Balancing High School and Saving the City

Spider-Man (Tom Holland) in "Spider-Man: Homecoming"
Photo Credit: Imdb.com

After the disappointment of “Spider-Man 3” in 2007, Sony gave another crack at the superhero on screen five years later with “The Amazing Spider-Man.”  When its sequel failed to reach financial expectations in 2014, you couldn’t help but think what was going to happen with future movie adaptations of the beloved web-slinger.  Surely, we wouldn’t have to start all over again and watch another origin story, would we?  

Fortunately, Sony decided to share the rights to the character with Marvel Studios, which resulted in the latter adding the character to their Marvel Cinematic Universe.  After the character’s appearance became a highlight in last year’s “Captain America: Civil War,” it was difficult not to get excited about this latest version of the character.  In director Jon Watts’ “Spider-Man: Homecoming,” he delivers one of the MCU’s best films, an enjoyable superhero yarn that also functions as a John Hughes-like high-school comedy, and it all works.

Peter Parker (Tom Holland) is a high-school student who’s trying to juggle academics, his social life, and his responsibilities as Spider-Man.  When a man named Adrian Toomes (Michael Keaton) threatens New York City with alien technology he and his crew salvaged from the Battle of New York (the battle that occurred at the end of the first “Avengers” film), Peter will have to put his abilities to the test to protect the city he loves.

Marvel has had some perfect casting over the years, particularly Robert Downey, Jr. as Iron Man and Benedict Cumberbatch as Doctor Strange, and now Tom Holland as joined their ranks as one of the best casting decisions in the MCU.  It’s an enjoyable performance where Holland captures the high-school adolescence of Peter Parker and the ambitiousness of Spider-Man trying to prove himself as a superhero.  Although Tobey Maguire and Andrew Garfield both did a fine job playing this character, Holland almost makes you forget about them because of the spiritedness he brings to all of his scenes, and it’s this energy that gets you invested in his journey.

Between Ego in “Guardians of the Galaxy Vol. 2” and Michael Keaton’s performance, the MCU is having a surprisingly strong year with their villains.  Keaton looks like he’s having a blast in the role, which is an obvious, yet fun nod to his character in the 2014 dark comedy, “Birdman.”  With his menacing attitude, Keaton relishes every scene he’s in, but is able to refrain from going into hammy territory, and he ends up adding another memorable performance to the list that’s been growing since his comeback from nearly three years ago.

The screenplay by Watts, Jonathan Goldstein, John Francis Daly, Christopher Ford, Chris McKenna, and Erik Sommers, which is based on the character by Stan Lee and Steve Ditko, manages to tell a clear story and stay focused, even with this many writers.  The MCU tends to experiment with different genres, and this time, they take the high-school-comedy route.  With such an approach, what this film does better than Sam Raimi’s first “Spider-Man” and Marc Webb’s first “Amazing Spider-Man” is go more in-depth with the high-school aspect of Peter’s life.  These scenes are sometimes more fun to watch than the big special-effects sequences because of how character-driven they are.  And with the high-school portions of the film comes some terrific humor, as this is the first time in any MCU movie that none of the comedy is forced; all of it feels natural to how the characters would interact.

One problem with the screenplay is that the film has some similarities to the original “Iron Man” film; Robert Downey, Jr. and Jon Favreau even have substantial supporting roles as Tony Stark/Iron Man and his driver, Happy Hogan, respectively.  However, with the fun narrative, this is a forgivable hiccup.

Upon seeing the advertisements for the film, I was worried that the involvement of Tony Stark would mean that there would be too much shoehorning of Iron Man in the movie, which would have made it seem like Marvel Studios didn’t have the confidence to let Spider-Man carry his own movie.  Other than one major scene where Tony Stark dons his Iron Man suit, the rest of the film is, thankfully, focused on Peter.

