found in the Mos Eisley cantina. 

4. Chewie's family?- Many have pointed out this shot as possibly introducing Chewbacca's wife Malla and son Lumpy from the Star Wars Holiday Special into canon. However, it's worth mentioning that these characters have already been made canon by the recent Aftermath trilogy of Star Wars novels and this doesn't mean that the Holiday Special itself is canon. Just the existence of the characters. Anyways, this looks like it may be what Chewbacca presumes to be a final farewell as he escapes captivity thanks to Han. I presume he's promising to return one day to free the other Wookies, which we already know happens in the events of Aftermath: Life Debt after Return Of The Jedi.

5. Chewie and Han- Just seeing Han and Chewie together puts a smile on my face, and I'm getting the sense Ron Howard's captured the delightful dynamic between the two based on the banter showcased in the trailer. 

5. "You might want to buckle up, baby."- I love this line because it's classic Lando. I'd say Donald Glover seems to have captured the charming spirit of the ol' smoothie and will be a standout for sure!

6. Chewie slamming someone into the ground- Chewbacca doesn't have on his bandolier here so I presume this will be some sort of slave revolt on the spice mines of Kessel. We'll probably see how Han helps free Chewie before learning the exact circumstances behind Chewbacca's pledged Life Debt to Han. Putting all that aside, seeing Chewbacca running rampant will probably be pretty cool if this shot from the trailer is any indication.

7. Origin of Han's DL-44 blaster- Looks like the film will show us that Han's classic blaster was given to him by Beckett. I'm curious to see if there's any particular reason Han holds the blaster in high esteem. Otherwise, I hope the film doesn't go overboard in explaining the origin of all of Han's things to the point it overtakes the story. 

8. Dryden Vos- Dryden Vos is described in the trailer as big shot gangster who's putting together a crew, so it's only natural that we can assume this crew pertains to the Conveyex heist. What he's after remains to be seen, but it's worth noting that his face is visibly scarred so it may be something that could help heal his face.

This weapon he's wielding is also quite cool and I think it may be a vibroblade of some sort. 

9. Range Troopers- It's always cool to see new Stormtrooper variants introduced in every Star Wars film. I like the look of these range troopers a lot and think it's awesome that they seem to have magnetic boots as they all remained balanced on the moving Conveyex train at various angles.

10. Beckett's advice- I really like what Beckett tells Han when he says "Let me give you some advice: expect that everyone will betray you, and you will never be disappointed." I think it sets up the idea that Han will in-fact be betrayed by someone or multiple people over the course of the film and that will drastically alter his ability to trust others.

General Thoughts: Like Han said in the trailer, I've got a good feeling about this. I'm obviously excited for Solo while others still seem skeptical. I realize the production problems are troubling, but I think Ron Howard seems to have come in and course-corrected things. I'm liking the Western-gunslinger vibe because it suits Han's introduction to a life of smuggling perfectly. I've gotten good impressions from the cast so far and I think the film will be visually impressive regardless of anything else. All I'm hoping for is a fun space adventure and I remain optimistic that Solo will deliver.

-As always, May the Force be with you!

'Three Billboards Outside Ebbing, Missouri' Review

[This review was originally written in December 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Nominated For: Best Picture, Best Actress; Francis McDormand, Best Supporting Actor; Sam Rockwell, Best Supporting Actor; Woody Harrelson, Best Original Screenplay, Best Film Editing, and Best Original Score.
Won: Best Actress; Francis McDormand and Best Supporting Actor; Sam Rockwell.

Three Billboards Outside Ebbing, Missouri posts itself seven months after the awful abduction, rape, and death of Mildred Hayes' daughter, Angela Hayes. The police have yet to find the culprit responsible, so Hayes decides enough is enough, and purchases three billboards outside the small town of Ebbing, Missouri painted with accusatory messages towards the town's cherished chief of police, Willoughby. Naturally, Mildred's billboards stir up quite a bit of controversy amongst the townspeople so conflict brews between Mildred and the Ebbing Police.

