Reviews

First off, I should note that I saw this at the Sidewalk Film Festival and had absolutely no other knowledge about the film outside of the festival program's synopsis. I went into this film practically blind, which is a risk anyone can run into at a film festival, and you never know what the end result may be. Granted, you take that kind of risk with virtually any film you go to see at a movie theater, yet it's a risk we find ourselves willing to repeat as the chance for discovering something profoundly exciting. Within the first few minutes, you can begin to feel tension and adrenaline being pumped in, and never-ending motion sets in. Lauren Hadaway's feature directorial debut shreds its way through dark waters with an admirable force and emotional gravitas that leaves you in utter shock.

Self-destructive determination and toxic repetition are themes we've seen before, but it's up to the individual filmmakers to make their depictions unique and creatively distinguishable. We've seen one such demonstration before in Damien Chazelle's Whiplash (2014), which he tackled with rigorous precision; however, Lauren Hadaway takes all of the determination and obsession to deeper and darker waters. Considering this dark approach coupled with a young lead, it would be fair to say that some could find this relatable to a fine degree; however, it could be said that the entire situation may be too exaggerated, whether that's counting on people being honest with themselves. Nevertheless, the dark waters of mental health play a major factor in the development of Isabelle Fuhrman's character, Alex, as we see a gradual progression from eager freshman wanting to simply be a part of the team to tragically diving head first towards ego-driven harm as the sport becomes more than just simple athletic passions. In this day and age, films effectively convey the struggles of mental health in ways that not only make the situation intriguing as an outsider looking in but also give this theme's real-world application a sense of urgency. Hadaway's direction exceptionally handles the story with gravitas and grit that showcases her emerging craft after working for so long in the realm of sound. I'll remind people again that this is her feature directorial debut, and she knocks it out of the park, which makes me eager to see what project she tackles next.

In both the acting and technical components of the film, Hadaway, Fuhrman, and company come together to bring out the most evocative ways possible! Having both the director and cinematographer make their feature debuts together, both bring their A-games when displaying creative craft, which is notably seen in the cinematography and sound design. Director of Photography Todd Martin, in his feature film debut, approaches the story with cool and shadowy contrasting visuals that complement the strenuous psychological state-of-mind Fuhrman's Alex experiences throughout the film. These cooler tones create a consistent presence of intensity and dread, whether our characters find themselves working out in the gym, on general campus grounds, or right on the water during rowing drills. Prior to Hadaway's directing, she has predominantly been a sound editor, having worked with the likes of Zack Snyder & Quentin Tarantino, so she has a keen ear and set of methods to bring to the film's sound team in order to evoke the right eerie sounds you would expect from dark places. What you hear allows us as the audience to feel the imaginative surreal landscape of a girl's spirit on the verge of breaking to the very real world sounds of her environment constantly ringing in your ear. With all this being said, now it's time to mention the central component of this film: Isabelle Fuhrman's tour de force performance, which embodies an individual's determination to achieve what she wants no matter the consequences. As mentioned earlier, Fuhrman's character 'Alex' steadily transitions through varying degrees of ambition as it leads her in a downward spiral. It's her progress in this story that is both fascinating and tragic to see unfold, which spills on over to her relationships with supporting characters. It's very much a thrilling observation of Alex's response to the world around her and the expectations, however regrettable or fitting, she will have to confront in order to stay afloat. Isabelle Fuhrman brings all these seemingly difficult qualities to life in outstanding fashion.

As we reach the end, we are left to ponder the choices and actions in the story Hadaway has laid before us. Not only was this a thrilling drama about human ambition, but it was also a surprising demonstration of indie filmmaking from some that have been on major studio productions, carrying over those experiences into an impressive debut feature. Like I said in the beginning, I went into this screening with practically no knowledge beyond what was provided to me in the printed program; looking back at that decision, I believe it's fair for me to say I made the right choice. Getting to see films like The Novice at a film festival such as Sidewalk is a great opportunity to see something you would otherwise have never seen or be one of the few to see promising starts for aspiring filmmakers.

