10 Best Films of 2016 - Part Two

Ben Foster (left) and Chris Pine in "Hell or High Water"
Photo Credit: Imdb.com

5) Hell or High Water - When a movie of a particular genre comes around, most times you may feel like how it’s going to play out.  However, with director David Mackenzie’s Western heist-drama, he manages to divert those expectations and offer something more.  His film follows brothers Toby and Tanner (Chris Pine and Ben Foster, respectively) who must resort to robbing banks in order to earn money to save their family’s farm from foreclosure, all while being trailed by two Texas rangers (Jeff Bridges and Gil Birmingham).  The unbreakable sibling bond between Pine and Foster’s characters keep you invested in their mission, as does the brotherly relationship between the two Rangers that interestingly parallels the two brothers.  Just as screenwriter Tayler Sheridan did with last year’s crime thriller “Sicario,” he excels in developing deeper moments for the characters in between the action.  With the help of Mackenzie’s direction, the film is able to avoid becoming a typical fast-paced heist film and is instead a meditative look at the relationships between the brothers in their life of crime and the law enforcers who are chasing them, and it manages this while still delivering a couple of pulse-quickening scenes of confrontations between Toby, Tanner, and the rangers.  This movie is a gritty, yet beautiful look at brotherhood on both ends of the law that manages to have you care for both pairs of characters, a testament to the talent on either side of the camera.

Amy Adams in "Arrival"
Photo Credit: Imdb.com

4) Arrival -  Any science-fiction movie these days can boast great visual effects, but a film of this genre should also propose eye-opening ideas, and director Denis Villeneuve achieves this for his latest film.  The narrative follows the appearance of 12 mysterious spacecrafts that land on Earth, which leads the U.S. government to contact renowned linguist Louise Banks (Amy Adams) to learn how to communicate with them and decipher the aliens’ reasons for their visit.  Adams delivers one of her most complex and emotional performances to date, one that reaches an even deeper dramatic depth following the film’s reveal.  Based on Ted Chiang’s short story, “Story of Your Life,” Eric Heisserer’s screenplay captures the spirit of the novel while also adding some unexpected and relevant political commentary, making this the type of movie that we need at the moment.   With Villeneuve’s direction, he adds artistry to every shot, and just like his other films, it makes you want to sit back afterwards and ponder what you watched.  Because of the ideas that complex sci-fi films have the potential to offer, the genre should always set out with the intention to make viewers think, and Villeneuve achieves such a feat.  Not since Steven Spielberg’s “Close Encounters of the Third Kind” and “E.T. the Extra-Terrestrial” has a film involving alien contact been so magical, which makes “Arrival” all the more deserving to be ranked among those classics.

The cast of "Sing Street"
Photo Credit: Imdb.com

3) Sing Street - Over the years, Irish screenwriter and director John Carney has displayed a talent for creating stories revolving around aspiring musicians, while also including new songs you can’t help but listen to over and over again.  He did it with “Once” and “Begin Again,” and he did it this year with his newest film.  The story centers around 15-year-old Conor (Ferdia Walsh-Peelo) who tries to form a band to win the love of aspiring model Raphina (Lucy Boynton).  Upon further practice, Conor and his band will realize they have the talent to take their music further than they imagined.  Although Walsh-Peelo and Boynton are young actors, their performances are mature enough to help the movie go beyond its boy-meets-girl narrative.  These characters are more profound than you would expect, which makes their journey to greatness all the more interesting.  The movie also provides one of the best soundtracks of any film this year, with original songs like “Drive It Like You Stole It,” “The Riddle of the Model,” and “To Find You,” and the richness of these songs strengthens the story and makes you believe this band has the skills to make it big.  Carney provides a vibrant, emotional, and optimistic view of what it takes to follow your dreams, and upon seeing this film in theaters, I was in love with what I had watched, and once you see this movie, you will be too. 

Casey Affleck (left) and Lucas Hedges in "Manchester by the Sea"
Photo Credit: Imdb.com

2) Manchester by the Sea - The concept of a child losing a parent, or parents, and then having to build a relationship with their new guardian may seem like a been-there-done-that type of story, but writer and director Kenneth Lonergan takes it in a beautiful new direction in his latest drama.  The story follows a janitor named Lee (Casey Affleck) who learns that he has been named the guardian of his 16-year-old nephew, Patrick (Lucas Hedges), following the death of the latter’s father (Kyle Chandler).  After moving in with Patrick, Lee will soon have to face his troubled past in his hometown.  While Affleck’s performance tends to be downplayed throughout the movie, it’s one that still manages to be intensely moving, coming to an achingly emotional high in a flashback scene that stuns you with its heartbreak.  Sharing the screen with Affleck is Hedges, who delivers a star-making performance as someone who is trying to cope with his father’s passing and the demands of growing up.  Lonergan’s screenplay and direction carefully develop the relationship between an uncle who has to deal with his past, and a nephew who has to focus on his future, all of which makes this an affecting and layered look at loss, family, and the need to do what’s best for others.  When you see this movie, it will be impossible not to be moved.