Three Billboards Outside Ebbing, Missouri is written and directed by Martin McDonagh, and the film handles grief over family tragedy quite differently than last year's Oscar winning tear jerker, Manchester By The Sea (I probably drew a connection because of the shared casting of Lucas Hedges as well as the similarity of a protagonist struggling with grief over the loss of a child). Where Manchester By The Sea used solemn subtlety to steer its ship, Three Billboards wields overt anger, but thats not necessarily a bad thing. McDonagh has constructed a dark comedy that rides a very narrow line between being somber and hysterical while telling a worthwhile story detailing the adverse effects of anger. Despite the surrounding stigma of being a dark comedy, Three Billboards never undermines moments of drama or tension for a cheap laugh. This isn't Thor: Ragnarok folks... Oops did I let that slip... McDonagh lets dramatic moments breathe, invoking the necessary gravity and seriousness to leave an impression on audiences.

If you're easily offended by callous humor, this may not be the movie for you though. Characters in McDonagh's screenplay are completely uncensored and will say or do things that are incredibly uncomfortable to watch, in the sense that their actions are reprehensible. At first, you will be so shocked at what you've just seen and unsure of whether you should laugh or not, but as the shock value wears away, you'll realize that what you're seeing is actually hilarious in a seriously screwed up sense. That's not to say every erroneous decision made by these characters warrants a chuckle, but there were some messed up moments that had me dying of laughter because of their inherent awkwardness or because they caught me by surprise, and Three Billboards sure is full of surprises.

While Three Billboards accommodates for infinite unforeseen events, these character's don't just spring up out of left field and decide to do something unexpected for absolutely no reason. The causation of these unanticipated events is deeply rooted inside the film as reactionary endeavors in response to something else and you can clearly connect a correlation between each string of misdemeanors, which is precisely why I think McDonagh's screenplay is so fantastic. Everything about it feels realistic. Abrupt things happen, but a practical point of origin always exists. When you watch Three Billboards, you won't think to yourself that you're watching authenticated drama. Instead it feels like you're watching a few days of an actual small town struggle because you never know how things are going to play out.

In fact, almost every character in Three Billboards operates in a gray area. You won't watch and condone Mildred's actions because, quite frankly, her methods are mistaken, and I can't tell you how refreshing it was to see such a flawed protagonist. Mildred's motivations are intrinsically righteous, as she seeks justice for her daughter's killer, but her crude way of going about things is fallacious, not to mention unlawful at times. On the flip-side, there is Sam Rockwell's foul-mouthed racist Officer Dixon. Typically, there's no redemption imaginable for such a character, but I'm surprised to say Dixon's arc was my favorite.

In the beginning, these characters are placed on two opposite ends of a spectrum. Mildred's way of going about things seems ideal and Dixon is despicable at first, but it's their journey towards the other side that effectively emphasizes McDonagh's character study. McDonagh considers the differing results stemmed from approaching situations with unchecked anger and a hateful attitude as opposed to a compassionate demeanor, and he takes great care to ensure everything he has to say about love and anger isn't lost on audiences.

Three Billboards even ticks off all the technical boxes as as it's well-directed, well-shot, and well-edited. It's a competently made film, so there's no weak links in any of those departments. However, the categories that stood out to me most, as being awards worthy, were the hair & makeup (for reasons I can't get into without spoiling the film) and the score composed by Carter Burwell. Burwell's score intelligently incorporates a Spaghetti Western sound, a soulful ditty, and a marching beat that all eventually intertwine as Mildred progresses on her path to see justice. Burwell's themes not only make for insightful accompaniment, but also offer a swell, pleasant sound in and of themselves.

The film's ensemble firmly stand as one of the year's best casts with familiar faces all around, including the likes of Caleb Landry Jones and Lucas Hedges (who each have had a extraordinary year appearing in fantastic films like Get Out, American Made, and Lady Bird). Leading the charge, Francis McDormand forms Mildred with a hardened, human interpretation of bitterness and anger in the face of grief. She's committed to her cause and she won't let anyone stand in her way. It's authentic, raw, and truly one of the best performances from a lead actress all year.

