Top 10 Movies of the Decade (2010-2019)

Ryan Gosling in "Blade Runner 2049"
Photo Credit: Imdb.com

10) Blade Runner 2049 (2017) - Although 35 years passed between director Ridley Scott’s film and Denis Villeneuve’s sequel, the wait couldn’t have been more worth it.  The story follows replicant “blade runner” K (Ryan Gosling) who discovers a secret that could change the course of the future.  Gosling gives a performance that’s powerful in its understated emotion, while Harrison Ford makes a more-than-welcome return as his character from the first movie.  Villeneuve is a director who always impresses with his movies that bring intriguing characters, thought-provoking stories, and gorgeous visuals, and that couldn’t be more true with this film.  With a running time of over two-and-a-half hours, you’re given more layers to the world that Scott first brought to life in 1982, making this a worthy sequel that has so much to offer and doesn’t retread what came before.  The intricacies of the story will have you asking questions all of the way through, ensuring that you become immersed in this story and all of its mysteries that promise an engaging cinematic experience.  This is one of the best sci-fi movies and sequels to come out in quite a while, making this a poignant adventure on a grand scale that must be seen.

J.K. Simmons (left) and Miles Teller in "Whiplash"
Photo Credit: Imdb.com

9) Whiplash (2014) - If you’re looking for a movie that’s both thrilling and anxiety-inducing, then director Damien Chazelle’s story of a musician’s quest for greatness will give that to you.  The movie follows a young percussionist, Andrew Neiman (Miles Teller), who becomes a student of a demanding and verbally abusive jazz conductor (J.K. Simmons).  As Andrew strives to impress his teacher, the physical and mental tolls soon threaten to take over his life.  Teller provides a performance where he shows, in great detail, the effects that his goal for perfection has on him, while Simmons couldn’t be more intimidating as an instructor who jabs fear into your heart whenever he’s on screen.  Chazelle puts you in such a state of apprehension that you might not even blink for the film’s entirety, and the constant tension between Andrew and his teacher will engulf you as you wonder what their next interaction will bring.  The movie comes to a sky-high peak at the end with an incendiary jazz performance, a sequence that will get your blood racing and will keep it racing long after it ends, ensuring that you feel every bit of this movie’s force.

Ethan Hawke in "First Reformed"
Photo Credit: Imdb.com

8) First Reformed (2018) - In writer-director Paul Schrader’s latest film, he exhibits a disturbing view of the state of the world in a story about a pastor, Ernst Toller (Ethan Hawke), whose religious views begin to shatter after a meeting with a parishioner and radical environmentalist (Philip Ettinger).  Hawke’s performance is deep and heartbreaking as we watch his character struggle with his beliefs and question everything that he’s been taught.  Schraeder’s screenplay and direction put you in the middle of a situation that has you feel the hopelessness that surrounds Hawke’s character, bringing you further and further into Toller’s state of mind as he’s impacted by the wrongdoings of humanity that alter his views of not just his community, but the world.  This all leads to a third-act shift that ratchets up the intensity and has you go from pondering to recoiling in your seat from this transition.  It’s quite a downer of a movie, but that’s what gives it the rawness of viewing the world from Toller’s point-of-view and contemplating everything that has happened.  It’s one of those movies where you won’t quite know what to make of it when it’s over, but you’ll want to watch it again as soon as it ends.

Al Pacino (left) and Robert De Niro in "The Irishman"
Photo Credit: Imdb.com

7) The Irishman (2019) - Between “Shutter Island,” “Hugo,” “The Wolf of Wall Street,” and “Silence,” director Martin Scorsese has had another great decade of work.  Now, he caps it off with his epic crime drama, which follows the story of truck driver Frank Sheeran (Robert De Niro), who begins working for mobster Russell Bufalino (Joe Pesci), and soon, union leader Jimmy Hoffa (Al Pacino).  To have this trio of iconic actors appear in a film together is something that shouldn’t be missed for any movie buff, and to have them working with one of the best directors in film today makes this a movie that you can’t believe wasn’t made sooner.  With a running time of almost three and half hours, this is a movie that uses every minute to dive into the characters and the historical context of the story, ensuring that you’re given a full view into the eras that are depicted.  Not only is this a terrific mob movie, but the last half hour brings this movie into much deeper territory than I anticipated, made all of the more poignant because of how much time you spend with these characters and get to know them.  Everyone, both cast and crew, is working at the height of their talents, and you feel more than lucky to see the results of such a collaboration.

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

6) Arrival (2016) - Denis Villeneuve appears on this list once again with this adaptation of Ted Chiang’s short story, “Story of Your Life,” which follows a renowned linguist (Amy Adams) who’s assigned by the U.S. army to try to decrypt the language of aliens who have landed in several locations around the world.  Adams gives a performance of someone who’s resilient in her mission to communicate with the aliens, but has depths of emotion hiding beneath her character’s unbreakable concentration.  This film may be the best movie since “Close Encounters with the Third Kind” that deals with otherworldly visitors, which is appropriate because it has so much of the wonder that Steven Spielberg brought to that film, a wonder that mixes with Villeneuve’s combination of bleakness and hopefulness to perfection.  “Arrival” is a contemplative experience that brings you on a heartrending journey that immerses you in its vast intelligence and visual beauty, leaving you in a situation where your heart almost stops because of the overwhelming emotion through which the film puts you.  This movie is sure to become a classic, not only for the sci-fi genre, but for all movies.

From left: Choi Woo-shik, Song Kang-ho, Jang Hye-jin,
and Park So-dam in "Parasite"
Photo Credit: Imdb.com

5) Parasite (2019) - When walking out of director Bong Joon-ho’s dark comedic thriller, I couldn’t help but think about just how well every aspect fell into place, with the tension, drama, laughs, acting, screenplay, technical aspects, and timeliness, all of which cohere into a movie that’s scorching in its originality and message.  The story follows the Kims, a lower-class family that begins to assimilate into an upper-class household after their son begins tutoring the daughter of a wealthy family, the Parks.  The cast members who portray the Kim family have a strong genuineness to how they interact with each other, which helps to grip you throughout the story as you become invested in how they will maneuver their way in the scheme as their plans gets out of control.  This is one of those movies where there isn’t any way to predict what’s going to happen next, and this isn’t just because of the story’s fresh ideas, but also because of the tonal shifts that throw you off balance in the best way.  Seeing this film in a theater is the best way to experience it because it allows you to revel in the reactions of the audience as each shocking event takes place.  Bong offers an inventive view in his story of class struggles, and you won’t breathe move until it’s over.

Ellar Coltrane (left) and Ethan Hawke in "Boyhood"
Photo Credit: Imdb.com

4) Boyhood (2014) - Writer-director Richard Linklater brought us one of the most groundbreaking cinematic achievements in quite some time with his drama that was filmed over the course of 12 years with the same cast, following the life of a young boy, Mason Evans (Ellar Coltrane), as he goes from childhood to adulthood.  This was a filmmaking gamble that paid off, offering an emotional experience of seeing such an experiment play out and exhibiting everything that goes into growing up.  As you become immersed in this movie, you watch someone’s life unfold before your eyes, and this fascinating approach to coming-of-age movies is something that must be viewed.  From the natural performances to the scope of the story to the impressive use of music to help emphasize the passage of time, Linklater has this film move through the years with an ease that makes us feel as though we’re not missing anything, but are instead seeing everything from the main character’s life, both the small and big details of Mason’s existence as he goes through joys and challenges.  This is a movie that was more than a decade in the making, and it's one that’s unlike any other.