Alex Hibbert (left) and Mahershala Ali in "Moonlight"
Photo Credit: Imdb.com

1) Moonlight - One of the powers of cinema is giving you a realistic look at the lives of others and how they live.  When this happens, it can sometimes be a difficult experience, but still rewarding in what it teaches you.  Such is the case with writer and director Barry Jenkins’ coming-of-age chronicle.  Taking place in Miami, the story follows a young African-American boy named Chiron as he grows up in a rough neighborhood and has life-changing experiences that will shape him into the person he will soon become.  All three actors who play Chiron (Alex Hibbert portrays him as a child; Ashton Sanders portrays him as a teenager, and Trevante Rhodes portrays him as an adult), are all in sync with the essence and emotions of the character, almost as if the same actor portrayed him for all three stages of his life.  The highlights from the supporting cast include Mahershala Ali as Chiron’s surrogate father and Naomie Harris as Chiron’s troubled mother.  With Jenkins’ screenplay and direction, he provides us with a detailed look at Chiron’s life and the difficulties that challenge him as he takes the plunge into adolescence and adulthood.  While watching this film, we have the opportunity to witness the evolution of a boy becoming a man, an extraordinary journey of self-discovery.

Come back in February to see my predictions for the 89th Academy Awards!

10 Best Films of 2016 - Part One

Anya Taylor-Joy in "The Witch"
Photo Credit: Imdb.com 

10) The Witch - These days, it seems like for every great horror movie, there are 10 bad ones.  But when you one gets released that breaks apart from the rest, it’s a terrific feeling to experience that film, which is what happened with Robert Eggers’ directorial debut.  He tells the tale of a Puritan family in 17th-century New England that’s banished from their village because of their radical religious beliefs.  Shortly after establishing their new settlement on the edge of some woods, the family’s infant son is mysteriously taken from them, and they soon realize there may be a witch living just beyond their home.  Anya Taylor-Joy gives a wonderful breakthrough performance as the film’s protagonist, and the rest of the cast does an effective job in conveying the paranoia and dread that slowly tears away at their lives.  One of the strongest qualities of Eggers’ direction and screenplay is how, instead of going for outright horror and cheap jump scares, he lets the interesting characters and deeply unsettling atmosphere do the work, and the film is tremendously better because of that.  This isn’t only one of the best horror movies to come out in the last few years, but it’s also a chance to see the rise of a new filmmaking talent.

From left: Joel Edgerton, Michael Shannon, Jaeden Lieberher,
and Kirsten Dunst in "Midnight Special"
Photo Credit: Imdb.com

09) Midnight Special - After several superb films about rural America and some of their everyday individuals being thrust into significant circumstances, writer and director Jeff Nichols takes this narrative approach to the science-fiction genre.  Set in Texas, a father, Roy (Michael Shannon), and his friend, Lucas (Joel Edgerton), rescues the former’s young son Alton (Jaeden Lieberher) from a religious group that views him as a higher being, due to his otherworldly abilities.  While on the run from the cult, Roy, Lucas, Alton, and his mom, Sarah (Kirsten Dunst) also have to evade the FBI, who believe Alton to be a risk to national security.  When you look at the very different stories in Nichols’ filmography, you see that he’s someone who taps into people’s prime instinct to protect those they love, and it has never been more evident than in this film.  The performance from Shannon is understated, yet emotional as a father who will guard his son at any cost, and Lieberher offers an aura of mystery around his character that keeps us interested in his journey.  And Nichols, always a subtle filmmaker, succeeds in making us ponder the story’s deeper implications by placing clues in certain bits of dialogue, instead of explaining every little thing.  He engages his viewers to think, making this the type of sci-fi movie the film studios should be giving us more often.

Monkey (Charlize Theron), Kubo (Art Parkinson), and
Matthew McConaughey in "Kubo and the Two Strings"
Photo Credit: Imdb.com 

08) Kubo and the Two Strings - Now more than ever, Disney is a major force in big-screen animation.  However, Laika is a studio that seems to escape our minds (including mine) when it comes to this filmmaking style, and this shouldn’t be the case, especially with their latest stop-motion animation masterpiece from director Travis Knight.  The story takes place in ancient Japan and follows a young boy named Kubo (Art Parkinson), who must find a powerful suit of armor that once belonged to his late father and use it to defeat a malevolent spirit from his past.  Aside from talented voice work by Parkinson, Charlize Theron (a standout), Matthew McConaughey, Rooney Mara, and Ralph Fiennes, the film’s visuals are vibrant and beautiful, offering some of the finest animation in any movie this year.  It’s one of those films where you really feel like there’s literal magic being performed on the screen, from the well-rounded characters to the emotional story to the striking details of the lands visited by the main trio.  This film effortlessly immerses you in its world, transporting you to a fun, thrilling, and rich fairy-tale adventure, making this movie one of the most enchanting cinematic experiences of the year.

Clockwise from bottom: Keegan-Michael Key, Tami Sagher,
Mike Birbiglia, Kate Micucci, Chris Gethard,
and Gillian Jacobs in "Don't Think Twice"
Photo Credit: Imdb.com 

07) Don’t Think Twice - The road to stardom is wrought with challenges, as some eventually make it to the big time, while others aren’t quite as lucky.  This is a concept that’s explored both comically and dramatically in writer and director Mike Birbiglia’s latest film.  The story centers around a close-knit group of six improv performers (Birbiglia, Keegan-Michael Key, Gillian Jacobs, Kate Micucci, Chris Gethard, and Tami Sagher) in New York City.  When two of them are given the chance to audition for the famous variety show, “Weekend Live,” the rest of the troupe must come to realize that some of them may not find success in show business.  The cast members display strong on-screen bonds, and the film is accomplished in focusing on all of its main characters to equal degree, giving us enough insight to see what goes on in their day-to-day lifestyles as they strive to make their dreams come true.  Although the film has its funny moments, Birbiglia succeeds with mixing in the bitter reality that some of the characters must face when it comes to their aspirations.  It’s an honest portrayal of what it means to work towards the spotlight, while also dealing with the possibility of rejection and having to move on, all of which creates a genuineness that gives the movie its heartfelt impact.