As the well-intentioned Willoughby, Woody Harrelson is provided a ripe role to display his incredible acting range. Harrelson exceptionally imbues pain and tragedy under an outward exuberance, and it's truly terrific. However, it was Sam Rockwell who most surprised me. I'm used to seeing Rockwell play more likable characters, and seeing him step into the shoes of a scumbag was jarring to say the least. This role could have easily became an offensive stereotype in the hands of a less-skilled actor, but Rockwell makes it work and carries the character's compelling arc to fruition.

Three Billboards Outside Ebbing, Missouri simply speaks volumes about how unchecked aggression can ravage the most noble cause, and unfortunately, it's a message many need to hear right now.

Film Assessment: A

'War for the Planet of the Apes' Review

Nominated For: Best Visual Effects.

War for the Planet of the Apes picks up two after the events of Dawn of the Planet of the Apes. Caesar and his tribe of apes are now engaged in guerrilla (or gorilla) warfare against the remains of the U.S. military called in at the end of Dawn. The contemptible Colonel leading the heinous humans is relentlessly searching for Caesar's well-hidden encampment to wipe out the ape leader once and for all. However once an unforgivable act of violence is committed, Caesar sets off on a vengeful quest to end this war and determine the fate of humanity and ape-kind once and for all.

Matt Reeves returns to direct, even taking a hand penning the screenplay alongside veteran franchise writer Matt Bomback, and if one thing is clear from the get-go, it's that Reeves crafted an unabashedly intense work of cinema that will likely subvert viewer expectations. The marketing push promises an all-out war film but War for the Planet of the Apes is a vastly different animal. War for the Planet of the Apes wasn't necessarily what I expected but I'm absolutely okay with that. Instead of relying on the spectacle, Reeves relishes in exploring the characters with a keen focus on the trilogy's thematic undercurrent that war can corrupt virtue. Reeves understands longtime viewers are along to see the end of Caesar's chapter in this saga so he rewards them with a brutal, unforgiving examination of one of cinema's most captivating characters in recent memory. 

The Christ allegories are strong with this ape installment, but they're executed in a tasteful manner. Caesar has to put everything on the line if he's going to commit to the survival of his species and naturally some existential questions are derived from that choice. "How far is Caesar willing to go before he loses his soul?" is one of War for the Planet of the Apes's hair-raising questions and I found the subsequent exploration to be utterly fascinating. Now if only all of today's onscreen storytelling could be so sophisticated!

It's this level of sensational storytelling paired with Reeves' insistence on allowing the camera to linger on the moments of beauty and Michael Giacchino's soulful score that raises the bar for other blockbusters in this day-and-age. I'm a huge fan of Giacchino and his other work but this may very well be his significant collection of compositions yet!

Meanwhile, the tech-wizardry going on over at Weta has gotten out of hand. I'm absolutely certain that every single digital rendering was seamlessly woven into the breath-taking backdrops. I never once questioned the authenticity go anything occurring onscreen because it all looked so lifelike. If War for the Planet of the Apes doesn't pick up the gold statuette for Best Visual Effects this coming awards season, then perhaps humanity deserves to be governed by apes. 

Speaking of awards talk, I think it's about time Andy Serkis received some recognition for his outstanding accomplishments as the most dedicated motion-capture performers around because his performance as Caesar is exceptional. I know it's a highly-contested discussion about how much of a motion-capture performance comes from the visual effects artist and the actor but I don't see why both don't deserve to be awarded. Serkis put in the work and it's his potent performance that demonstrates his radical range as not only a performer, but an actor. It's truly the marriage of ground-breaking vfx and extraordinary acting that allows the character to come together and my, how far Serkis and Caesar have come since Rise of the Planet of the Apes. Oddly enough, I feel the most powerful performances of the year thus far have come from genre-driven film such as Logan, Get Out, and Wonder Woman. Of course we haven't made into the thick of awards season yet, but I've got my fingers crossed that these unconventional choices are rewarded come next February.