Jessie (voiced by Joan Cusack), Buzz Lightyear (voiced by
Tim Allen), and Woody (voiced by Tom Hanks) in "Toy Story 3"
Photo Credit: Imdb.com 

3) Toy Story 3 (2010) - While this summer’s “Toy Story 4” was much better than anticipated, the third entry of the “Toy Story” series, which was directed by Lee Unkrich, was the perfect ending to the toys’ storyline with their owner, Andy, as they face an uncertain future with Andy preparing to leave home for college.  As with the two films that came before it, this third installment is a lot of fun in the beginning, but then becomes the hard-hitting tearjerker that we’ve all come to expect, offering one of the best and most emotional endings ever to be placed in a Pixar film.  With nearly 15 years passing between the release of the first film and this one, you feel as though you’ve grown up with Andy throughout that time, and you experience that sharp pang of bittersweetness as he and his toys separate.  There is so much that has been put into these characters and stories as Woody, Buzz Lightyear, and their friends spent their time as Andy’s toys, and you couldn’t have asked for anything better as they reached this narrative milestone.  And, given the genius work of those who have been involved with these movies, it’s safe to say that animation has never been the same. 

Joaquin Phoenix in "Her"
Photo Credit: Imdb.com 

2) Her (2013) - Writer-director Spike Jonze’s technological love story is a movie of such timeliness that the effects that the movie has on you will sink its way into your bones.  The story follows Theordore Twombly (Joaquin Phoenix), who falls in love with his new AI virtual assistant, Samantha (voiced by Scarlett Johansson).  Phoenix never disappoints with a performance, and this is one of his best.  It’s work from him that’s both exuberant and heartbreaking, showing the strong bond that he has with Samantha.  Johansson provides a stunning voice performance as the only thing to whom Theodore can connect, an AI whose sincere and loving voice makes Theodore feel like he’s the most important person in the world to her.  This is a stunning view of how closely romance and modern technology have started to intermingle over the last few years, offering a story that dives into how we connect with virtual presences.  However, it also explores the ways in which we interact with real people in an era where we have the technology that we think can provide us with everything that we need, when in reality, it can’t.  There’s a truth that runs throughout this movie as it asks us to reevaluate our own connections to technology, and you might find out quite a bit about yourself as you do so.

From left: Andrew Garfield, Joseph Mazzello, Jesse Eisenberg,
and Patrick Mapel in "The Social Network"
Photo Credit: Imdb.com 

1) The Social Network (2010) - While the notion about a movie focusing on the development of Facebook may have seemed eyebrow-raising at first, director David Fincher and screenwriter Aaron Sorkin defied expectations to deliver a film that achieved perfection in every aspect.  The story follows Harvard University student Mark Zuckerberg (Jesse Eisenberg), who builds the famous social networking site, only to find himself in the middle of a lawsuit when he’s accused of stealing the idea from the Winklevoss twins (Armie Hammer).  Eisenberg proves to be the ideal pairing between an actor and his role, showing someone who doesn’t seem like he’s a people person, but wishes to connect with others.  In a cast that includes Eisenberg, Andrew Garfield (as Facebook cofounder Eduardo Saverin), Armie Hammer, and Justin Timberlake (as Napster cofounder Sean Parker), we’re given tense standoffs between their characters as they determine how Facebook should be handled, which leads to some grueling lawsuits.  Sorkin’s flair for words and Fincher’s filmmaking precision offer so much energy that get us caught up in the ferocious dialogue that the characters aim at each other.  Social networking has changed so much since this film was released, so if you re-watch this movie, it won’t only be a great viewing experience in general, but also a reflective one as you see where we were then, and where we are now.

Top 10 Movies of 2019

Willem Dafoe (left) and Robert Pattinson in "The Lighthouse"
Photo Credit: Imdb.com

10) The Lighthouse - For his second directorial feature, director Robert Eggers brought us one of this year’s best get-inside-your-head-and-under-your-skin movies with his New England seaside tale that goes to deep levels of insanity.  The story follows two lighthouse keepers (Willem Dafoe and Robert Pattinson) who suffer a descent into madness as their isolation begins to take a toll on them.  With this movie being mainly Dafoe and Pattinson's, there are so many opportunities for them to create storms of fury when they’re together on screen, and they deliver that to tremendous effect.  To see their mentalities breaking down piece by piece as the movie goes on is disturbing to watch, and it’s also some of the most powerful acting of the year.  Other than the volcanic performances, Eggers’ film succeeds in taking a rather simple story about isolation and offers it new life with strong attention to details of the time period, terrific black-and-white cinematography that compliments the dread within the film, and an approach to the narrative that has you question everything that you see.  This is a viewing experience that’s not just frightening, but staggering.

From left: Jiang Yongbo, Aoi Mizuhara, Chen Han, Tzi Ma,
Awkwafina, Li Xiang, Lu Hong, and Diana Lin in "The Farewell"
Photo Credit: Imdb.com

9) The Farewell - Writer-director Lulu Wang gave us a movie this year that had a universal story about the importance of family, which follows a young Chinese-American woman (Awkwafina) who travels with her family to China for a wedding that has been planned as an excuse to be with her grandmother, who the family is told is dying from lung cancer.  However, they plan to keep the grandmother unaware about her condition.  After Awkwafina’s breakout role in last year’s comedy “Crazy Rich Asians,” she shines in her role of a granddaughter who finds it difficult to keep the secret from her grandmother.  Along with Awkwafina, the cast who plays her family evokes a wonderful dynamic as they interact, and through their talks, the movie doesn’t just become about a family trying to keep things as normal as possible for their matriarch, but it also begins to focus on the family’s conflicting notions about what it means to grow up in China and America.  This is a movie to which everyone can relate, allowing us to see similarities between our family and the one on screen, and that’s what helps this movie hit so close to your heart.

Alfre Woodard in "Clemency"
Photo Credit: Imdb.com

8) Clemency - Writer-director Chinonye Chukwu’s prison drama has a gut-punch of an opening, and from there, you know that this is going to be a movie with a lot of emotional intensity, and you would be correct.  The story follows a prison warden, Bernadine Williams (Alfre Woodard), who must reevaluate the nature of her work when an inmate, Anthony Woods (Aldis Hodge), faces a death sentence for a crime that he might not have committed.  Woodard provides a terrific performance as someone who becomes more and more conflicted with her profession, showing someone who’s not only under scrutiny from others, but from herself.  Meanwhile, Hodge couldn’t be more heartbreaking as a prisoner who goes back and forth between the optimism of being found innocent and the prospect of being sent to his death.  The story is timely without suffering from a lack of subtly, and also spends an equal amount of time with both Bernadine and Anthony as we see the situation at hand from two perspectives, one from both sides of the prison system, the warden and the inmate.  Waiting to see what will happen to Anthony is a harrowing experience, and you’ll have a knot in stomach that won’t come undone until the film ends.

Jack Reynor and Florence Pugh in "Midsommar"
Photo Credit: Imdb.com

7) Midsommar - After writer-director Ari Aster made an unforgettable feature directorial debut in summer 2018 with “Hereditary,” he made a swift return this year with his second horror film, which follows American tourists who travel to Sweden and soon find themselves in the midst of a mysterious festival.  Aster focuses again on the concept of grief, but from a different angle that’s just as terrifying as what he gave us in “Hereditary,” and it’s anchored by a shattering performance from Florence Pugh, who makes us feel the grueling weight of the emotional and frightening events that surround her, as well as the intense level of unease and disconnection that she feels from everyone and everything.  Aster places us in a stressful environment as we try to figure where the events of the film are taking us, which you can try to do, but it won’t be easy.  After just two movies, Aster has proven himself to be a filmmaker of tremendous confidence, and between the film’s performances, story, images, and music, he’s someone who promises that you’ll feel overpowered by what he can bring to a movie.