From left: Blake Jenner, Glen Powell, Temple Baker,
and Forrest Vickery in "Everybody Wants Some!!"
Photo Credit: Imdb.com 

06) Everybody Wants Some!! - Richard Linklater is a top writer and director when it comes to dealing with coming-of-age stories, and he brings us another one with his newest comedy.  The film takes place in Texas during the ‘80s and centers around Jake (Blake Jenner), an incoming college freshman and baseball pitcher who, over the last few days before classes begin, will build relationships with his teammates and learn to navigate the wild frontier of college.  The whole cast provides very natural performances, coming across as actual people behaving how true college students would, making this movie not just fun, but also relatable.  While some viewers may see this as Linklater replicating the nostalgic formula he used when portraying the ‘70s in “Dazed and Confused,” there’s some truth to that, but because of the change in the time and setting, the experiences that the characters have are different enough to make this movie its own entity.  Rather than having a traditional plot structure, the narrative is made up of vignettes that follow Jake and his friends through the college landscape, which allows the story to have a sense of randomness as the characters go from one fun experience to another, all while not knowing what kind of antics they will get into next.  Just like “Dazed and Confused,” this film will have viewers reminiscing about the crazy and unforgettable times they had as young adults, a sort of yearbook in the form of a movie.

Come back next week for part two of the 10 best films of 2016!

A Week of Loss and Newfound Strength

Natalie Portman in "Jackie"
Photo Credit: RottenTomatoes.com

Following the assassination of President John Fitzgerald Kennedy, American citizens were glued to their televisions as they watched for any updates on the events that occurred.  With the country being thrown into uncertain times, they wanted to make sure they knew everything that was going on during those dark days.  Despite keeping informed, what the public didn’t see was what First Lady Jacqueline Kennedy was doing to keep her family intact and prepare for her husband’s sendoff.

In director Pablo Larraín’s biographical drama, “Jackie,” he offers us a view of the former First Lady unlike we’ve ever seen before, one that’s filled with the emotions of her going through the loss of her husband and doing what she can to make sure people remember him.  And with a stunning lead performance from Natalie Portman, we are given a poignant look at one of the most somber weeks for both the White House and America.

While living in Hyannis Port, Massachusetts, Jackie Kennedy (Portman) is visited by “Life” magazine reporter Theodore H. White (Billy Crudup), who wants to interview her about her final days in the White House.  During their talk, Kennedy will recount the time between her husband’s assassination and funeral.

Portman delivers one of the best performances of her career.  She use her acting talents to embody Jackie perfectly with the former First Lady’s looks and voice, displaying a steely persona as her character works hard to navigate herself, her family, and America in the aftermath of a harrowing event.  Through the view of a camera that never seems to leave her, Portman lets us see every thought and feeling that her character experiences as Jackie plans for what’s to come.  Watching Jackie transition from the shock and horror of the assassination to displaying a firmness in how her husband should be remembered is to see someone do what they can to take charge during the hardest of times, and Portman is superb in carrying this film and bringing this true story to realization. 

The cinematography by Stéphane Fontaine makes extensive use of close-ups throughout the film.  When filming Portman in this style during much of the movie, he adds to the intimateness that the audience experiences while watching Jackie’s character.  By doing so, we get a thorough view of what she’s feeling and thinking, a window into which we see what wasn’t on the news.  These close-ups reveal much about her inward journey as she tries to make sense of what’s happening, and Fontaine does all that he can bring us into her psyche.

The screenplay by Noah Oppenheim offers a very detailed look at the short time frame of the film.  It’s not a conventional biopic in that it shows Jackie’s life in its entirety, but rather focuses on a portion of her life that impacted both her and the country.  This is a story that keeps all of its attention on her, as the film doesn’t go for more than two minutes without Jackie appearing in a scene.  Because of this, the narrative allows us to have a deeper understanding of this turning point in Jackie’s life, a turning point by which she collects her strength and gives her husband the farewell she knows he deserves.  This emphasizes the importance she feels for historical legacy, a concept that’s fascinatingly explored throughout the film and underlined by some occasional scenes of Jackie filming the February 1962 White House tour and explaining her restoration process of the presidential residence.  However, one small issue with the script is its use of the interview as a framing device.  Although it’s an interesting aspect, it sometimes takes away from the narrative focus of Jackie’s last days as a First Lady.

With the help of Fontaine’s camerawork and Mica Levi’s score, as well as its utilization of some of the music from Alan Jay Lerner’s musical, “Camelot,” Larraín is able to craft this biopic into a psychological examination of Jackie as she goes through an emotionally arduous time.  Through his direction, Larraín forgoes the conventions of other biopics and instead uses his filmmaking talents to delve into the mind of Jackie and capture the history of the film’s events.  “Jackie” shows the trepidation and uncertainty that follows the movie’s devastating events, but it also acts as a testament to the strength we discover in ourselves in the wake of a tragedy.

Final Grade: A-

From a Boy to a Man, a Life Presented in Three Stages

Alex Hibbert (left) and Mahershala Ali in "Moonlight"
Photo Credit: Imdb.com 

Coming-of-age stories have some of the most lasting effects on the viewer.  Watching a character grow into the person they set out to become is the type of narrative that holds the abilities to connect with any audience.  In some form or another, we see ourselves in these characters and can’t help but look for any parallels they may have with our own lives.  