One of the unsung heroes of these Planet of the Apes prequels I'm not sure I've adequately acknowledged in my last two reviews is Karin Konoval as the unperturbed orangutan Maurice. Maurice has been with Caesar through thick-and-thin and his sagely advice has kept Caesar on-course so I've always had a soft-spot for the tranquil ape for serving the role of the non-verbal voice of reason. Returning primates worth acknowledging include Rocket, Luca, Red Donkey, Blue Eyes, Cornelia, and Cornelius portrayed by Terry Notary, Michael Adamthwaite, Ty Olsson, Max Lloyd-Jones, Judy Greer, and Devyn Dalton respectively. Amiah Miller also deserves a shout-out for delivering a physical performance on-par with the emerging young-talent of late without uttering a single word. The mute Nova is a serene, uplifting presence who shines in Reeves' brighter blemishes.

Another newcomer Steve Zahn served as an unexpected source of comedic relief in the role of Bad Ape that could have felt out-of-place in this brutal blockbuster, but Zahn nails the comedic timing as quite the unusual ape. 

Where I felt the film fell a little short was with the depiction of it's antagonist. The Colonel could have served as a perfect foil to Caesar, and he does to some degree, but Woody Harrelson doesn't have enough time onscreen to really measure up to the menace of Toby Kebbell's Koba. Harrelson projects a callous conduct onto the Colonel and all of his unspeakable actions carry weight so you understand Caesar's drive for revenge, but the Colonel still comes across as a zealot when things are said-and-done. There's one extensive exposition dump in the entire film that explains the Colonel's motivations and makes him somewhat understandable but never on-par with the former threat. Despite all of the constraints lain by the script, Harrelson does manage to evoke the gravitas of being a formidable foe and his ultimate comeuppance is poetic and played out beautifully by Harrelson.

If you have not seen War for the Planet of the Apes yet, I'd highly recommend the trip to the theater so you can bow down and hail, Caesar! War for the Planet of the Apes isn't just a terrific trilogy closer, War for the Planet of the Apes is a compelling conclusion to the Planet of the Apes simian-flu story that cements the series' stance alongside not only other sci-fi epics, but some of the greatest trilogies ever created. 

Film Assessment: A

'The Edge of Seventeen' Review

The Edge of Seventeen is a coming of age comedrama (I'm not sure if this is a thing, but a comedy/drama) about Nadine, a hysterical and socially awkward teen, and all the trials and tribulations she must endure in her day-to day life as a high school junior. 

Kelly Fremon Craig writes and directs, maintaining a good handle on showing the world through the eyes of an angsty teen while maintaining a sense of believability to her surrounding world and understandable motivations to her abrupt rebellious actions. Her script incorporates relatable entry point characters, ample witty humor, and a charming story (despite being a little too predictable and cliché at times). 

Hailee Steinfeld interjects a tortured vulnerable humanity and charmingly awkward spirit into Nadine, making an interesting protagonist to follow around as you can't help but feel bad for her when life hits her like a freight train with one dilemma after another. 

The supporting performances sprinkled throughout work because the cast embraces the clichés that accompany their respective characters and run with them. Haley Lu Robinson offers an ideal portrayal of a close friend that unintentionally goofs up, Blake Jenner channels the demeanor of a popular and narcissistic brother, Kyra Sedgwick is the troubled parent, Woody Harrelson plays a snarky teacher, and Hayden Szeto's the ideal match for Nadine as virtuous geek Erwin. 

I don't have much else to say about The Edge of Seventeen because aside from the acting, writing, and directing there isn't much to extrapolate from. When it comes down to it, The Edge of Seventeen is a delightfully charming coming of age tale that will likely be championed by any millennials who discover it. 

Film Assessment: B+