Scarlett Johansson, Azhy Robertson, and Adam Driver in
"Marriage Story"
Photo Credit: Imdb.com

6) Marriage Story - Writer-director Noah Baumbach’s drama may be a movie about divorce, but it’s also about love, nonetheless.  In the film, he follows a wife and husband (Scarlett Johansson and Adam Driver) who are undoing a separation, which they must navigate while being on opposite sides of the country.  To watch the performances of Johansson and Driver is to witness two people portray characters who pretty much strip themselves to the bone when bringing to life a couple who must face the notion that they’re not right for each other, something that comes to a head in a devastating scene near the end where they expose their souls.  There’s an emotional rawness that hammers you throughout the movie, but the story never shies away from making you laugh from time to time, and that helps this movie feel so genuine because of how it’s able to evoke both the pain and humor that can be found in this type of scenario.  Given how Baumbach is writing from experience, you sense the strong connection that he has with his characters, and you’ll find yourself building a connection with them that’s just as strong.

From left: Kevin Garnett, Lakeith Stanfield, and Adam
Sandler in "Uncut Gems"
Photo Credit: Imdb.com

5) Uncut Gems - Directors Josh and Benny Safdie have developed a reputation for throwing viewers into the underbelly of New York City, and they do it once again in their latest crime thriller, which takes us to NYC’s Diamond District and follows gambling addict and jewelry-store owner Howard Ratner (Adam Sandler), as he tries to recoup an expensive gem so that he can pay his debts.  This movie has Sandler like you’ve never seen him before, taking on an intense dramatic portrayal that will forever change your views on him as an actor.  The Safdies make you feel the oppressive danger that Howard experiences as he traverses the unpleasant corners of the city and tries to shift the events of the movie in his favor, and the way in which the Safdies deliver these events with a fast-paced manner helps to increase the weight of the pressure that Howard is forced to carry.  The story has so many things that go wrong for Howard from scene to scene, and we’re left wondering how he will get out of the life-threatening problems in which he finds himself.  Between the intense performances, breathless direction, and electrifying story, “Uncut Gems” is a movie that will cut deep into nerves.

Jonathan Majors (left) and Jimmie Fails in
"The Last Black Man in San Francisco"
Photo Credit: RottenTomatoes.com

4) The Last Black Man in San Francisco - Director Joe Talbot brought us one of the most beautiful films of the year, both narratively and visually, with his elegiac and poetic view of what home means to a person.  His movie tells the story of Jimmie Fails (Fails, playing himself in a semi-autobiographical role) as he returns to the titular city and finds out that his childhood home is now occupied by another family.  With the help of his playwright friend (Jonathan Majors), the two devise a plan to get the house back.  Fails provides a joyful and melancholic performance as someone who seems lost and forgotten in his own city, while Majors is endearing as Fails’ friend, providing work that leads up to an explosive and heartbreaking display of emotion in the film’s last half hour.  Talbot captures the city of San Francisco in such a way that makes us understand why Jimmie loves it so much, while also showing the changes that make him a stranger to the area.  This is a poignant examination of returning home and feeling as though it has abandoned you, and you’ll walk out of the movie with a newfound appreciation of where you grew up.

From left: Tim Roth, Kelvin Harrison Jr.,
and Naomi Watts in "Luce"
Photo Credit: RottenTomatoes.com 

3) Luce - If you’re looking for a movie where you won’t be able to tell, even at the end, which character has your allegiance, it’s director Julius Onah's drama-thriller, a movie that follows high-school student Luce (Kelvin Harrison, Jr.), a star in both academics and athletics.  When his teacher (Octavia Spencer) makes a startling discovery in Luce's locker, his friends and family and will begin to question the person he is.  With scorching performances from Harrison, Spencer, Naomi Watts, and Tim Roth, the latter two of whom portray Luce's adoptive parents, we see a quartet of individuals whose lives spiral out of control upon the questioning of Luce.  Onah and J.C. Lee’s screenplay, which is based on the latter’s 2013 play, creates a scenario where we're not sure who to trust, whether it be any of the four main characters, or any of the supporting characters who populate Luce's life at school, and your trust shifts so many times to the point where you feel as if you're being drawn and quartered.  The movie gets more puzzling as the story goes on, but that's why it works so well, because once it's over, you're left with many questions because of how the actions of the characters are up for debate.  Trust me, this movie will have you talking.

Al Pacino (left) and Robert De Niro in "The Irishman"
Photo Credit: Imdb.com

2) The Irishman - Just when you think that director Martin Scorsese couldn’t get any better, he goes ahead and delivers a sprawling crime epic that absorbs you in the true story of Frank Sheeran (Robert De Niro), a truck driver who becomes involved with the mob and soon begins working for union leader Jimmy Hoffa (Al Pacino).  Seeing the acting trio of De Niro, Pacino, and Joe Pesci, who portrays mobster Russell Bufalino, was a dynamite big-screen experience, and having these legends in a movie together made you wonder how the power of all three performances can be contained in one movie, but it was possible.  Running at three and a half hours, the length is justified because of the strength of the movie’s cast, technical proficiencies, and the journey through several decades that offers rich historical context and themes of loyalty and mortality.  This is a film that overwhelms you in the best possible way, and even more so in the final half hour, where the movie becomes more profound and moving than I anticipated.  You won’t leave the movie wanting for anything because Scorsese does everything to give you his all.

From left: Choi Woo-shik, Song Kang-ho, Jang Hye-jin,
and Park So-dam in "Parasite"
Photo Credit: Imdb.com 

1) Parasite - Out of all of the great movies to come out this year, there wasn’t anything quite like director Bong Joon-ho’s dark-comedy thriller, which tells the story of a lower-class family in South Korea that slowly integrates into an upperclass household, with unforeseen results.  The cast members who portray the assimilating family have a perfect chemistry with each other, evoking strong ties that show how close-knit they are and making us worry about how they will get out of whatever trouble into which they find themselves.  As for the story, Bong and co-writer Han Jin-won craft a story that’s both enjoyable to watch and eye-opening in what it has to say about class structure.  With all of his filmmaking skill on display, Bong is able to have flawless transitions between different genres that help enhance this film’s intense unpredictability.  It’s not often that I watch a movie and am caught off-guard by everything that happens, but this movie pulls it off, and you’ll find yourself laughing and gasping in equal measure.  “Masterpiece” isn’t a word to be thrown around a lot, but this movie is that, and so much more.

A Galactic Group of Heroes Faces the End of a Long Journey

Daisy Ridley in "Star Wars: Episode IX - The Rise of Skywalker"
Photo Credit: Imdb.com

*Spoiler-Free Review*

It’s hard to believe that four years ago, movie audiences all over the world exhibited intense anticipation for “Star Wars: Episode VII - The Force Awakens,” the first “Star Wars” movie in 10 years, following episode three, “Revenge of the Sith.”  Although it reused a lot of the plot from “A New Hope,” it was still an insanely fun moviegoing experience that showed the series was back in prime form, thanks to director J.J. Abrams and his cast and crew.  Two years later, writer-director Rian Johnson gave us episode eight, “The Last Jedi,” which brought some surprises to the trilogy in its integral middle chapter that helped set up what was sure to be a breathtaking and emotional finale.

Abrams returns to direct the final installment in the sequel trilogy, “The Rise of Skywalker,” which marks the end of the nine-part “Skywalker” saga.  While the movie has some of the thrills and epic feel of the movies that came before, it turns out to be a rather weak conclusion to the saga.

The story follows Rey (Daisy Ridley), Finn (John Boyega), and Poe Dameron (Oscar Isaac), as they work alongside the Resistance to bring down Kylo Ren (Adam Driver) and the First Order once and for all.