This is something we have the opportunity to see in director Barry Jenkins’ sprawling and dramatic chronicle, “Moonlight.”  You may have heard an abundance of feedback about the movie from some prominent film festivals earlier in the fall, and there are reasons why.  Between its searingly emotional story and quiet, yet explosive performances, your 2016 moviegoing won’t be complete until you see this film.

Chiron (Alex Hibbert) is a shy, young African-American boy living with his neglectful mother (Naomie Harris) in a rough Miami neighborhood.  He soon becomes attached to Juan (Mahershala Ali) a tender and fatherly crack dealer, and his caring wife, Teresa (Janelle Monáe).  As Chiron goes on a journey from adolescence to adulthood, several personal events will occur that will lead him on his path into the man he’s meant to become.

The role of Chiron is played by three actors at different stages of his life: Hibbert portrays him as a child, Ashton Sanders portrays him as a teenager, and Trevante Rhodes portrays him as an adult.  Despite three actors playing this role, it’s miraculous to see each of their portrayals be in sync with each other when depicting Chiron’s persona.  It’s something that reminded me of Richard Linklater’s “Boyhood,” where the main character was played by one actor and filmed for 12 years of his life.  Although this technique isn’t used in “Moonlight,” the ability for these actors to all get in Chiron’s mindset to the same successful degree, from when we first see him as a child to when he becomes an adult, almost has the feeling of Jenkins using the same actor for the entire movie.  Even though Chiron is a withdrawn individual throughout most of the film, Hibbert, Sanders, and Rhodes are superb in showing us hints of his desires to be the person he wants to be, giving us some hope for him as he goes through the hardships of his home life and school life.  This is a movie about a young life unfolding, and this trio of actors does a tremendous job in staying in sync with the essence of the main character.

Mahershala Ali’s performance as a father figure to Chiron is one that provides the viewer with a sense of comfort and protection, which is something Chiron needs.  The interactions between these two characters help provide the foundation for Chiron’s confidence in emerging from his shell, with Juan imparting wisdom onto Chiron to give him the boost in confidence he needs.  The gentleness and warmth of his persona draws us and Chiron into how he views the world, making Juan the person that Chiron needs and deserves in his life, and Ali’s performance gives you the reassurance that Chiron’s life may just turn out all right.

Naomie Harris doesn’t hold back when playing Chiron’s mother.  She makes us infuriated by her character’s inattentiveness towards her son who needs her love more than anything, but we also understand she is the way she is because of her exposure to the troubles of her neighborhood.  So, despite being upset with her, we are still able to sympathize with her, and the final scene between her and Chiron solidifies those sentiments because, just like her son, she wishes to be a different person, and this adds a whole other dynamic to their mother-son relationship.

The screenplay by Jenkins is divided into three sections, each one depicting a different stage in Chiron’s life.  Each of these segments takes up about a third of the movie, but within those thirds, we are thrust into Chiron’s journey with such intimacy that we learn so much about him, despite the movie not even being two hours long.  Although this is one of those stories that may seem relatively simple on the surface, there’s a lot that’s going on in Chiron’s head, and he lets his feelings out little by little as he grows older.  The narrative builds his life on moments that are emotionally liberating, all of which are punctuated with such an honest examination of someone who’s trying to emerge into the person that he ultimately wants to become. 

Through a wonderful use of quietness and close-ups, Jenkins’ direction makes you feel the emotional charges that are occurring between his characters, whether those charges be filled with happiness, anger, love, hatred, or anything else.  He brings us close to the hardships that permeate Chiron’s life, yet manages to always provide us with a sense of hope that Chiron will have an opportunity to break away towards something better.  With “Moonlight,” the viewer is given the chance to step side by side with Chiron, placing them on the type of journey you won’t get in any other film this year.

Final Grade: A  

When Aliens Visit, a Linguist Works to Break the Language Barrier

Amy Adams in "Arrival"
Photo Credit: Imdb.com 

Over the course of the science-fiction genre, the concept of aliens coming to Earth has always been an enticing premise.  Whether they come to help, harm, or simply learn about our civilization, there’s a chance it will serve as a great story, if handled well.  One of the best aspects about films like “E.T. the Extra-Terrestrial” and “Close Encounters of the Third Kind” is how they offer a memorable sci-fi adventure while providing a thought-provoking story

After several rock-solid thrillers, director Denis Villeneuve now brings his latest triumph with “Arrival.”  It’s not often that we get a movie such as this in the sci-fi genre, but it’s a true gift when we do.  With a strong central performance, awe-inspiring visuals, and an intelligent narrative, this is the type of sci-fi movie that audiences deserve.

One day, a dozen alien spacecrafts land at various locations around the world.  Wanting to attempt communication, the military recruits linguist Louis Banks (Amy Adams) to decipher the aliens’ language, pairing her with theoretical physicist Ian Donnelly (Jeremy Renner).  As their work progresses, they will soon realize the true motivations behind the aliens’ visit.

Amy Adams delivers another stunning and emotional performance.  While playing an intellectual who’s an expert in her field, Adams superbly shows the awe her character feels when confronted with such otherworldly mysteries, mirroring the audience’s sentiment of watching the grandness of the story unfold.  Throughout her screen time, the interest and dedication her character displays in her work keeps us invested in her scientific discovery and thrive on the thrill of learning about something extraordinary.  However, beneath all of this, there are pieces of something deeper within her performance, the details of which I don’t want to disclose due to possible spoilers, but it all adds to another rich showcase for Adams’ acting talent.

The screenplay by Eric Heisserer, which is based on Ted Chiang’s 1998 short story, “Story of Your Life,” is a superb adaptation of the source material and that rare instance where the film is as enthralling as the story on which it’s based.  The movie brilliantly displays Chiang’s themes of fate and time, which bring you to an ending that’s uncommonly and refreshingly affecting for a modern, mainstream sci-fi film.