Between the action sequences and the chemistry between Peter and his high-school friends, Watts delivers unending enjoyment in this irresistible superhero adventure.  Although this is the third version of the character we’ve seen since Raimi’s original “Spider-Man” 15 years ago, Watts still manages to bring something that feels fresh and thrilling to the hero’s story and the entire MCU.  With an abundance of heart, Marvel’s famous web-crawler makes a welcome return to the big screen, making this a coming-of-age story you can’t miss.

Final Grade: A-

As War Draws Near, the Apes Make Their Final Stand

Caesar (Andy Serkis) in "War for the Planet of the Apes"
Photo Credit: Imdb.com

The “Planet of the Apes” prequel trilogy is a film series that began with laying the groundwork for what looked to be an epic story.  When “Rise of the Planet of the Apes” was released in 2011, the striking visual effects, stunning motion-capture performance from Andy Serkis (a master of such performances), and the creation of a growing tension between the apes and humans showed that there was considerable potential in the series.  Once “Dawn of the Planet of the Apes” debuted three years later, it became clearer that this trilogy could possibly conclude with something great.

Director Matt Reeves, who helmed “Dawn,” returns to finish the story in the third installment, “War for the Planet of the Apes.”  With a thrilling and emotional story, flawless special effects, and another strong performance from Serkis, “War” solidifies the “Planet of the Apes” prequel trilogy as one of the best film trilogies of our time.

Some time after the events of “Dawn,” chimpanzee Caesar (Serkis), lives deep in the forest with his family and fellow simians, whom he leads.  When a tragedy strikes at the hands of a group of soldiers, Caesar and some of his closest allies go on a journey to face off against the soldiers and their leader, The Colonel (Woody Harrelson).

Serkis has built an impressive array of motion-capture performances over the last 15 years, having such roles in the “Lord of the Rings” trilogy and “King Kong,” and Caesar has probably become one of his finest pieces of work as he continues to blur the lines between his acting abilities and the technical proficiencies that are used to bring his performances to life.  Because of how well the technology captures Serkis’ expressions, you can practically see the actor behind the CGI.  This is a character Serkis has played for three films, and we’ve seen him go through a fascinating transformation of the character, from Caesar first learning about the world as a young chimp to him leading his own tribe to him having to fight the humans who want to eradicate them, and it speaks to Serkis’ talent for being able to show the growth of Caesar.  This is a series of performances that has defined the possibilities of what actors can do in cinema, and Serkis continues to be a crusader for such prospects.

Although Harrelson only gets a few seconds of screen time within the first hour, the rest of the film gives him a chance to deliver a formidable performance as The Colonel, even though his villainous character is pretty much a copy of Gary Oldman’s in “Dawn.”

The screenplay by Reeves and Mark Bomback gives us the action we expect from the film, but also dedicates time to have an in-depth exploring of Caesar.  Through these stretches of the film, we are shown deeper layers to Caesar’s character as he grapples with his ethics and the want to exact revenge.  It’s a fascinating look at the moral dilemmas that Caesar is facing, all of which adds much dramatic weight to his odyssey. 

Just as he accomplished with “Dawn,” Reeves doesn’t just make a movie that coasts on its groundbreaking special effects, but instead makes one that uses this technology to tell an emotional story and create flawless CGI characters to whom we establish connections.  He also uses minimal dialogue in certain scenes to wonderful effect, and it’s in these segments of the film where he allows the images to speak for themselves, such as in the opening shot where the camera lingers on a group of soldiers as they walk out of the foreground and sneak their way into the apes’ territory.

With the help of cinematography by Michael Seresin, who lensed “Dawn,” Reeves’ film offers stunning views of the film’s landscapes, such as the forest in which Caesar and his tribe live, a sandy shore, and the movie’s many winterized terrains, all of which are sights that should be viewed on a big screen.  Even when some of these images carry an apocalyptic look, they are still gorgeously realized and framed in such a way that makes you realize the grand scope of the world these characters inhabit.