Ridley has been one of the strongest aspects of the sequel trilogy, maintaining the strength of her character as Rey marches towards her destiny.  Ridley has shown a lot of confidence for being the star of a massive franchise such as this, and that has translated to Rey and displays her as someone whose resilience against the tyranny of the First Order made her journey one that we couldn’t resist taking.  Ridley shows a bravery in Rey that has culminated over the course of this trilogy, and when her character presents signs of uncertainty from time to time, that helps us become even more invested in her quest because we’re left wondering which path she’s going to take when on her odyssey to becoming who she was meant to be.   

While there isn’t much to Finn and Poe’s characters on an emotional level, Boyega and Isaac bring enough charisma to their roles that helps bring forth the sense of adventure for which these films have become known.  They’re both fun to watch, and even if some of the humor that their characters are given might not always land, the way in which they embrace the material that they’re provided helps to make it work a little better. 

Driver continues to be a superb choice as this trilogy’s villain.  Just as he did in the last two movies, he conveys his character’s emotional pain as he remains conflicted between remaining with the First Order, or letting go of his loyalty to them and finding his humanity.  Driver remains as intimidating as ever when portraying Kylo, but he has shown that there’s a lot more to evoke from his character than his maliciousness, and Driver’s work in this film has given this trilogy a villain who has a depth matching that of the main protagonist.

The screenplay by Abrams and Chris Terrio does well in expanding the scope of “Star Wars,” bringing us across the galaxy to several new planets, allowing us to become absorbed in these environments as the characters go on their travels to face the challenges of taking down the First Order.  However, despite the story offering new worlds to explore, there are some questionable decisions made in terms of the revelations that it presents.  I won’t go into spoilers, but I will say there’s one cheap fake-out, one minor reveal concerning a supporting character that’s disclosed in a cringeworthy way, and a frustrating surprise that will have you thinking, “Of course, they would go that route.”  Although “The Force Awakens” was derivative of “A New Hope,” at least Abrams and his co-writers offered a few intriguing setups for the rest of the trilogy amongst the familiarity.  In “The Rise of Skywalker,” it doesn’t seem like much thought was put into the plot, with the story going through a lot of the same motions as other installments, while also including an endless stream of nostalgic tidbits.

One of the best aspects of seeing any “Star Wars” movie for the first time is the prospect of meeting new characters.  Although Abrams and Terrio’s screenplay adds talented performers, like Richard E. Grant, Keri Russell, and Dominic Monaghan, they aren’t given much to do with their roles.

Although Abrams’ work on the film might not be great from a writing standpoint, he’s still able to bring us exciting action sequences, whether it be a desert chase on the planet of Pasaana, a lightsaber battle between Rey and Kylo on the rough waters on the moon of Kef Bir, or the climactic battle on the dark planet of Exegol.  Despite not having a better story, you still have the sci-fi thrills that are paired with some grand visuals, images that come from cinematography by Dan Mindel.  Mindel, who worked with Abrams on “The Force Awakens,” his two “Star Trek” movies, and “Mission: Impossible 3,” immerses us in the many locations of the “Star Wars” mythology and continues the franchise’s rich tradition of capturing the wonder of the imaginative worlds to which we’re transported.

While it was fun to have old and new characters come together and travel to majestic places over the course of this sequel trilogy, it may be time for Lucasfilm to put a pause on the “Star Wars” movies for a while until they’re able to return with a story that feels unique from what has come before.  Maybe then, the Force will be back in full, well, force.

Grade: C+

A Pending Execution Has a Warden and an Inmate Facing Uncertainty

Alfre Woodard in "Clemency"
Photo Credit: Imdb.com 

Writer-director Chinonye Chukwu’s searing film, “Clemency,” is a movie that dives right into the gut-punch drama of its timely subject right from the opening scene, ensuring that the movie as a whole will focus on its topic with a tremendous amount of emotion and insight as it unfolds.  It’s here where you know that you’ll have a viewing experience that will move and haunt you, and also one that doesn’t take long to let you know that there’s so much more to this story than what you might have anticipated.

Bernadine Williams (Alfre Woodard) is a prison warden who has overseen several executions of death-row inmates.  When one of her inmates, Anthony Woods (Aldis Hodge), faces the death sentence for a crime he might not have committed, Bernadine must soon reconsider the nature of her job and think about the tolls that it has had on her.

Woodard gives a heartrending performance as a warden who’s conflicted with the demands of her work.  She gives Bernadine a steely resolve as he goes about her day-to-day job, a persona that we know she needs in order to perform the duties of her profession.  As the film goes on, Woodard slowly begins to show the uncertainties that Bernadine has as a warden.  Her character is placed in one of the most difficult positions as she has to walk an inmate through on what to expect during the procedure, and we see how hard this begins to be for her, showing someone who’s not as confident in her work as she used to be.  This is a performance where Woodard shows many questions running through her head, and not seeming to be receiving many answers.  Because of that, you’re left worrying about her mental wellness as the mounting pressure of the situation engulfs her more and more, even when she shows her character trying to stay composed during everything that takes place.  There’s a psychological complexity to Woodard’s character, and her command of the role has you become focused on peering into her soul to see where her mind is going in these life-defining moments.

Hodge’s work in the film will have you feel the strength of the optimism and crushing hopelessness that he experiences throughout the movie.  This is a performance that will shatter you, one where Hodge strips his character down to someone who knows that death is a possibility for him and tries to avoid that outcome for as long as he can.  While his performance is excellent for the entirety of the movie, some of his best acting comes from scenes where his talking is limited.  This allows him to rely on his powerful facial expressions that are every bit as strong as any line of dialogue that he has.  One such scene has Anthony in his cell as Bernadine explains to him what will happen during the execution.  In this scene, we see him nodding his head in acknowledgment, but he’s tearing up and showing the weight of the words crashing into him as he contemplates what his next move might be.

There are several supporting performances that make their own impressions, such as Wendell Pierce as Bernadine’s loving husband, Jonathan, who sees the troubling effects that her job has  taken on her; Richard Schiff as Marty Lumetta, Anthony’s resilient lawyer; Danielle Brooks as Evette, Anthony’s girlfriend, who gives a blistering performance with just one scene; and Michael O’Neill as the compassionate prison chaplain. 

The screenplay by Chukwu takes a timely narrative and manages to keep it from being heavy handed.  This isn't meant to be an inspirational movie, but is instead a disquieting view at a jailhouse practice and the moral issues that stem from it.  The view into this issue is one where it's not a ripped-from-the-headlines approach, but is instead something that goes much deeper, placing a lot of focus on the characters as it explores the topic at hand from multiple perspectives, adding several avenues from where to express the complexities of the situation and showing us how it all impacts those who are involved.

With its character-centered format, the narrative spends an equal amount of time focusing on Anthony in prison and the work to rescind his death sentence, while also shedding light on Bernadine’s personal life and how her time as a warden has taken a toll on her.  In both instances, we're given enough chances to see how they handle themselves when they're alone with their thoughts, as well as how they interact with others as those supporting characters try to help Bernadine and Anthony navigate this situation.  This creates an intriguing view of seeing how someone from both sides of the prison system, an inmate and a warden, are impacted by the events depicted in the film.

As a director, Chukwu captures the deep connections between the characters as they go through a daunting event in their lives.  As they engage in conversations about how to handle the situation at hand, Chukwu makes us feel the tense atmosphere as they get closer to the date of the execution.  We see the walls begin to close in on Anthony as Chukwu displays the oppressiveness and downcast nature of the prison to an effect that has us feel the uncertainty that Anthony feels about his future.  Chukwu maintains a heart-pounding anxiousness throughout the film, crescendoing when we get closer to the end and having us experience an emotional exhaustion as we wait to see what will happen to Anthony.