While the short story was very detailed and technical when explaining the linguistic rules of the aliens, the film condenses that information, yet still retains the intrigue of how their language works.  It all serves as a different way in which to look at the aliens’ world without ever seeing it.  In the film, the learning experience through which the main characters go effortlessly draws us in as we witness the interactions between the humans and aliens when they try to understand each other, all of which gives us the feeling of looking through a window of a laboratory and watching a scientific breakthrough take place.

One of the major differences between the short story and film is how Heisserer injects the narrative with some commentary on the current state of the world.  Without giving too much away, the film touches upon the essential need for people to work together when in the middle of such a world-changing occurrence, and this is an encouraging and inspiring idea to have in a movie as we live through times of harmful division.  In the end, Heisserer not only captures the emotional spirit of Chiang’s story, but he heightens that emotion with the use of some political relevance.

Villeneuve has crafted a film that recalls the majesty, magic, and poignance of Steven Spielberg’s “Close Encounters of the Third Kind,” as it carries similar elements of humans trying to communicate with otherworldly visitors and using ingenious methods to connect with these intelligent beings.  It all comes down to the importance of people coming together with the hopes of deciphering a grand discovery.  

Villeneuve is new to the sci-fi genre, but he brings his talent for capturing deep stories to “Arrival” and doesn’t let the visuals overpower the narrative, no matter how grand they may be.  After this film, Villeneuve has shown he can conduct himself well with sci-fi, so it’s safe to say we have a lot to be excited for when he directs the “Blade Runner” sequel, “Blade Runner 2049,” which will be released in October 2017.  After delivering masterful thrillers for his previous three films, Villeneuve will have much to contribute to the futuristic world that director Ridley Scott brought to the screen 34 years ago.  

“Arrival” is the type of sci-fi movie of which we need more, one with startling beauty, drama, gorgeous cinematography, and impressive special effects.  It’s one of those moviegoing scenarios where you come out of the film having gained much more than what you expected, and you can’t miss this opportunity to experience that.

Final Grade: A

Once a Neurosurgeon, Now a Weaver of Spells

Benedict Cumberbatch in "Doctor Strange"
Photo Credit: Imdb.com

Back in May, the Marvel Cinematic Universe commenced Phase Three with the pivotal chapter, “Captain America: Civil War.”  Despite the major events of that film, the phase, thankfully, didn’t feel like it began too big, too soon.  That’s because there are still so many aspects of the wider story to introduce, and we know there are many exciting things that have yet to come in future installments as we get closer to the two-part “Avengers” finale.  At this point, Marvel has something big to add to their expanding narrative: the use of magic.

In director Scott Derrickson’s “Doctor Strange,” he’s tasked with bringing a film that’s visually different from what we’ve seen before, a movie with a heightened sense of the supernatural.  Although the film is sometimes hindered by the usual issues of certain Marvel films from the past, it’s still a visual treat anchored by a piece of casting perfection in the titular role.

Dr. Stephen Strange (Benedict Cumberbatch), is a renowned neurosurgeon who sustains career-ending injuries in a serious car accident.  Feeling lost, he goes on a journey of healing to Nepal, where he comes across a group of individuals who train in the mystic arts to defend Earth against threats from other dimensions.  Under the tutelage of the Ancient One (Tilda Swinton) and one of her fellow sorcerers, Karl Mordo (Chiwetel Ejiofor), Stephen is given the opportunity to learn their powers.  When sorcerer Kaecilius (Mads Mikkelsen), sets out to release an otherworldly force, Strange will have to use his newly honed abilities to combat this evil.

It’s obvious that Benedict Cumberbatch’s performance draws considerably from his work on the BBC series, “Sherlock,” which turns out to be wonderful for the character of Doctor Strange, as both of these roles has Cumberbatch playing someone who has boundless intelligence and a humorously snarky and sarcastic attitude.  Because of this, Cumberbatch’s persona in the role practically mirrors that of another actor who plays a Marvel character, Robert Downey Jr. as Tony Stark/Iron Man in the “Iron Man” films, which will be a tremendous duo to watch when they meet up for the “Avengers” finale.  With his performance, Cumberbatch proves to be one of the best additions to the ever-growing cast of the MCU.  

Going into this film, you know it’s going to be Cumberbatch’s show, but there are still a couple of other supporting cast members who get their own memorable moments, particularly Swinton and Ejiofor.  However, in the case of Rachel McAdams, who plays surgeon Christine Palmer, has enough chemistry with Cumberbatch, her character isn’t as developed as it should be and will hopefully be developed into a more in-depth role that suits McAdams’ talents, instead of the character being mostly a love interest.

As is an issue with several films of the MCU, the main antagonist is rather forgettable.  Mikkelsen only gets a couple of scenes with actual dialogue, and then a majority of his screen time is him engaging in fights against Doctor Strange.  With the intense villainous role he had 10 years ago in the James Bond film “Casino Royale,” I was looking forward to him turning in another memorable performance as an antagonist.  However, much like Christopher Eccleston’s Malekith in “Thor: The Dark World,” there’s evidence of a better performance lurking beneath, but Mikkelsen isn’t given much of a chance to shine through.  The villains should be allowed to give as big of an impression as the heroes, especially if you’re going to get talented actors and actresses to portray these villains.