A trilogy can be tricky to pull off.  Sometimes, you’ll get ones like “The Lord of the Rings,” where the movies remain outstanding throughout the series; and other times, you’ll get ones like the original “Star Wars” trilogy and original “X-Men” trilogy where you’ll have a great first movie, an even better second film, but then have the trilogy experience a drop in quality for the final movie.  Thankfully, “War for the Planet of the Apes” falls into the former category and delivers an epic finale that concludes this trilogy in awe-inspiring fashion.  In a summer that has seen the fifth (and pointless) installments of both the “Transformers” and “Pirates of the Caribbean” series, this is a film that manages to have both narrative ambition and blockbuster vision, all part of a trilogy that has crafted a story that builds from movie to movie without losing any of its momentum.  All film series should display this level of artistry, so take this chance to see the end to one of the best in a while.

Final Grade: A-

Tunes, Heists, and Automobiles

Ansel Elgort in "Baby Driver"
Photo Credit: Imdb.com

While I enjoy (most) big-budget summer blockbusters, the overabundance of sequels, remakes, and reboots make me thankful for any original content that comes to the screen.  And when it comes from the mainstream, it’s even better, seeing as that side of modern cinema seems to be plagued by stuff we’ve already seen.  This allows us to view a new story that’s filled with characters with whom we’re not familiar and cherish the opportunity to watch something fresh take over the screen.

Edgar Wright is one such champion this summer with his action comedy, “Baby Driver.”  In true Wright fashion, he delivers a fast-paced adventure that’s impossible not to relish.  With great performances, a thrilling story, and expertly staged car chases, Wright’s latest film will give you one of the most fun times at the movies this year.

As a young boy, Baby (Ansel Elgort), survives a car crash that kills his parents and is left with tinnitus, which he deflects by listening to music.  He now works as a getaway driver for groups of bank robbers employed by Doc (Kevin Spacey), a kingpin in Atlanta, Georgia.  When Baby finishes his latest job and thinks he’s all paid up for a past wrong he committed against Doc, he begins a new chapter in his life with a kind waitress, Debora (Lily James).  But when Doc coerces Baby into doing another heist, he decides he must comply if he wants to keep his loved ones from being harmed.

Ansel Elgort’s character may not be the most charismatic of protagonists, but with his love for music, he succeeds in providing us with a view into his psyche as he lovingly and enthusiastically sings along to whichever songs fit his current mood.  Actually, one of his best scenes is his first one shared with Debora, in which he passionately talks about music, and it’s here where we see how important music is to him.

The cast is bolstered by wonderful supporting performances from a radiant Lily James; Jamie Foxx and Jon Hamm, who play two of Doc’s bank robbers; and Kevin Spacey, who with his comically deadpan personality, achieves some of the film’s best laughs.

Although Wright’s screenplay employs the whole “one last job” storyline, he adds enough flourishes to his characters and the world they inhabit to make this type of narrative enticing to revisit.  What’s admirable about the movie is how Wright doesn’t just want to give us one action sequence after another, but decides to use stretches of the film between these scenes to let us become invested in the characters, their relationships, and the tension that grows between them as allegiances begin to waver.

As a director, you could always count on Wright to inject copious amounts of energy into his films, such as he achieved in “Shaun of the Dead,” “Hot Fuzz,” “The World’s End,” and “Scott Pilgrim vs. the World,” and he does the same with “Baby Driver.”  With cinematography by Bill Pope and editing by Paul Machliss and Jonathan Amos, “Baby Driver” provides superbly filmed action sequences.  As we are taken through the streets of Atlanta, we become wrapped up in the endless thrills of the chases, and you find yourself appreciating how these aren’t your typical scenes that use an overabundance of CGI; instead, we are given action that’s accomplished by the use of practical effects, all of which help us become more enthralled with what’s happening on screen because of it not being pure visual effects, but real cars doing real stunts.  With the work done in “Baby Driver,” this film would make a great case for why there should be an Oscar for Best Stunt Choreography.