Since the earliest days of human life, the course of relationships and relations among people within communities has been in temperamental states of peace and conflict. Never have the states of peace and conflict been limited to just massive nations and warring governments as they can find themselves on the smaller scale, between friends & family. Writer and director, Martin McDonagh, has taken the experiences of theatre and film to craft a darkly comic human story about friendships experiencing abrupt change and the consequences of those changes. The Banshees of Inisherin is impeccably well-written & superbly acted as we see the fallout of a friendship with all the multi-layered examination on this quirky Irish bunch.

After having seen multiple previous films from McDonagh, the multi-faceted portrayal of varying human behavior I find reminiscent of another profound writer-director, Billy Wilder. While McDonagh's technically and stylistically choices differ from that of Wilder's, but it's hard to deny that both directors have similar characteristics when it comes to understanding or demonstrating extents of human behavior. A large part of the enthralling story and layered characters comes from a strong handling of the script, which McDonagh has demonstrated before that he has the skillset to write a tightly precise story that puts us right in the middle of these characters' lives start unravelling. On an island where there isn't many places to go and everyone knows just about everyone, the story goes to show there's more going on under the surface. All the principal cast each their own predicament (personal demons, social anxieties, etc.) they all must face, which I find fascinating to see how some of these very predicaments are reflected in our own lives in some fashion. The writing is incredibly well articulated throughout and paces itself very firmly as the narrative keeps all elements well balanced. This is a particular brand of comedy many at first would rightly characterize as 'sophisticated comedy' yet in the midst of this sophistication it still finds itself to be accessible to a wider range of people than many would realize. As an extension to the script, the nuanced performances lend a helping hand in giving us an entertainingly comprehensive interpretation of this script.

Speaking of the performances, this ensemble cast was terrific from the very get go! Based on my observations from various film-centric Instagram pages, it seems that many were wondering when will the next collaboration between Colin Farrell & Brendan Gleeson... well we got it here and it was certainly worth the long wait. Since their first collaboration, In Bruges (2008), the chemistry between the two made a lasting impression on fans which made others start to wonder what will be their next big collaboration. Farrell & Gleeson lead the charge with outstanding demonstrations to the complexities within their friendship managing to be bluntly honest yet humorously touching at the same time. Rounding out this stellar principal cast we have the talented likes of Kerry Condon & Barry Keoghan, who deliver emotionally complex performance of their own. In spite of the seemingly tranquil nature of this little Irish island, the rich depths and situations of our characters show there is some trouble over in this little corner of paradise. Truthfully I couldn't tell you who I enjoyed more, they all lifted my spirits and touched my heart but in the end it's hard to deny the entertaining conflict between Farrell & Gleeson as their 'personal war' drive the plot forward.

When mostly everything is said and done, Banshees of Inisherin stands out as an outstanding piece of mature comedy that's impressively layered with dramatic elements that makes this film even more entertaining than I expected. McDonagh assembled an impressive cast that brought joy, sadness, laughter and insight from an equally impressive script where the ideas of friendship and choices can become muggy. As once told to me by a good theatre director, "To do good comedy, they need to know when things should be serious and when they don't need to be. It's a balancing act", Which I truly feel was the case here with Banshees of Inisherin.

Of all the music icons throughout history, it's safe to say that Elvis Presley is the one icon audiences have been longing for. It's undeniable the impact and influence Elvis has made in both music and popular culture yet many would have to wonder how long it would be before we could get the life story of this icon on the screen. Finally after a few years in making this film plus maneuvering around a global pandemic, Baz Luhrmann gives audiences a sparkling kaleidoscope of memory strips somewhat coming together to form a fractured extravaganza of Elvis' life. I have to admit in all honesty, I went into this film with some hesitations and skepticism-despite the promising trailers I still felt something could go wrong here with this Luhrmann production. Beyond the dazzling spectacle of an icon such as Elvis, many details and moments within the film don't quite add up or they find themselves on the verge of being considered "sheer theatrics". Even with such large portions you might find negative, here and there, small portions manage to present positive moments for real enjoyment and emotion. While Elvis is far from a perfect film (not even close) it still finds moments to truly shine in the spotlight in order to make decent entertainment.