“Clemency” offers much on which to ruminate in terms of what it has to say, and you’ll be left stricken by how hard it all hits.

Grade: A

After Saving Many, a Hero Faces Scrutiny

Paul Walter Hauser in "Richard Jewell"
Photo Credit: RottenTomatoes.com

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In South Florida, a Family Goes on an Odyssey of Grief and Healing

From left: Kelvin Harrison, Jr., Taylor Russell,
Sterling K. Brown, and Renée Elise Goldsberry in "Waves"
Photo Credit: RottenTomatoes.com

Trey Edward Shults’ new drama, “Waves,” opens with Tyler Williams (Kelvin Harrison, Jr.) and his girlfriend, Alexis Lopez (Alexa Demie), as they enjoy a car ride through the Floridian sunshine.  Their lives seem fun, carefree, and full of promise. However, it isn’t long before their lives change forever, and Shults brings the story to life with strong performances and a hard-hitting emotional backdrop.

Tyler Williams is a high-school senior with a loving girlfriend and a supportive family, which includes his younger sister, Emily (Taylor Russell), his father, Ronald (Sterling K. Brown), and his stepmother, Catherine (Renée Elise Goldsberry).  When a tragic event befalls their community, they must try to pick up the pieces of their lives and learn to carry on.

Kelvin Harrison, Jr., brings considerable power to his role of a young man who has to manage his life as it takes several difficult turns.  The bursts of drama that Harrison gives his performance as Tyler faces one challenge after another invests us in his life because of him seeming like he has everything going for him, but showing that this notion couldn’t be farther from what’s going on.  He’s able to show us that there’s so much going on in his head, just by his facial expressions, which convey frustration, confusion, and sadness in equal degree, and there isn’t a moment when you’re not worrying about him.  Between Harrison’s performance here and in this summer’s “Luce,” it’s clear that he has a talent for portraying complex characters, and to display such capability in this stage of his career as it begins to take off in significant fashion pretty much guarantees that we’ll see more work like this from him in the future.   

Taylor Russell provides a sincere and warm performance as Tyler’s sister, someone who’s caring, introverted, and is carrying a lot on her shoulders, but is also someone who has an inner strength that we can see is trying to emerge.  While her character is sort of in the background at first, her slow entrance to the forefront hints at someone who has so much to offer, both in terms of the character and the actress herself.  One of Russell’s finest scenes comes within the first hour of the film, where she comforts Tyler after he suffers a breakdown.  At this point, we’re pretty overwhelmed by what Tyler as experienced, and Russell’s compassionate performance helps us feel the reassurance that her character provides for her brother. 

Sterling K. Brown shows a father who’s strict in his teachings, but also displays a calmness and understanding of a parent in whom his children can confide.  He presents his character as someone who knows the ways of the world and will do what he can to prepare his children in how to navigate its hardships, making sure that they stay on the right path and do the best that they can in whatever they do.  There’s a lot of love in Brown’s performance, and the way in which he interacts with Harrison and Russell helps create some of the most poignant scenes in the film and shows how much his character cares about his children’s well-being.

The rest of the cast has some other terrific performances, such as Goldsberry, whose character finds it harder and harder to connect with her husband after a distressing event; Lucas Hedges as Emily’s kindhearted boyfriend; and Demie, whose character must face a challenging decision that could impact both her future and Tyler’s.  There’s a genuineness to the six aforementioned characters, and their ability to convey the emotions of the situations within the film allows us to experience the heaviness of the situations through which they must traverse.

Although Shults’ screenplay is another one of those movies whose plot uses a rather straightforward day-in-the-life approach to the story, the length of Shults’ narrative allows us to spend plenty of time with the characters as they have extended conversations and try to work out their issues.  And, after a major turning point about halfway through the movie, we have a second half that’s distinctive from the first, in terms of which character the narrative focuses on, and this helps elevate the film above its familiar structure.

Shults doesn’t waste any time when it comes to bringing us into Tyler’s problems, emphasizing the quick shift that a life can take when you’re having fun in one moment, and then are facing troubles in the next, such as having the movie open with him enjoying a drive with his girlfriend, only for his life to go downhill after that.  Although the movie introduces us to Tyler’s demons quickly, it doesn’t feel as though Shults’ story is speeding us into this character’s troubles, but instead has the story begin at a point where he’s already experiencing these issues, and leaves us to wonder for how long he’s been going through his problems and if he will overcome them.

Drew Daniels, who provided the cinematography for Shults’ two other films, the family drama “Krisha” and the horror film “It Comes at Night,” provides a lot of vibrant colors that immerse you in the film’s eclectic environment, showing South Florida in an almost otherworldly light.  He also uses some notable camera maneuvers to capture the youthful energy of the characters, such as an instance where two characters will be in the front seat of a car as the camera spins around and shows the fun of driving with your friends, having the world ahead of you, and thinking that there isn’t anything that could go wrong.

As a director, Shults has a talent for dealing with narratives that focus on families in a crisis.  In “Krisha,” he tells a story of a woman returning to her estranged family on Thanksgiving, and “It Comes at Night” has him showing a family in the middle of an apocalyptic epidemic.  And, for his latest film, he once again captures everything that his cast members are feeling as they go through challenges that threaten to tear their family apart.  Besides the palpable tension that Shults provides in tremendous amount, the use of a score from Trent Reznor and Atticus Ross, one that switches between searing and beautiful, and Drew Daniels’ cinematography helps Shults offer a moviegoing experience that’s much more visceral than I anticipated, particularly in a pivotal scene about halfway through the film where all of the movie’s best qualities converge with blunt-force effect.  In that scene, and throughout “Waves” as a whole, we see how quickly the tides of a person’s life can change.

Grade: A-

Fame, Mistakes, and Using Memories to Heal

Shia LaBeouf in "Honey Boy"
Photo Credit: RottenTomatoes.com 

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A Patriarch’s Birthday Becomes Deadly for a Bickering Family

From left: Katherine Langford, Toni Collette, Jamie Lee Curtis,
Don Johnson, Michael Shannon, Riki Lindhome,
and Jaeden Martell in "Knives Out"
Photo Credit: Imdb.com

Writer-director Rian Johnson is a filmmaker who has grown a talent for investing his audiences in mysteries that offer one surprise after another.  With his 2012 sci-fi thriller, “Looper,” he took us through a complex story involving time-travel, and with his 2017 film, “Star Wars: Episode VII - The Last Jedi,” Johnson kept his viewers guessing as to where the franchise mythology would go after the questions that were set up by the previous installment.

With that, it’s more than appropriate that he tackles a murder mystery for is movie, “Knives Out.”  It’s a film that’s packed with thrills, laughs, and a great cast, all of which make this a total blast and a terrific contribution to the whodunits that came before.

The movie follows a celebrated crime novelist who’s murdered in his house on the night of his 85th birthday.  Soon after, his family is asked by a detective to gather at the home, where each person explains their side of the story.

The cast comes equipped with a slew of first-rate actors, including Christopher Plummer as Harlan Thrombey, the murder victim; Jamie Lee Curtis as Harlan’s daughter, Linda; Don Johnson as Linda’s husband, Richard; Michael Shannon as Harlan’s son, Walter; Toni Collette as Harlan’s daughter-in-law, Joni; and Lakeith Stanfield as Detective Lieutenant Elliot.  Despite all of these cast members sharing the screen, they each have their own moments that grab our attention and make an impression in our minds.  It’s a movie filled with conflicting personalities, and it’s so entertaining to see all of these characters interact with each other as the cast relishes the quick wit of the dialogue that they’re given.