“Baby Driver” is a breezy good time at the movies that will throw the viewer into a whirlwind of cinematic excitement.  Don’t let this film take a back seat to the bigger movies this summer; put it in the front seat and revel in the pure delight of this wild ride.

Final Grade: A-

Top Five Best Films of 2017 So Far

Vincent Abbatecola's Top Five 

"The Big Sick"
Photo Credit: Imdb.com 

5) The Big Sick - Although you could probably line up the DVDs of every romantic-comedy and have it go around the world three times, it’s amazing how there are still occasions where someone fines a new angle to explore in the genre.  Such is what happens with director Michael Showalter’s film.  Based on a true story, the movie follows Kumail (Kumail Nanjiani, playing himself), a Pakistani-American aspiring to be a standup comic, who falls in love with grad student Emily Gordon (Zoe Kazan).  When she gets placed in a medically induced coma following a mysterious illness, Kumail must deal with the tension of her parents (Holly Hunter and Ray Romano), all while his own family pressures him into an arranged marriage.  This isn’t only one of the best and funniest romantic comedies in years, but it also manages to shift between the hilarity and drama without it feeling jarring, thanks to Showalter’s direction and the screenplay from Kumail Nanjiani and Emily Gordon.  This may seem like a typically quirky indie-comedy on the surface, but it handles the characters’ situations and culture-clash aspect of the story with both hilarity and heart, and with terrific performance from the whole cast, this is the indie movie of the summer you can’t miss.

"Colossal"
Photo Credit: Imdb.com

4) Colossal - Much like how the director and screenwriters of “The Big Sick” found a new angle with which to present a romantic-comedy, writer-director Nacho Vigalondo does the same with the monster-movie genre for his latest film.  The story focuses on Gloria (Anne Hathaway), an unemployed writer who moves back to her hometown following a break-up with her boyfriend (Dan Stevens).  Soon after, a monster begins attacking Seoul, South Korea, and Gloria realizes she may have a mental connection to it.  Hathaway is charming and fun to watch in the lead, while Jason Sudeikis provides an against-type performance that shows new depths for his acting abilities.  But one of the prevailing aspects of this movie is how, even though it’s mostly a comedy, it’s not afraid to go into some pretty dark territory and deal with issues that offer much weight to its central premise.  This is a movie that thrives on its unpredictability, as it presents such an enjoyably bizarre scenario that keeps us anticipating how it will unfold.  “Colossal” is a subversive take on monster movies, and with its layered characters and sci-fi thrills, it deserves more attention than it was given in theaters.

"It Comes at Night"
Photo Credit: A24Films.com

3) It Comes at Night - Over the years, indie horror movies have shown that they can offer so much more than what we are given from the mainstream, and you couldn’t find a better film to do so than with writer-director Trey Edward Shults’ second directorial feature.  The narrative takes place in the aftermath of an apocalyptic outbreak of a contagious disease, where a husband and father (Joel Edgerton) and his family protect themselves in a secluded home in the woods.  When another family meets up with them, the two groups get along at first, but soon after, paranoia takes hold of everyone in the house.  With the shattering performances and bleak atmosphere, this film isn’t afraid to go for the gut when putting us through the emotional wringer.  It abandons the usual horror-movie tropes and instead relies on an expert use of sound, lighting, and cinematography to build a situation that’s seeped in dread and will make you want to bury yourself in your seat during certain moments.  This is a movie that requires a discussion when it’s over, as there is a lot to analyze, and that helps in making this one of the best horror films of the last few years. 