The life story of Elvis is no easy feat, but when you have a director like Baz Luhrmann at the helm the risks you're taking potentially increase by a few points. Not trying to be disrespectful towards Baz Luhrmann or anything, the man definitely has craftsmanship but still struggles with one usual area... story. Like I said, Luhrmann has craft when it comes to production value, whether it be cinematography, production design, costumes, editing & so forth; the handling on story seems to elude Luhrmann. It's lack of a clear narrative focus that ultimately serves as the downfall for the entire film. Throughout my screening I kept asking myself who this film is really about here, is it Elvis or is it Colonel Parker or someone else? The lack of focus in the narrative sets off a domino effect that puts pretty much all other elements to fend for themselves. Some of the mess is attributed to the editing, which is highly stylized to create stunning visual delight yet things can jumbled up and disorienting. In addition to that, the film feels less like a traditional biopic and more along the lines of a fantasy flick that resembles a fever dream of the man himself. Luhrmann has mentioned several times in interviews that his film would resemble more of a "superhero" movie, which did more of a disservice as so much of the history felt convoluted. If anyone chooses to go see this one, I would say take it with a grain of salt. One of the other biggest hindering effects is that this film is trying to cover so much of Elvis' life, spanning many decades with a heavy imbalance of time devotion to each period of his career.

Despite the lack of clarity in the narrative's focus, Austin Butler's performance as Elvis is the one huge saving point of the picture as he carries the story forward but not without hitting some bumps along the way. The majority of the film Butler pushes himself above and beyond as Elvis, capturing much of his electrifying energy when it came to the music performances. At the same time though, Butler found some space to really show the humanity of Elvis where we got to understand the man deeper... to a certain degree. While Butler hits the mark at times you have to begin to wonder if they he's leaning away from genuine emotional moments to exaggerated theatrics once again. Besides Butler's Elvis we have Tom Hanks with a rare take on the villainous role as Colonel Tom Parker, where it regrettably comes off quite theatrical. I honestly hate having to say that since Tom Hanks has been one of my favorite actors since I was kid, but here I'm not entirely sure how to feel about his performance in this film. The conniving and dishonest persona Hanks portrays is... there... yet so much of the time Colonel Tom Parker is on screen unfortunately doesn't break away from coming off as over-the-top. As for the rest of the cast, it's hard to give them fair assessments when I just found their presences in the film to be small and had little wiggle room to make big impressions.

I know that I mentioned earlier about "some" positive moments, however, the moments I'm about to acknowledge here could go either way. I would say the snapshot moments here and there that show the influence of black culture and black artistry of Elvis's career are significant. While I'm glad that the filmmakers and studio actually took a few minutes to highlight these influences, showing how Elvis was taken by black culture and music so much to incorporate into his music yet I know that right there is highly problematic for many reasons. There has been arguments & debates for years regarding just how much Elvis took from his influences and put it into his music, which many would say he flat out stole from black artists and was able to profit from those same influences. What's depicted on screen doesn't necessarily give audiences a clear indication as to the exact motive or intent Elvis had when incorporating the influences of black music and artistry into his music, which can be admittedly frustrating for audiences watching all of these events. Realistically looking at this story, you cannot expect to get everything in a person's life in just one film, good and bad parts alike, in order to feel as if you did right by the subject of your film. Biographical movies have to perform a sensitive balancing act of being honest about the individual they have chosen to portray, but also trying not to be disrespectful or overtly bias about decisions made by this individual.

With all of that being said, Baz Luhrmann's Elvis unevenly rides around the life of this rock 'n' roll legend, where moments come and go in a flash. As you look at the entirety of the picture you will find many chips and tears that distorts the image and its impact on us... to a certain degree at least. In the midst of all the chaos, Austin Butler delivers on an electrifying performance that makes himself a truly bright star to shine amongst this glamour loaded showcase yet one impressive performance can only hold up the show so much. I'm not wanting this to sound as if I'm belittling so much of the effort behind this film, yet sadly there are many obvious and less obvious problems that ultimately beat down the overall impact of the story. In the end, we get a lot of flash and bang in rapid motion but unfortunately those lights diminish too quickly to fully appreciate the bright image they are wanting us to see.

Some of the most important ingredients needed to make a film possible are passion, determination and craft- but most importantly it takes an immeasurable amount of CREATIVITY! If it's one thing I've learned with seeing films from both A24 and The Daniels, creativity is a quality neither are short of when it comes to displaying it out to the world. With all that being said the latest venture from The Daniels, Everything Everywhere All at Once, is one of the most extraordinary and pleasantly psychotic pieces of entertainment I've ever seen on the silver screen!!! This film fires on all cylinders when it comes to displaying the abundant amount of originality and creativity behind its premise, which I something you don't see very often in movies today. It's a real rarity when finding films of this nature that not only succeeds in whacky & absurd entertainment (being action or what not), but also finding the time to deliver a meaningful & and complex story that you're unlikely to forget anytime soon.