The screenplay by Derrickson, Jon Spaihts, and C. Robert Cargill, which is based on the characters created by Stan Lee and Steve Ditko, can’t help but use the typical Marvel formula; which is kind of letdown because given how this film expands the concept of magic and the supernatural in the MCU, this would have been a great opportunity for Marvel to highlight that change of route by deviating further from their usual blueprint.

On the plus side, the narrative still serves as a competent introduction to Doctor Strange’s character, giving us an insight into his intellect and ambition to master his new abilities after losing the ones he gained after years of practice, and this makes him a character I’m looking forward to seeing in future sequels.

Director Derrickson hasn’t made many big-budget films in the past, as he’s mostly been involved in the horror genre with inexpensive films like “Deliver Us from Evil,” “Sinister,” and “The Exorcism of Emily Rose.”  However, with “Doctor Strange,” he assimilates well into the MCU, delivering some very imaginative action sequences.  And while the story itself seems conventional in terms of what we’ve seen from Marvel, Derrickson doesn’t shy away from going weird with the imagery, providing us with psychedelic, kaleidoscopic visuals that are some of the best Marvel has offered in any of their films.

While “Doctor Strange” isn’t quite the break from formula I was hoping from Marvel, it does look like it has the potential to become more out-there in future sequels.  If Marvel is able to do this, I’m sure the next spell Doctor Strange casts will be even greater.

Final Grade: B

From the Window of a Train, a Look into Someone Else’s Life

Emily Blunt in "The Girl on the Train"
Photo Credit: Imdb.com 

At the start of director Tate Taylor’s mystery thriller, “The Girl on the Train,” Rachel Watson (Emily Blunt), reflects the act of watching people from the seat of her train, wondering about the lives of those she sees, thinking about who they are, what they do, where they are going.  Just like her, we’re all guilty of people-watching from time to time, whether we like to admit it or not.

This is an act that brings the main character into the life-changing events of the film, which is based on the 2015 bestselling novel by Paula Hawkins.  Despite a few issues with the overall story, the film still benefits from a superb lead performance and competent direction.

Every day and night, Rachel, an unemployed and divorced alcoholic, rides the train into and out of New York City.  On her trip, the train always stops in front of a house in a suburb, where Rachel often catches a glimpse of a loving husband and wife, Scott and Megan Hipwell (Luke Evans and Haley Bennett).  She views them as an idyllic couple and constantly fantasizes about the life they share.  However, one morning, Rachel witnesses something that shatters her romanticized perception of them.  When Megan goes missing shortly after, Rachel tries to figure out what happened to her, and her involvement in the search soon makes the detectives believe she may be a suspect.

The character of Rachel may be deeply flawed, but that doesn’t hinder her from being sympathetic.  Her flaws make her interesting, and you care about what happens to her.  As soon as the film begins, she’s at her seat on the train, keeping to herself and her thoughts, and we see how her loneliness has taken a toll on her, with her eyes revealing a sense of longing that she experiences day to day.  However, when it comes time for her character to snap out of her gloom, Blunt expertly displays the change in character Rachel must make in order to find out what happened to Megan.  With her quiet intensity from then on, Blunt further shows she has the power to carry a movie and is the main reason why this film works at all; otherwise, the movie would succumb to its issues.  

Although the acting is fine all around from the supporting cast, some of the characters are more memorable than others, particularly Justin Theroux as Rachel’s ex-husband and Allison Janney as one of the lead detectives.  However, the supporting player who offers the most to the film is Haley Bennett.  Her eyes and tone of voice contribute to the palpable air of mystery surrounding her, and we learn a lot about her background throughout the movie, giving us an idea of her motivations behind the things she does.  After she continues to disclose more about herself during the film, her best scene comes later in the movie, where she chooses to reveal details of a shattering event from earlier in her life, and we’re given a view of the pain she’s been hiding beneath the facade of the seemingly white-picket-fence perfection of her suburban lifestyle.

Although the screenplay by Erin Cressida Wilson experiences some of the same issues from the novel, it still manages to fix a couple of them, particularly making the narrative more streamlined.  In the novel, there were several portions where we didn't learn anything of importance, but the film takes out all of that tedium to bring us something a little more interesting.

One of the main issues the screenplay has to contend with is overcoming how it’s based on a novel that holds a few similarities to Gillian Flynn’s 2012 bestselling novel, “Gone Girl.”  Both stories focus on a woman who goes missing, has multiple narrators, and an unreliable narrator.  However, what helps this film separate from “Gone Girl” is how it uses the unreliable-narrator approach.  In “Gone Girl,” the narrator was untrustworthy because of the lies they told; but in “The Girl on the Train,” this approach is used with a main narrator who’s untrustworthy because she can’t rely on her memories due to blacking out.  This alternate angle for the unreliable narrator helps keep the concept fresh and audiences invested in the main character’s plight.  

Seeing as the story involves Rachel trying to recover the memories she loses when blacking out, this requires the narrative to manage transitions back and forth between the present and Rachel’s fractured memories.  With the help of editor Michael McCusker, Taylor is able to make this presentation of the story flow smoothly.

With Taylor’s two biggest movies before this being “The Help” and the James Brown biopic “Get on Up,” he shows he has the skill for handling a mainstream thriller, even if the film is hindered by a couple of the problems found in the book.  He brings the sense of voyeurism found in Hawkins’ novel, putting us in Rachel’s place as the onlooker of other people’s lives, which is emphasized by an abundance of point-of-view shots. 

The novel has several Hitchcockian elements, and Taylor’s direction emphasizes them to good effect.  These elements include trains, alcohol, blondes, voyeurism, the double, and placing an average person in significant circumstances.  In fact, if the conclusion was less underwhelming and more of the supporting characters had as much depth as the main protagonist, this is a movie I can imagine Alfred Hitchcock directing.