Although there’s plenty of talent throughout the cast, there are some who manage to rise above the aforementioned ensemble members, such as Ana de Armas as Harlan’s kindhearted nurse, Marta, and Chris Evans as Harlan’s bratty grandson, Hugh.  However, true standout of the movie is Daniel Craig as Detective Benoit Blanc.  With Benoit’s southern-gentleman attitude and smooth-talking ways, Craig is determined to make you realize that there’s more his acting abilities than just playing James Bond.  The way in which Craig exhibits his character’s passion for finding clues helps to immerse you in the excitement of trying to decipher every little hint that you find.  Between his performance here and 2017’s “Logan Lucky,” it’s clear that Craig has much potential as a comedic actor, which proves that he will continue to have a great career outside of the Bond series.

Johnson’s screenplay does superb work in setting up the enticing mystery and getting you intrigued right away.  There are many characters that he has to introduce, but he pulls it off by having them arrive at the mansion, and then sitting them down one by one to speak with the detective and talk about who they are, their connections with Harlan, and their possible motives for the murder.  Once this portion of the movie is complete, we’re able to ponder a lot of the characters’ backstories as we try to figure out who might be responsible for Harlan’s death.

The film boasts a classic murder-mystery setup, but the direction in which the film goes gives you something a little different from what you would expect.  The story offers plenty of time for there to be enough surprises to keep us off of the scent of the truth, but it also provides enough setup for whatever revelation will come next.  There isn’t ever a time where the story drags because it always finds more layers of the mystery to peel back and expose the cause of the events.

Cinematographer Steve Yedlin, who collaborated on all four of Johnson’s previous films (“Brick,” “The Brothers Bloom,” “Looper,” and “The Last Jedi”), provides a wonderful use of light and shadow in order to create an atmosphere of increasing tension and mystery.  This is most apparent for the scenes within Harlan’s mansion as Yedlin’s camera movements capture the many details of the home as it brings us into the many rooms and hallways that hold many secrets.

The production design by David Crank offers an intricate layout of the mansion that fits the essence of the murder-mystery narrative.  The spaciousness within the house and the big and small characteristics throughout add to the enjoyableness of the plot as you try to absorb everything that the house is trying to show you and see if there’s anything of significance that can give you some semblance of a clue.   

Despite the abundance of information that Johnson has to provide us, he succeeds in keeping the film fast-paced, thanks to the energy of his cast, clever writing, and the engaging nature of discovering what the story is hiding from you.  He makes sure that you become obsessed in unraveling the narrative as you go from one turning point to another, having your heart beat faster as you sense the truth on the verge of revealing itself.

With Johnson’s enthusiasm for creating this entertaining puzzle of a movie, the suspense in “Knives Out” will have you teetering on an edge as thin as that of a blade. 

Grade: A

On an Assignment, a Journalist Learns Life Lessons from His Subject

Tom Hanks in "A Beautiful Day in the Neighborhood"
Photo Credit: Imdb.com

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Through Chance, a Truck Driver Finds His Place as a Gangster

Al Pacino and Robert De Niro in "The Irishman"
Photo Credit: Imdb.com

Check out my review for "The Irishman" on SiftPop.com!

Following an Unstable Marriage, Divorce Looms Over a Wife and Husband

Scarlett Johansson, Azhy Robertson, and Adam Driver in
"Marriage Story"
Photo Credit: Imdb.com

Writer-director Noah Baumbach’s comedy-drama, “Marriage Story,” begins on the most bittersweet note that’s possible.  His two main characters are in the midst of separation, and they narrate to us what they admire in each other, with each taking around five minutes to go in-depth about their spouse.  This is a scene that’s both romantic and heartbreaking because you know that they’re preparing for a divorce, but there’s so much that they like about each other, that you can’t understand why they would ever want to be apart.

Baumbach’s story gets more turbulent from there as he explores the crumbling of a relationship in a film that manages the impressive accomplishment of being both hilarious and emotionally brutal.

The story follows theater actress Nicole (Scarlett Johansson) and theater director Charlie (Adam Driver) as they go through a coast-to-coast divorce that soon exposes all of the pain that has built up over time.

Johansson’s performance makes you sympathize with her character because of her need to break away from Charlie in order to have the career that she could never have with him, but it’s made all of the more heartrending because you can see that, despite wanting to leave him, she still finds it somewhat difficult to do so because of the life that they have built.  There’s a scene within the first act of the film where Nicole meets her lawyer (Laura Dern), and she’s asked to describe her reasoning for the divorce.  This leads to an extended monologue that’s done in a long take (thanks to cinematography by Robbie Ryan) with the camera staying on Nicole as she vents about what brought her to the point of choosing to end her marriage.  The passion with which Johansson spills her soul makes you hang onto her every word as she brings this cinematic confessional to poignant life, allowing us into her mind as we learn about what’s been troubling her all of this time.

Driver delivers a terrific deal of urgency to his performance as his character faces the possibility of losing his son (Azhy Robertson) to Nicole gaining full custody.  Although you’re meant to be upset with him for neglecting Nicole’s wishes throughout the years, you still can’t help but feel sorry for him as he shows how distraught he would be if his son was taken out of his life.  It’s a performance that’s every bit as distressing as Johansson’s, showing Charlie as he becomes at a loss of how to handle the legal situations and borders on a panic as he tries to gain some control over the issue.  Your heart begins to hammer as he’s faced with one setback after another, and Driver is able to elicit the intense worry in his character’s demeanor as the time-sensitive aspects an unexpectedness of the divorce start to have his life spin out of control.

Despite their characters wanting to separate, Johansson and Driver make us believe that there’s still a little bit of love between them.  The scenes that they share simmer with tension and thoughts that are still left unconfessed, making you wonder what they will say next to each other.  However, even when they’re not in the same scene, it still feels like the other is there because of how much they linger on each other’s mind, and that’s the highest of testaments as to the solid nature of Johansson and Driver’s chemistry.

This film comes equipped with a wonderful supporting cast, such as Robertson as Nicole and Charlie’s son; Alan Alda as Charlie’s reassuring lawyer; Ray Liotta as Charlie’s more abrasive lawyer; Julie Hagerty as Nicole’s peppy mother; and Merrit Wever as Nicole’s overanxious sister.  However, the top supporting player is Dern as Nicole’s lawyer, an individual who will do whatever she can to make sure that Nicole wins the case.  It’s a performance that’s enjoyably malicious, one where you can see that Dern intends to make us loathe her character as much as possible, and she accomplishes that without flaw and offers some terrific laughs.

The screenplay by Baumbach is drawn from his own experiences with divorce, and we can see how much this aspect of his life has impacted him as he takes us into the ruthlessness that both parties bring out when going through a separation.  We’re given scenes where they’re apart, which allows us to see how they cope without each other, and then there are the scenes where they’re together, where those interactions have them trying to be civil, but also peppering those interactions with understated hostility.  Their time together during the divorce process culminates in an explosive scene where Nicole and Charlie bear all of their innermost feelings towards each other, leading to a sequence that’s not only full of catharsis, but also becomes one of this year’s most devastating movie scenes.

Although this film’s premise may seem rather thin on the surface, don't let that fool you in the slightest because there’s a lot that’s at stake between the two main characters as their divorce procedure becomes more and more challenging.  Baumbach is always bringing us further into Nicole and Charlie’s separation, and as he does so, his direction has us experience the anguish through which Nicole and Charlie are traversing.  As they go through the separation process, none of the scenes feel repetitive in terms of them not getting along because Baumbach does unforgettable work in displaying the complexities of the scenario, and it gets to the point where you begin to break out in a sweat because of how contentious the process becomes.  However, in the middle of all of this, he also shows the bits of tenderness that still exist in Nicole and Charlie’s relationship, making you feel that, even if they separate, they will still come out of it with some level of respect between them.