Based on my observations from previous Daniels' productions, I came to expect the usual quirks and weirdness with their brand of humor but never did I expect for it to effectively blossom as it did on such a large scale. Tagging alongside the humor, there is a great amount of heart and feeling to further increase your emotional intake as you truly do feel just about 'everything'. The Daniels have found such a creative & moving method to demonstrate a vast array of emotions, which never feels like it will teeter too far in one direction. An immeasurable sense of fun stays with you all the way through- that's a feeling I rarely get to experience in such a consistent manner where it lingers onward after the screening. An experience like this one has managed to carefully and cleverly infuse so many emotions to feel when watching EEAAO, which can be easily trace back to the craftsmanship of this film's directing duo. All the plethora of feelings to experience here are attributed by the amazing direction & writing from Daniel Kwan and Daniel Scheinert, who allowed themselves to let their creative juices flow so openly and freely. Perhaps the only gripe I would have is that a few minutes could have been shaved off, which may not seem like a major deal at first but at times a few minutes more or less in a film can make a huge difference. As I've mentioned before, the majority of the time (practically 100%) I enjoyed myself during the screening, but it did feel ever-so-slightly longer than it needed to be. For me this was a very minor dent in the overall experience but it was not enough to damage the massive enjoyment and thrill ride this film was.

With this film still being more of an indie flick, you would think there'd more limitations as to what they are able to do here, yet the production teams utilize what's available to them and more in order to create the wild spectacle presented to you. Both practical and special effects are demonstrated throughout the film, which is a quality that may go unappreciated at first but later on you could look back it and applaud for what these filmmakers had to work with. Budgets and finances for a film of this type don't usually happen often, but for the instance of EEAAO the money was used adequately across all areas whether it be production design, costumes, visual effects or sound. As an audience member, it's a great feeling when you see filmmakers like The Daniels who seemed to have used their film's budget wisely without making it look like they deliberately cut corners to save a few bucks. It's a discouraging feeling to go see a movie nowadays and you see a blatantly incomplete product right in front of you, especially, when you see the big price tag attached to the film. In the case of EEAAO, it looks like every dollar was spent accordingly and it feels as complete as it a film should be when you see it in a theater. On both the narrative and technical levels, a film of this nature finds itself in a cozy little spot to fully display its colors in the upmost confidence without damaging itself by means of nonsensicalness & outlandishness.

Besides the filmmakers and rest of the crew, a cast makes up the other majority of creativity power behind a film. And this cast... is OUTSTANDING!!! We have here a lively and energetic group of performers that give their everything in terms of delivering dimensional performances, plus the energy behind their performances shows just how much fun they seemed to have tremendous fun while making this film. Michelle Yeoh & Ke Huy Quan are the major standouts among this cast, but it wouldn't be fair to not mention performances from Stephanie Hsu & Jamie Lee Curtis who also give some notable performances. The leading lady herself, Michele Yeoh, truly shines as an actress with her continuously impressive physicality and emotional range with a character like Evelyn Wang. Making leaps and bounds across the multiverse, Yeoh seamlessly jumps between comedic and dramatic moments with each of those showing her 110% devotion to those moments. Alongside Yeoh, Ke Huy Quan makes an explosive return to the silver screen as an optimistic hearted and fun-loving character that serves as so much of the soul among the whole cast. As to the antagonist here, Stephanie Hsu's Joy Wang acts as a good clashing figure to go up against Michele Yeoh's Evelyn. Joy's character is complicated and emotionally resonating as someone simply wanting to be accepted and loved while understanding the craziness of the multiverse, which Hsu does exceedingly well. Plus it's amazing to seeing actresses Michele Yeoh and Jamie Lee Curtis being given the opportunity to play characters like these at their ages and show off just how badass they can be.