“The Girl on the Train” may not take you to the destination you were exactly hoping for, but it offers a rather entertaining ride for anyone looking for a quick thrill.

Final Grade: B   

Trying to Make it Big in the Big City

From left: Mike Birbiglia, Kate Micucci, Gillian Jacobs,
Keegan-Michael Key, Chris Gethard, and Tami Sagher in "Don't Think Twice"
Photo Credit: RottenTomatoes.com

In terms of all of the different forms of acting you’ve seen, you’ll probably think of film, television, and Broadway, for the most part.  With the stories the actors have to tell, they have the benefits of scripts to help them bring the narrative to life and captivate their audiences.  However, there’s one form of acting that may sometimes go forgotten, and that’s the art of improvisation.  In these groups, the actors make up their stories on the spot and must keep the energy going with as little dead space as possible so they can keep their audiences entertained.  Given how this art form requires the actors to always have their imaginations going in order to build upon the skit they’re creating, it’s an admirable method of performance.

This is something that’s explored in director Mike Birbiglia’s comedy-drama, “Don’t Think Twice.”  With a natural bond throughout the cast and a story that displays the fun and hardships of trying to gain recognition as a performer, this film provides the emotions and laughs of a group of actors trying to make their breakouts into stardom.

In New York City, an improv troupe (Mike Birbiglia, Keegan-Michael Key, Gillian Jacobs, Kate Micucci, Chris Gethard, and Tami Sagher) come together regularly to put on shows for an eager audience.  However, when two of them get the chance to audition for “Weekend Live,” a “Saturday Night Live” type of show, and one of them ends up being selected, the group eventually has to come to terms with the possibility that maybe not all of them are cut out for show business.

All of the cast members display a wonderful amount of chemistry, which helps us become invested in their bond when they’re performing on stage for audiences and dealing with their troubles when they’re off stage.  Everything about their characters rings painfully true, and their actions and emotions help in bringing this very realistic situation to life.  The way they exhibit the anxiety and jealousy that come with trying to make it big in show business is a major highlight of the cast and is genuine enough to put you on edge whenever the characters express any of those feelings.

Although we’ve seen a lot of these actors do comedic work in the past, one of the best things about the movie is how well they give themselves over to the drama of their predicament and must face the likelihood that they won’t always be performing together.  Seeing these actors stretch their talents from the comical aspects into the deeper drama of the story speaks to these actors’ understanding of the emotion and stress that goes into the star-making process.

One of the best aspects of Birbiglia’s screenplay is how he dedicates enough time to each of the main characters, as he allows us to get to know about each of their lives and how they commit themselves to trying to build successful lives as entertainers.  Whether through interactions between characters, or moments when the characters are apart from each other, Birbiglia offers a considerable amount of insight into each person and the dreams they hold.  As a whole, the screenplay is a detailed portrait of people wanting that glimmer of acclaim, hoping it will turn into something more, but also facing the possibility that they won’t be doing improv forever and must soon move onto different endeavors.

As a director, Birbiglia is able to find a balance between the comedy and drama.  He allows the cast to be funny, but also retains the tough reality of the situation with how success isn’t guaranteed for everyone.  “Don’t Think Twice” is a movie that never shies away from being true to life and showing the struggles of trying to build a career as a performer, and it’s that authenticity that makes this movie something special.

Final Grade: A 

Back to the Woods, and the Witch is On Another Hunt

From left: Brandon Scott, Corbin Reid, James Allen McCune,
Valorie Curry, and Wes Robinson in "Blair Witch"
Photo Credit: Imdb.com

In 1999, directors Daniel Myrick and Eduardo Sánchez surprised audiences with their found-footage horror film, “The Blair Witch Project.”  The story followed a trio of young filmmakers who, in October of 1994, get lost while venturing in the woods near Burkittsville, Maryland to film a documentary about the legend of the Blair Witch.  While it wasn't as scary as it was made out to be, you can’t deny the impact it had on found-footage films and the horror genre as a whole.  

A little over a year later, Hollywood released a sequel, “Book of Shadows: Blair Witch 2,” which was nothing more than an ugly case of a studio cash-grab to piggyback off of the success of the original.

Now, indie horror director Adam Wingard makes his contribution to the Blair Witch legend with the third film in the series, “Blair Witch.”  Although it’s easily better than the disastrous second installment, there’s hardly anything in the film to justify its existence.

The story follows James Donahue (James Allen McCune), who decides to venture into the Maryland woods under the belief that his sister, Heather, may still be alive after disappearing with her two friends while filming a documentary on the Blair Witch.  Not too long after starting their journey, James and his friends Lisa (Callie Hernandez), Peter (Brandon Scott), and Ashley (Corbin Reid), along with guides Lane (Wes Robinson) and Talia (Valorie Curry) soon figure out they are being hunted by the same evil James’ sister and her friends encountered on their ill-fated trip.

You can’t really judge the acting too harshly because the cast isn’t really given much to do except act terrified, scream, hyperventilate, and repeat.  Despite doing an okay job with their limited material, it’s evident rather quickly with what kind of performances we’re going to get, so there isn’t much need to describe them any further.

The screenplay by Simon Barrett, who wrote Wingard’s darkly comical slasher film, “You’re Next,” pretty much follows the same route as the original film, with a lot of the events in this movie being similar to those of the original, so there’s hardly anything new to present in the story.  Besides the lack of interesting occurrences in the narrative, that deficiency also extends to the characters.  Even though there are six main roles in the film, we learn the bare minimum about them, as the single important thing we know is that James is Heather’s brother.