"The Lost City of Z"
Photo Credit: Imdb.com 

2) The Lost City of Z - Going into this movie, I knew it was based on a true story, but I knew little about it, which made watching this film such an enriching experience.  Written and directed by James Gray, the story takes place throughout the first quarter of the twentieth century and follows British explorer Percy Fawcett (Charlie Hunnam), who ventures into the Amazon to follow clues to what he believes is a lost civilization.  While I haven’t been a fan of Hunnam’s more recent film performances, his work in this is surprisingly great, with him displaying a full command of his character, while being backed up by a talented supporting cast that includes Robert Pattinson, Sienna Miller, and Tom Holland.  Gray celebrates the power of worldly discovery in his film, and with stunning cinematography of the lush Amazonian landscape, the audience goes on one of the grandest journeys in cinema this year.  This is an exploration epic that has a touch of old-school Hollywood running through its frames, offering an adventure that’s worth taking to learn about such a fascinating figure and all of the dangers he and his crew faced in order to make significant contributions to the world’s geography.

"Get Out"
Photo Credit: RottenTomatoes.com 

1) Get Out - Despite what I said about mainstream horror movies when talking about “It Comes at Night,” there’s one every now and then that should be recognized for having more than just the usual bag of horror-movie tricks.  Such is the case for the directorial debut of comedian Jordan Peele for his horror-comedy, which he also wrote.  It tells the story of Chris (Daniel Kaluuya), a young African-American man who’s caucasian girlfriend, Rose (Allison Williams), invites to a weekend at her family’s home.  After a seemingly pleasant first encounter, Chris realizes his hosts may not be as welcome as they seem.  Other than great performances and some memorable frights, what makes this the best film of the year so far is its clever approach to modern race relations and the tensions that are still prevalent today.  With a social commentary that’s dark, funny, and always uncomfortable, Peele shows an abundance of talent in his first directorial feature and keeps us unnerved as the events of the film play out, with the sequence involving the family party being a major highlight of not only the film, but of all 2017 cinema as of now.  Shortly after the film’s release, Peele announced that he has several more “social thrillers” in mind, and if they’re as inventive and smart as this movie, they can’t get here soon enough.

Shane Conto's Top Five - The following review is from a guest contributor who's a friend of mine and fellow movie buff whom I met in Rider University’s Alternative Film Club.

"Guardians of the Galaxy Vol. 2"
Photo Credit: Imdb.com

5) Guardians of the Galaxy Vol. 2 - I’m a huge Marvel fan, and James Gunn’s film is the definition of fun, as the quips fly non-stop throughout and the Guardians have the freedom to be their outrageous selves.  Does it have the most focused plot and smoothest storytelling? No, not exactly.  Is it an interesting character piece about all of the members of the team with each of them getting a chance to shine?  That’s a big affirmative, with the themes of fatherhood resonating throughout, thanks to the performances from and character relationships between Star-Lord (Chris Pratt), Ego (Kurt Russell), and Yondu (Michael Rooker), all of which make this superhero film a refreshing change of pace as it focuses on the quest for family.  The film is also one of the most emotional of the Marvel Cinematic Universe (second to “Captain America: Civil War”).  Finally, can you speak about a “Guardians” film without mentioning the music?  Not at all.  The soundtrack once again is like its own character and a highlight.

"John Wick: Chapter 2"
Photo Credit: Imdb.com 

4) John Wick: Chapter Two - I’ve been a huge fan of action films for most of my life, and I have developed a snobbish bias towards long takes and steady camerawork in action sequences. While many action films today utilize shaky cameras and too many quick edits, “John Wick” has personified everything I love about the action genre, as the fight choreography is intense, perfectly visualized, and provides a brutal grittiness to the violence.  Not only is the action fully realized, but so is the mythology that fills out the world in which John Wick lives.  The relationships between the characters, the societies that make up the crime world, and the actual rules of engagement that encompass this world are so interesting that you feel engrossed in this dark, yet honorable environment.  The movie has an abundance of style in regard to the production design, cinematography, and Chad Stahelski’s direction, and the whole film comes together with a magnetic performance from Keanu Reeves. 