Creating something like EEAAO is a once in a lifetime kind of film where you get a meaningful and humorous story as well as a wildly entertaining spectacle that brings nothing but fun to all who watch it. A24 has done it once again as a studio known for creating new and original pieces that truly standout among the mass collective of films coming out every year. The Daniels have placed themselves in a special place in people's consciousness as filmmakers that will surely blow their minds with the unexpected and wildly creative imagination to come out of any two people's brains. It's an exciting opportunity to see cast of this caliber and creative vision this distinctive to shine as bright as it has in this very cluttered world.

After a long wait following this COVID-19 pandemic, Denis Villeneuve's epic adaptation of Dune has finally graced us with its presence, which I must say delivers immensely on all levels. Dune is a once in a lifetime event of a film, where the term "epic" couldn't be a better fitting word for describing this film.

Considered by many to be an "unadaptable" book and has had a much less than stellar track record with attempts at bringing Frank Herbert's world of Dune to life, however, the 2021 version has managed to effectively give Dune new life that ensures audiences an experience they are unlikely to ever forget. When you call a film an event or experience, you are emphasizing the idea that a film is meant to take you away from your world(leaving all troubles and worries behind) to a whole new world completely immersing yourself within this new realm. Being one of my favorite filmmakers working today, Denis Villeneuve musters up abundant amounts of passion, something I greatly admire for any filmmaker, to take a dream project like Dune and bring it to life in a way that you rarely see in many films nowadays. The craftsmanship and artistry behind everything from the production design to costumes to visual effects and more- all come together in stellar detail unlike many films that have come out in my lifetime. Even with all the top notch talent and executions made with this one, we are only at the beginning as Villeneuve split Dune into two parts (possibly even more to come). For the time being, my main focus here will be with covering the first part of Dune, but I'm eagerly waiting to see and talk about part two when it comes out.

Back in the day, more specifically between the 1950's & 1960's, Hollywood wouldn't be afraid to make epic films that focused on telling long and drawn-out stories with stunning grandeur that shows they didn't spare any expenses. One of the best examples from that time was David Lean's 1962 classic Lawrence of Arabia, which Villeneuve has mentioned it as an influence for him in terms of filmmaking but also you get a reminiscent feeling while watching certain moments of Dune. Taking a short moment here to speak frankly, the last time I truly felt that the film industry successfully pulled off films in the epic genre area came with the Lord of the Rings trilogy back in the early 2000's. Since then the industry has never been quite as successful with their attempts at epics again, which has given the the real impression that they have given up on films of this nature. So it's a real treat to see something like Dune to give the feeling of an epic genre film new life and vibrancy. The thing to keep in mind is that Villeneuve is splitting Dune into two parts, where the first part alone feels very epic considering we've only gotten the first half of the story. Speaking about splitting Dune into two parts, I know many have said that this would be regarded as a rather risky and bold gamble but I believe that this choice by Villeneuve was necessary. Herbert's novel is incredibly detailed and lengthy, which does need enough time to tell it's story completely without having to make great sacrifices or cuts in order to simply have a shorter runtime. This very mistake was the biggest issue with Lynch's 1984 version as the story was so convoluted and messy that the film not only made it quite hard to follow but it completely tarnishes the richness of Herbert's writing. Villeneuve and the other screenwriters adapted the novel greatly with a few changes from the original story but not enough changes to make the story feel tarnished or ravaged to a point where it doesn't resemble any of Herbert's novel. Having read a good portion of the book myself, they have succeed well in faithfully adapting its source material while taking some liberties to change some parts of the story in order to better progress the story going forward. Besides managing this story at a reasonable length the books themes, politics, and ideas are still intact to an extent as some of those elements are not fully explored due to time limitations. In addition to this, it may feel that some of those elements are incomplete considering that we are only at part one of the story, which leaves the second part can bring those elements full circle. While the themes, politics and ideas may seem incomplete that does not mean they should be viewed as an error in the screenplay, instead Villeneuve and fellow screenwriters take just the right amount of those elements to serve as world building tools. The result, we are given an incredibly layered (to a point) world that serves as a great introduction to the world of Dune.