“Marriage Story” isn’t just about divorce, but about the affection that Nicole and Charlie had, and still might have for each other, making this an unconventional love story about how hard it is to give up that love. 

Grade: A

For Two Automotive Experts, Winning a Race Will Take More Than Speed

Matt Damon and Christian Bale in "Ford v Ferrari"
Photo Credit: Imdb.com

Director James Mangold is someone who has tackled several genres throughout his career, such as psychological dramas, romantic comedies, horror films, biopics, westerns, action movies, and superhero films.  Having done so, Mangold has proven that he can deliver memorable drama, such as in films like “Girl, Interrupted” and “Walk the Line,” terrific thrills, like in “Knight and Day” and “The Wolverine,” and sometimes, a combination of the two, such as in “3:10 to Yuma” and “Logan.”

He accomplishes the latter with his sports drama, “Ford v Ferrari,” a film that provides a huge canvas to showcase a gifted cast, its inspiring true story, and breathless racing sequences. 

In the 1960s, automotive designer Carroll Shelby (Matt Damon), British professional driver Ken Miles (Christian Bale), and a group of American engineers are chosen by Henry Ford II (Tracey Letts) to create the Ford GT40, which they will use to compete at the 1966 24 Hours of Le Mans race in France with the hopes of defeating the Ferrari racing team.

Damon’s performance is that of an individual who is passed his prime in terms of racing, but is determined to ensure a victory for Ford.  He shows Shelby’s passion for racing as his character begins to set the pieces in motion for Ford to take on Ferrari, exhibiting someone whose quest for the winner’s circle is always in his blood.  The deepest fascination of Damon’s performance comes from how he displays someone who knows racing from both the technical side and the business side, and seeing those two mindsets converge makes it intriguing to see an individual use his extensive know-how to maneuver his way around the boardrooms and the sidelines of the track, offering Damon a chance to revel in the humor and moving determination of his character.

Just as Bale (who acted in Mangold’s “3:10 to Yuma”) has done in many of his previous movies, he loses himself in his character and always shows that he won’t settle for anything less than authentic.  Whenever he’s on screen, you can’t help but smile at the passion that Bale brings to his performance.  With Bale portraying Mile, a character who exudes confidence in his knowledge of tearing up the track, Bale shows a great deal of wit Miles outsmarts the people who doubt him, while also supplying his performance with some emotional touches.  The latter is exemplified in one of the best scenes of the movie, where Miles gives his son, Peter (Noah Jupe), a short speech about driving the “perfect lap,” in which Bale shows his character’s enthusiasm in a quiet, yet emotional way that’s punctuated by Marco Beltrami and Buck Sanders’ score and the lighting from the dusk help set a contemplative mood as Miles shares his love of racing with his son.  Although Bale has many memorable scenes that will make you laugh with Miles’ outgoing and eccentric personality, this is the scene of his performance that will likely stay with you the most. 

The film also comes with a stellar supporting cast, such as Letts; Jupe; Caitriona Balfe as Miles’ wife, Mollie; Jon Bernthal as Lee Iacocca, the vice-president of Ford; and Josh Lucas as Leo Beebe, a Ford executive.  With some of these characters believing in the work of Shelby and Miles and others not believing in it, there’s enough tension between these characters as we watch them try to arrive on the same page in regard to what it is that they wish to achieve.

The screenplay by Jez Butterworth, John-Henry Butterworth, and Jason Keller does well in pacing the story as it presents us the many facets of this true account.  While Shelby and Miles meet each other pretty early in the movie, the story then keeps them separated for quite some time, allowing us to get to know these two characters individually before they solidify their friendship and begin working together.  Included with these interactions are some detailed views of what goes on behind the scenes in the racing world, where we have discussions in executive offices and at maintenance sites that help bring you into the layers and exhilaration of this sport.

Running at two and a half hours, the film earns every bit of that time.  For the first three quarters of the movie, other than shedding enough focus on the dynamics between Shelby, Miles, and the other characters, the movie dedicates some time to giving us a bit of racing here and there, such as the 24 Hours at Daytona race.  Then, for the final quarter, the movie uses most of its time for the climactic race in France.  With the amount of time that we spend on this race, we feel the long hours that go into this event, having Miles transition from the excitement of the track to exhaustion as he has someone take over for him until it’s time to get back in the driver’s seat.  There’s a lot of buildup to this race, and you’re given a chance to experience the grandness of this day-long celebration of the thrills that racing offers.

Mangold assembles an effective team of people with whom he’s worked before to get the most out of the racing scenes.  The cinematography by Phedon Papamichael, who worked with Mangold on “Identity,” “Walk the Line,” “3:10 to Yuma,” and “Knight and Day,” offers many amazing visuals for the racing sequences.  Whether the shots come from inside or outside of the car, you’re left in awe as you try to imagine what it must be like to be going 200 miles per hour as you burn the pavement.  When this is all combined with the careful editing by Michael McCusker (who collaborated with Mangold on his last five movies) and Andrew Buckland, you’re almost left either swaying in your seat as the cars go around turns or being pushed back in your seat when the cars hit a straightaway.

“Ford v Ferrari” is a wonderful tribute to what people can accomplish when they push their talents further than they ever have, and once this film brings you across the finish line, you’re guaranteed to feel a sense of triumph.

Grade: A

With His Career at a Standstill, a Filmmaker Reconnects with His Past

Antonio Banderas and Cecilia Roth in "Pain and Glory"
Photo Credit: Imdb.com

Writer-director Pedro Almodóvar has given international cinema an illustrious career that has spanned across four decades.  When making these films, he has gone through comedy and drama from different angles to offer audiences inventive stories that come from an individual who always seems to be in command of his cinematic voice.

He now takes us on a deep and personal journey with the semi-autobiographical “Pain and Glory,” a film where we see him examine his life through the main character’s relationships with family and friends and showing us the impact that filmmaking has had on Almodóvar.

Salvador Mallo (Antonio Banderas) is a filmmaker who has suffered through years of physical and mental ailments.  As he struggles to renew his artistic passion, he will soon find himself coming face to face with people from his past and trying to fix those connections that have been lost.

Banderas, who has collaborated with Almodóvar several times, gives a performance that’s subdued, but towers with drama as his character seems to live a life of solidarity, but shows some hope for Salvador because of him never seeming to have lost his ability to open up to others.  When he meets with the people from his past, you see Banderas’ character as he removes Salvador’s emotional layers and unveils the person who has been mentally shut away for years.  Even when Banderas isn’t speaking during these interactions, you feel the weight of these encounters hitting Salvador as you see him trying to process what he’s being told.  In each scene, Banderas exhibits the full impact that his physical and mental issues have had on him over the years, while also diving into his regrets and desires.  There is so much to this character that needs to be extracted, and Banderas brings us inside Salvador’s mind as we try to get to the root of the issues that span for most of his life.

The amount of time that we spend with the supporting performances, no matter how much, gives us an idea of the way in which these individuals have left an everlasting impact on Salvador, and vice versa.  We have Penélope Cruz as Salvador’s hardworking mother, Jacinta, a parent who will ensure that her son has the best upbringing that’s possible; Julieta Serrano as an older Jacinta, who at that point in her character’s life is trying to understand her son and the choices that he has made; Asier Etxeandia as Alberto, a person who’s friendship with Salvador has been strained after a creative difference tore them apart decades ago; Leonardo Sbaraglia as Federico, a former love interest of Salvador; and Cecilia Roth as Zulema, his compassionate assistant who’s always there for him.