One of the only interesting things in the film is how each of the four friends are given their own camera, mostly in the form of an earpiece device, with the movie usually going back and forth between each person.  This allows the story to break up the characters and see what each of them is up to, instead of having them altogether behind one camera.

What made “The Blair Witch Project” so alluring was seeing the amateur videocamera footage on the big screen and going through the experience of watching something that seemed real.  However, over the years since the release of the original, there have been countless found-footage films (including six “Paranormal Activity” movies between 2009 and 2015) that have flooded cinemas, so the novelty of the sub-genre has already worn off.

Considering Wingard’s success with “You’re Next,” I was looking forward to him directing a sequel to a hit horror property, a sequel that would be more in tune with the original.  He could have delivered some of the inventiveness of that film to “Blair Witch,” but the movie just ends up playing out like the original and most other found-footage movies we’ve seen over the last few years.  And it doesn’t help that he uses the same jump scare over and over again that involves the characters popping up in front of the camera.  Any average horror director could have done that, and I expected more from Wingard.  Although he’s able to give the tension a bit of a boost in the third act, it doesn’t last for long as it has already become obvious how the movie is going to end.  In the future, Wingard should stay away from something as tired as the found-footage genre and display his talents in other fields of horror.

Final Grade: C-

Just an Ordinary Day, Until You Have to Become a Hero

Tom Hanks (left) and Aaron Eckhart in "Sully"
Photo Credit: RottenTomatoes.com 

Whenever you watch the news, it’s always uplifting to see a story about the heroism of those who dedicate their lives to protecting us, whether it be a soldier, firefighter, police officer, or any other kind of protective force.  However, once in a while, we’ll get a story about someone who was unexpectedly thrown into a situation wherein they didn’t have any idea they would be saving people that day.

This is something that director Clint Eastwood observes in his biographical drama, “Sully,” in which he tells the story of U.S. Airways pilot Captain Chesley “Sully” Sullenberger and the “Miracle on the Hudson” that occurred over seven years ago.  With a terrific lead performance from Tom Hanks and a respectful recreation of the events of that day, Eastwood offers a film that’s a fitting tribute to this inspirational true story.

On January 15, 2009, Captain Sullenberger (Hanks) and First Officer Jeffery Skiles (Aaron Eckhart) land their plane on the Hudson River shortly after experiencing dual-engine failure a few minutes into the flight, and all 155 people on board survive.  While the nation celebrates this averted disaster, the National Transportation Safety Board are convinced Sully could have made it back to the airport unharmed.  With Sully facing scrutiny from the NTSB and trying to deal with being the topic of every headline, he tries to convince his naysayers he did what was best for his crew and passengers.

Tom Hanks delivers a dramatic, yet appropriately subdued performance as Sullenberger.  Throughout the film, Hanks displays the humbleness of being an everyday hero, while also showing an unwavering sense of calm when the higher-ups disagree with how his character should have handled the situation.  He’s someone who’s trying to get some grasp of normalcy back into his life, all while keeping his composure for his family and in front of the media, letting Hanks exhibit a thorough portrayal of what it means to reluctantly be put under a microscope.  One of the best things Hanks exemplifies about his character is how much he cares for his passengers, such as asking for a headcount after the landing and inquiring about injured passengers as he’s getting treated in a hospital.  The genuine concern he shows for the safety of these individuals lets Hanks bring across his character’s compassion for others, making him the definition of someone who cares about those he serves.

The screenplay by Todd Kormarnicki, which is based on the memoir “Highest Duty: My Search for What Really Matters” by Sullenberger and the late Jeffrey Zaslow tends to be rather thin on material in the segments that revolve around what happened in the days following the landing.  Although it’s engaging to see Sully react to being thrown into the national spotlight, the movie could have benefitted from a slightly deeper look into who he was.  We get a couple of flashbacks of his previous experience as a pilot, but with the movie being just over 90 minutes, a bit of extra time with his background would have been interesting to see, as well little bit more focus on Sully’s wife, Lorraine (Laura Linney), who also has to deal with the press.

However, the scenes from the day of the landing offer several angles pertaining to the people who were involved with the event, including moments with the air-traffic control, the crew of a New York ferry, and the NYPD aviation unit.  This all provides a view of how everyone came together to help those who survived the ordeal.  However, what’s most important is how the film allows you to get to know some of the passengers, often focusing on a couple of groups of them for a bit in order to let you get a glimpse of the lives Sullenberger and Skiles saved.  

After more than 40 years of directing movies, Clint Eastwood shows he still has what it takes to tell an emotional story.  Even though the movie is meant to be an inspirational narrative, he’s able to keep the film from becoming overly sentimental because he allows the events themselves to do a fine job extracting the sensations of relief and elatedness you automatically feel by watching Sully and Skiles’ heroic landing.  And even though you know everyone makes it out of the landing okay, Eastwood is still able to provide a tense portrayal of the events because of those little scenes were we get invested in and feel for the passengers, and this is all blended with his ability to capture the apprehension in the cockpit and cabin of the plane, as well as the bravery of what was seen on the Hudson.

When Eastwood goes to the moments that examine Sully’s character, the quietness and intimateness of these scenes make the movie an interesting study of a person who is quickly thrown into breaking news.  As you pair Eastwood’s legacy of directing with the stature of an actor like Hanks, the story excels, even if it has a few narrative shortcomings.  And with “Sully,” Eastwood and Hanks show that heroism can come from anywhere.

Final Grade: B+