Not that long ago I mentioned Dune was an experience, which I can say with the upmost pleasure and certainty that this film was an experience of a lifetime! In the midst of today's argument on theaters vs. Streaming, a film of this caliber and craft deserves to be seen on the biggest screen possible which I'll tell you makes a world of difference when it comes to feeling the full majesty and might of Arrakis and all other members of the party. At this point in Villeneuve's career, it's hard to expect anything less than spectacular as his previous films demonstrate the great level of craft in many areas of film. On a pure technical level, Dune excels immensely in various elements whether it be cinematography or music composition. A small side note here, compared to other major blockbuster films to come out in recent years this one appears to have balanced itself out well with a budget of $165 million. The cinematography of Greig Fraser is both sweeping and stunning as every frame compliments the beauty of its world and characters. Alongside the cinematography comes a vast array of staggering costumes and set pieces, which makes everything seem even more otherworldly. From the lush, water-rich ancestral home of Paul and House Atreides to the dark, brooding palaces of House Harkonnen, each is given a distinct look and feel that reveals some details about each Royal House. Then we find ourselves at the centerpiece of the story, Arrakis, the planet filled with important narrative turning points and events that set us up for the remainder of our story as well as future installments. Arrakis is a breathtaking landscape filled with many planetary dangers around every corner, but serves s the epicenter of Paul's journey from the heir of his royal house to a sacred leader that will change the fate of all in the Dune universe. The last thing to tie all the technical and production value aspects together, Hans Zimmer's grand score further captivates the audience with surreal and exotic sounds. Zimmer delivers on his musical composition skills once again yet unlike other scores from recent films Zimmer's music has such a strong transportive quality that greatly enhances your viewing experience.

On top of all the technical and narrative elements, the all-star cast is another amazing quality that makes this adventure what it is. An adventure of this scale is in need of incredibly talent group of actors to breathe life into Herbert's complex and intricate characters. As a whole, the entire cast excelled beyond my expectations with some notable standouts. Timothée Chalamet shines as the lead in the story and has kicked off a challenging path for his character to go down, which is aided greatly by fellow leads and supporting casts. Rebecca Fergusson, being one of the notable standouts, delivers a rich and emotional portrayal of Lady Jessica with the struggle she must endure as all her choices lead down an equally challenging path as Paul's. Following up these two, an impressive supporting casts with the likes of Zendaya, Oscar Isaac, Jason Momoa, Stella Skarsgård, Sharon Duncan-Brewster, Josh Brolin, and Javier Bardem take part in fleshing out the rest of this astonishing collective. One of the big standouts from this group is from Sharon Duncan-Brewster as Dr. Liet Kynes, whose role has been altered and brought out a little more than in previous iterations. I personally never saw the gender swapping of this character as a problem because Duncan-Brewster captures the real essence of Kynes in a manner that presents the character as one that can be played either way, be it a man or woman. There is no direct or explicit enough reasoning for this character to be only played by a man. She shows her character's intelligence and spirit allowing us to see the complex placement of her part in this entire scenario.

Overall, I found Denis Villeneuve's adaptation of Dune to be an amazing spectacle and experience I'm unlikely to forget anytime soon. Movies like Dune do not happen often, especially from major studios nowadays, which makes a film of this kind to be that more memorable.

Of all the classic horror films of the day, James Whale's 1931 adaptation of Frankenstein stands out as landmark in horror films. Horror was still a relatively new genre as well as cinema itself was relatively young during those days. Universal was THE STUDIO when it came to pumping out classic horror films, which ranged from The Phantom of the Opera (1925) to Dracula (1931) and even to The Wolf Man (1941). This studio was the place for thrills and scares to be seen on the silver screen. When it comes to Universal's Frankenstein, this film is a beautifully grotesque and hauntingly lush piece of work that still stands as a memorable stamp on cinema.

Now I must admit when I say that Whale's film is drastically different from Mary Shelley's original novel, but it's something I'm actually ok with in this instance. It keeps a very loose base to the novel- mad scientist wants to give life to something that was dead and things go wrong after that- within all of this pockets of the story are adjusted. I normally would like filmmakers to do the author justice and stay true to the original text, but it's ok to make a few changes here and there (not completely screwing around the author's work). Now this film completely changes things in a way that doesn't feel quite as disrespectful to Shelley's novel, rather it's a very tolerable reimagining that entertains you with scares and thrills of a classic horror mainstream narrative structure (all in the best way here!).