The screenplay by Almodóvar transitions between Salvador’s life in the present and his childhood in the ‘60s.  During the scenes in the present, we have a series of one-on-one conversations between Salvador and the people with whom he has built connections over the years.  Through these exchanges, we’re given many details as to what Salvador’s life was like when shared with these characters in the events before the film and how they have shaped him. Even if a couple of these characters only have a few minutes of screen time with Salvador, you still feel as though you know them in the end because of how they’re able to reveal their feelings towards Salvador and how he has effected their lives in return.

In the sequences that take place in Salvador’s past, Almodóvar provides us with just as much detail as he does for the sequences in the present.  Almodóvar explores Salvador’s academic gifts, highlighting the possibilities that his character has for his future, which makes it all of the more heartrending when we find out the troubles that threaten those gifts later in his life.

Although Almodóvar gives plenty of focus on both the past and present, Almodovar adds an extra angle to the former by showing that the past never stays in the past.  With this, Almodovar does well in emphasizing the merging of the past and present and showing how the people with whom you formed relationships over the years can come back into your life in unexpected ways.

Almodóvar’s direction is all about getting us to understand the complexities of Salvador, and seeing as Salvador represents Almodóvar, Almodóvar wants us to also understand who he himself is.  Almodóvar makes you experience every ounce of emotion in this film as he takes you on this quest as he and his movie counterpart deconstruct who they are and what their art means to them.  Through this, the collaboration between Almodóvar and Banderas elicits hard-hitting drama whose strength doesn’t do anything less than immerse you in Salvador’s complicated life.

Given the many films that Almodóvar has made over the years, you know his artistic trademarks.  But, with the personal nature of the story that’s told in “Pain and Glory,” you get to know him.

Grade: A

Alone on an Island, Two Lighthouse Keepers Unleash Their Inner Darkness

Willem Dafoe and Robert Pattinson in "The Lighthouse"
Photo Credit: RottenTomatoes.com

Almost five years ago, writer-director Robert Eggers debuted his first feature film, “The Witch,” at the Sundance Film Festival  With this movie, he gave audiences a nerve-shredding, slow-burn descent into turmoil.  It presented an inventive new voice in the genre, giving us a frightening New England folktale.

Eggers now brings us another New England horror story with “The Lighthouse.”  As great as “The Witch” was, Eggers manages to top himself with another film about people thrown into terror and teetering on the edge of their sanity, and this movie displays its raw power by Eggers direction and two mammoth performances.

In the late 19th century, Ephraim Winslow (Robert Pattinson) travels to a lighthouse off the coast of New England for four weeks of work, all while being under the watch of Thomas Wake (Willem Dafoe).  While their time together begins well enough at first, they soon come face to face with a madness that threatens to destroy them both.

Pattinson delivers a performance that draws us in with his character’s ordinary need to find honest work, only to then become trapped in a devastating turn of events from which there doesn’t seem to be any escape.  He shows Ephraim’s strong disquiet towards the unsettling events, which mirrors the audience’s own reactions to such scenes, with them matching his surprise and horror at the terrifying events that plague the two characters.  It’s apparent from the beginning that Pattinson’s character has some issues weighing on him, and to see him slowly unravel as these deep troubles come to the forefront make for a startling vision of someone losing his mind.  Pattinson has proven his astounding acting skills in his post-“Twilight” career many times, such as with films like “The Lost City of Z,” “Good Time,” and “High Life,” but he still manages to impress us with the depths to which he’s willing to go with his latest character, and the final half hour displays some of the finest work that he’s ever accomplished.

Dafoe puts every ounce of his power into his role as Thomas.  His masterful command of a seafaring dialect helps bring you into his world where his obsessions have taken what seem to be an irreversible toll on him.  This is a performance where it’s impossible to not become mesmerized by what’s happening in front of you.  Dafoe inhabits his character to such a degree that the madness that ripples in his eyes sends shock waves across the theater, creating a thunderous atmosphere that makes this film a visceral experience.  There’s a moment in the film that solidifies Dafoe’s performance as one of the best of the year, where he gives Winslow his “Let Neptune strike ye dead” monologue, and the way in which he’s shown on screen couldn’t be more chilling, between his maniacal persona and the way in which the lighting and shadows hit his face that make him a ghoulish presence.  Just when you think the state of apprehension in which you find yourself can’t get any stronger, Dafoe will make you reconsider that with this sequence.       

The work that Pattinson and Dafoe do with their shared screen time is so tremendous that you can’t believe the screen is still functioning once the movie is over.  This is a battle of two chaotic minds that creates a perfect storm with a power as strong as the howling winds and crashing of the waves that surround Ephraim and Thomas.  They’re in an ongoing conflict of who’s-deceiving-who, and the intensity that their animosity reaches will leave you wondering what sort of outcome the movie has in store for them.  Pattinson and Dafoe will grip you as they bear the souls of their characters as Ephraim and Thomas are torn apart by each other and suffer irreparable damage.

The screenplay by Eggers and his brother, Max, takes a simple story of cabin fever and takes a dive into the psyches of the two main characters as their faults begin to manifest within their shelter.  This is a movie that thrives on the constant interplay between Ephraim and Thomas and how they respond to the horror that soon takes over their lives.  With the story placing us right in the middle of these two dueling individuals, we’re given a chance to learn much about both of the characters.  As we get to know them, we realize that the Eggers haven’t made either of them a hero or a villain, but rather two people who are victims of a cruel fate placed upon them by their surroundings, an aspect of the narrative that causes the viewer to not give allegiance to either character, but instead fear for both of them.

Just as Eggers did for “The Witch,” it’s evident that he and his brother did a tremendous amount of research to make sure that the form of English that the characters speak is accurate to the time period that the movie presents.  This helps to transport you to a different period in history, investing you in the dialogue and providing a remarkable authenticity to the setting and characters.

Eggers reunites with his “Witch” cinematographer, Jarin Blaschke, to construct another film whose visuals are as gorgeous as they are haunting.  This time around, Blaschke uses black-and-white cinematography, and by doing so, he emphasizes the hopelessness of Ephraim and Thomas’ situation and strengthens the aspect of how the characters are only surrounded by water and are without any signs of lushness to their environment.  They always seem to be in the middle of a storm or under the threat of one, be it an actual storm or a psychological one, and there isn’t any better way to present that than with the bleak use of black-and-white as we become stranded in the middle of nothing. 

The aspect ratio that’s used for “The Lighthouse” is 1.19:1, which presents the image in more of a square-shaped frame, heightening the sense of being stuck in a place with someone for a lengthy period of time with very little room in which to move around.  We’re given several long takes that bring us throughout the main house and provide us with an idea of the limited space that Ephraim and Thomas have for where they’re living, and we feel the claustrophobia of being in close quarters with a stranger and not knowing if they mean the other person harm, which is something that’s felt in both Ephraim and Thomas.

While many horror movies these days take place in the present, or a few decades in the past in some cases, Eggers gives us new atmospheres of horror to explore as he unleashes terror in stories that take place a long, long time ago.  With “The Witch” and “The Lighthouse,” you can see how he has many things in mind that he wishes to accomplish, which are giving us flawed and richly detailed characters, a disturbing story, a well-researched view of the narrative’s time period, and a relentless sense of dread, and he fulfills every one of these tasks.  This year, we’ve been fortunate to have Jordan Peele and Ari Aster release their second horror films, and now, Eggers joins that prestigious company and shows that he’s a filmmaker who can craft terrifying stories that are worthy of a dissection.

“The Lighthouse” will shock, scare, and mentally drain you as you go on a journey through the devastating change that your life can take when your demons wash ashore.

Grade: A