"It Comes at Night"
Photo Credit: Imdb.com 

3) It Comes at Night - Differing from my other picks, this film doesn’t rely on over-the-top characters and action to entertain its audience.  Instead, you get a deep look at the dark side of humanity and the fear that can consume you.  Every question this films asks will make you think about the meaning of each scene and what truly happened in the film.  The paranoia that infuses the movie goes right through the screen and into the audience as you question every character and motive throughout.  The atmosphere that’s created by writer-director Trey Edward Shults is tense to the point that you’re on edge from start to finish.  The holding of long shots, the use of music, and the minimalism of the setting creates a thrilling environment throughout the film.  The camerawork and the framing of shots by cinematographer Drew Daniels are breathtaking, as many of the shots can stand as art all on their own.  The imagery and use of lighting are chilling in certain spots, including looking over the top of a dog barking into the mysterious woods.  All of the performances are great, but Joel Edgerton and Kelvin Harrison, Jr. are standouts. 

"Colossal"
Photo Credit: Imdb.com 

2) Colossal - This film is based around Anne Hathaway’s character getting dumped, heading back to her hometown, dealing with her alcoholic tendencies, and a giant monster attacking Seoul, South Korea.  Yes, you heard me correctly.  The genre-bending of character drama and fantasy in this film works so well, and this is thanks to the creative powers of writer-director Nacho Vigalondo.  The performances by Hathaway and Jason Sudeikis are top-notch and elevate the character-driven moments of this movie.  I wasn't sure what to expect from this film and had high anticipation as I waited to figure out what was coming next.  The story is so odd that it begs your attention, and the intensity of the human interactions does the same.  The biggest takeaway from this film for me was the ability for it to intelligently and creatively tackle intense issues, such as alcoholism and abusive relationships, and Vigalondo utilizes the fantastical elements to help convey the deep human flaws of the characters.

"Get Out"
Photo Credit: Imdb.com 

1) Get Out - Jordan Peele does a great job of integrating a thought-provoking social commentary on racial tensions and prejudice inside a horror-thriller.  Not only does his screenplay successfully convey such themes, but it includes chilling tension and some great laughs as well.  While balancing all of these topics and emotions, the film creates an interesting and engaging mystery as well that keeps you invested in the events of the story.  There are moments that are frightening and unnerving that use imagery that’s both striking and creepy, and the twists and turns of the narrative make for an engaging experience all of the way up to the final resolution.  The dialogue is so uncomfortable in the best way possible, helping it to hammer home the message.  Between the scares, there’s some fantastic biting humor as well that makes you laugh out loud, many of which come from Lil Rel Howery.  Along with Howery, Daniel Kaluuya gives a star-making lead performance, while supporting cast members, like Bradley Whitford and Catherine Keener, deliver memorable work as well.


Matthew Williams' Top Five - The following review is from a guest contributor who's a friend of mine and fellow movie buff whom I met in Rider University’s Alternative Film Club.

"Baby Driver"
Photo Credit: Imdb.com 

5) Baby Driver - Writer-director Edgar Wright’s latest film is a stylish action-comedy that will probably deliver the best soundtrack of the year, which includes funk, rap, rock, techno, reggae, and more.  It can be argued that Wright has not yet made a bad film, and this entry solidifies that statement.  The car chases are just as gripping as they are in the trailers.  All of the actors in this film are top notch, especially when it comes time for them to do some scenery chewing that comes off as believable, funny, intimidating, or some combination of those three.  I was afraid and sort-of cringed at the thought of there being a romantic subplot shoved into what looked like a great heist movie, but I wasn’t disappointed with what I saw in the end.  All in all, please watch this movie.  It was a gem to behold, and I can’t wait for Wright’s next project.