The production (settings, lighting, cinematography, and etc.) on display here contributes a great deal to what makes this film so iconic and mesmerizing. Elements of the production make the mise-en-scene so effective, which was something I'm glad they did for a horror film rather than reserve all that thought to arthouse or traditional drama films. Frankenstein's atmosphere looms with a shadowy terror from the graveyard robbing to the twisted laboratory where science meddled in something they should have never bothered with. The laboratory itself is perhaps one of the most iconic of all movie settings, where you have a multitude of enormous machinery, sparks of light going all around, and the monster being raised up and down from the heavens; all coming together to bring to life not only the monster but the terror that is come later in the film. WhenI think about now, the film's inspiring look can be rooted back to German Expressionism as these settings are purposefully exaggerated and intricately constructed. Its black and white cinematography with help from the contrasting lighting creates some beautifully haunting images that are the stuff of gothic nightmares.

Lastly we have it wrap up with spotlighting the two leading characters, Colin Clive as Dr. Henry Frankenstein and Boris Karloff as The Monster, both make everlasting impressions. Colin Clive evoking the ambitious mad scientist wanting to succeed in his experiment no matter the cost, but eventually changes as he begins to see clearly what his actions have brought on the world. This was probably the most iconic and memorable performance from Colin Clive as he was someone who died very young (only six years after Frankenstein), but managed to give us one unlikely to forget. For the man himself, Boris Karloff shocks us as the towering and ghastly looking figure known to us simply as The Monster. Karloff gives life to this monstrous figure, which may seem simple at first glance yet as you watch on The Monster slowly begins to become a reflection of misdeeds Dr. Henry Frankenstein has committed. I cannot imagine what is was like for Karloff to be in that heavy makeup for hours on end, but Jack Pierce's stellar makeup job and Karloff's acting are both needed to pull off a role like this.

In the end, Frankenstein still stands as one of the defining films in the horror genre and a classic among any films. While it is a major departure from the novel of the same name, it's managed to be exempted from that departure as there has been many things to enjoy about this version of a monstrous story. Universal brought the world a horror film unlikely to be forgotten and will still go on in years to come. A classic to watch anytime of the year, but always one to see during Halloween.

I think it would be safe for me to say that traditionally when we think of Cold War era and nuclear threat films our minds immediately go to the dark comedy classic from Stanley Kubrick, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). What I think some do not know is that another film from Columbia Pictures around the same time as Kubrick's film decided to tackle similar subject matter, but with a far more dramatic and nerve-wracking depiction of the worst nightmare imaginable at that time yet it's not too far for today's world either. Sidney Lumet introduced the world to his own version of Cold War era fear of nuclear war with Fail Safe. Between these two films, Dr. Strangelove has managed to be the dominant one for most of cinema's history leaving Fail Safe with the position of being lesser known, yet this film does not completely get washed away by Kubrick's humorous take on the matter. When it came to depicting potential nuclear disaster, Lumet decided to create a far more tense and regrettably plausible scenario that will leave you shocked beyond all compare.

Fail Safe proceeds with its story at a gradual pace without feeling like it might drag, which lends itself greatly to build the tension of our story's situation. You begin to feel the very painful reality the characters are facing, where nuclear annihilation can go off at any second without warning. Whether it be in a more procedural or action based thriller, tension is the most important element to maintain as the story builds. This film falls under the category of procedural drama, where events and interactions are laid out in detail, so that the build up of each moment continuously informs the audience of how the pieces fall into place. The simplest way to put it is that Fail Safe is a sort of step-by-step process to how this unimaginable horror would unfold. For me, I find the tension to be comprised of multiple factors aiding in making this story so compelling and thrilling to watch.

Firstly, the lack of music in the film may seem unusual at first but the missing musical scores are replaced by more effective sounds- silence and sound effects. Silence is quite a powerful tool as it can speak bigger volumes than having actual sound itself. As we see the characters achingly watch their efforts struggle to succeed and the breaks they take between them, silence creates unnerving feeling of anxiety as you (the audience) are waiting to see how all will unfold. Within some great exchanges in dialogue, the silence following continues to lend tension as decisions by characters could immensely impact the ultimate climax of the film. Besides the silence, another element of sound that gets me is the piercing shrill of a phone line going dead as the bomb hits its target. My first time hearing this sound, it sent shivers down my spine which I could imagine it doing the same to the characters on screen.