"T2 Trainspotting"
Photo Credit: Imdb.com 

4) T2 Trainspotting - I have seen the first movie multiple times - among many other things, I saw it as a meditation on growing up and finding happiness in the monotony of what awaits you after you do so, how some people try to put off that mundane realization with drugs or relationships, and downright denial, but it catches up to everyone.  When the age of accountability is met, what does life ask of you then?  This movie answers that question through the bumbling and disgruntled mishaps of the cast of the first movie, just about 20 years older, but not wiser.  Does this movie need to exist?  Not really.  Are there similar beats and callbacks.  Indeed.  Is it interesting to see what these people are up to?  Very.  I can appreciate some of the paralyzing aimlessness of being an adult but not having the definition down of what that means yet.  I think what makes this movie stand out in terms of being one of this year’s best so far is that it tries to do a lot and hits all of the points that it tries to make.  As a condemnation and celebration of modern society, it's a hard look at life that could have been a documentary on addiction, self-sabotage, and delusion in certain scenes.  This movie is unflinching, angry, and painful, but if you watch this as a film fan, you’re likely to be satisfied.

"John Wick: Chapter 2"
Photo Credit: Imdb.com 

3) John Wick: Chapter 2 - I haven't seen an action sequel this good since “The Raid 2.”  This movie is action done right - it not only starts off angry and gritty, but its concept is very clean and precise, and our lead is mortal and outnumbered, but is determined and armed to the teeth, and the cinematography and locations are gorgeous.  This is a movie that takes all of the shocked hype that rippled out from the success of the previous story and runs with it.  Realizing how deep the rabbit hole goes, the world of assassins are revealed very quickly, and revenge and “last jobs” are carried out and crumbled, respectively.  Who is this movie for?  If you like the gritty Bourne-esque take that Daniel Craig took in his Bond movies, fans of the stoic-hero type, martial arts choreographed and recorded like it was just as important as the plot itself, and Common as an actor, watch this movie like it was homework.  If you want to see a tortured soul seek out and quarrel with marksmen, gangsters, his past, and all sorts of other things, while at the same launching itself out from the cult-status shadow that has been cast by its predecessor, then I beg you to watch this movie.

"Get Out:
Photo Credit: Imdb.com 

2) Get Out - Though I won't get political here, this movie essentially begs everyone with any degree of social consciousness to get a little...well, political.  A thriller where isolation creep and corner you and the main character into the most outlandish and insidious idea ever conceived: subjugate and murder minorities in order to profit on their labor and perceived ‘gifts,’ present it as “Guess Who’s Coming to Dinner” as if it was directed by Hitchcock, and give it a sense of humor when necessary.  The thing about this movie is that when you read articles and watch interviews with the cast and crew, there are so many meticulous and calculated deeper meanings embedded in this screenplay that I think that film students will regard this as required viewing for years to come.  If this movie made you laugh, scared, and uncomfortable, good.  If you thought it was going to be the date movie of the year, then (a) bad choice, and (b) still, good.  Please, do not stop talking about this movie.  It was a selfie of who we are as a country, a non-post-racial society trapped in an interplay of repentance for the past and an uncertain future.  It scratches your horror itch, but even more, it will beg you to want to talk not only about how Jordan Peele, of all people, made this movie and what else can he has in mind for future projects.

"Logan"
Photo Credit: Imdb.com 

1) Logan - This is one of the hardest films to watch that has come out this year that I have seen.  If it has been a while for any of you since you last saw it, I recommend watching it once more and take note of all of the things that it tried to do.  It was a deconstruction of the “X-Men” film universe that was started by Bryan Singer; it was a bleak depiction of obsolescence and aging; it was a father-daughter, road trip, action-drama that cursed like a Scorsese movie; it made you cheer like a small child; it made you cry like the preteen you still are when you first saw these characters 17 years ago; AND it will be (so they say) the last time that Hugh Jackman and Patrick Stewart will done the claws and wheelchair, respectively.  This is my favorite film of the year so far because it took the source material that inspired it, made it for adults, and was able to balance the poignancy and brutality.  I’m not sure what the future will hold in terms of quality of storytelling in the upcoming “X-Men” movies, but this one transcends all that has come before to the point that it stands alone in more ways than in just cinematic continuity.  It was art on screen that was grim, unflinching, white-knuckled, and flirts with nihilism, but it never swerves off of the long and winding path of hope.