Secondly, the performances from the likes of Henry Fonda, Walter Matthau, Frank Overton and more each bring an incredible collective of perspectives on the situation at hand. With each location, whether it be hunkered down the President's bunker or eagerly staring at big board in the Control Room, characters within their given spaces portray a different perspective and feeling towards the growing danger. Fonda attempts to handle his position with a determined optimism (shown as composure and calmness) when talking to the Russian Premier, while Matthau plays around with his devilish theories of potential outcomes as cynical and calculating as possible. Besides the star performances of Fonda and Matthau, supporting cast like Larry Hagman, Frank Overton, Fritz Weaver and Dan O'Herlihy all give stellar performance fitting nicely alongside the two major stars.

And finally, the mindsets and fears of Cold War era America plays largely in the development of the idea used in this story. It should be first said that I'm not an expert on that particular time period, but I understand just enough to see why stories like these were "the talk" back then. This film along with Dr. Strangelove are strongly influenced by their times, whether it be from culture, science, politics and so on. As technology advances in the militaries of the U. S. & Russia and politics colliding between both nations, many would have to find some avenues to channel those tense fears. Cinema is not only a manifestation of someone's imagination, but is a reflection of reality in various manners.

With all of this, Fail Safe manages to leave an impressive mark in during viewing despite being a relatively unknown and hidden gem of a film. While a film like this one has been overshadowed for such a long time, it's my hope that this film will get more attention and appreciation later on in the future.

Ever since I was child, no film has managed to stick around so much in my life and at the same time still spectacularly mesmerize me as an adult as Disney's 1940 masterpiece Fantasia. In the realm of animation, Disney was pioneering with a wide collection of animated films and shorts but nothing to this scale had ever been attempted especially during the time(beginning of the 1940's) when it was made. Fantasia is by far one of the most inventive and awe-inspiring cinematic experiences I have ever been able to see in my life! As a young child I couldn't really appreciate the film so highly beyond it having some neat animation sequences, but as an adult there's so much more I have noticed and grown to be even more fond of.

As I said a moment ago, Fantasia is a very inventive piece of work where you have such an eloquent blend of music and animation that come together to create a massive spectacle that you're unlikely to forget. The blending of these elements make each animated sequence full of meaning, emotion, splendor, and awe. Music is such a powerful tool when used to convey meaning within any visual entertainment, which in 1940 a film like this one was rather new for audiences to see. In a way, this film acts as a big experiment bringing filmed orchestral performances played to visualize the story in the music. As a child I was so fascinated by several of the animated sequences, but particularly I was most taken away by 'The Sorcerer's Apprentice' and 'The Rite of Spring' segments. Both of those segments blew me away with their animation and presentation. I never got tired of seeing these two segments, constantly watching them on repeat almost to the point where you could blindfold me and I would be able to describe to you exactly what is happening on screen. While at times, these animated segments delighted and wondered me but at the same time some would terrify me, specifically 'Night on Bald Mountain'. Getting an emotional reaction from a film like Fantasia is quite interesting not just because you wouldn't expect that from such an old film, but that acknowledgement of credit goes to stellar musical composition+visuals. Even though some moments did scare me, yet that wouldn't be enough to keep me from coming back.

From the time I was maybe five or six to now being in my twenties, I will find myself coming back to Fantasia from time to time no matter what the occasion is. It's a timeless piece of entertainment that anyone of any age can go watch at any time in their life. Disney's Fantasia stands out as a big achievement for animation as well as cinematic experiences in such an early days of film entertainment. Overall Star Rating: 8.7-8.8/10

When you are wanting to create an idea for a feature film, it's great to start somewhere small. That small start comes in the form of a short film, which can introduce not only the primary idea or concept of the story but it also can introduce a wide range of elements. When an aspiring filmmaker introduces these elements in a short form first, it allows them to create a blueprint for something even bigger- "The Feature Film". Shane Acker's thesis project from his time at UCLA film school, brings about the beginning of something he would build upon later to the 2009 feature length film version.

9 takes animation to a dark and bizarre realm where a living rag doll like being struggles to survive and fight against an enemy of terrifying proportions. Acker's dark animated world gives off such a ruined and atmospheric world resembling that of the apocalypse, where a world has ended and what remains struggles to survive. In the midst of this apocalyptic realm, there is a little more being offered to us here in terms of mystery and science fiction, but it's explored only to a certain point. Despite not going to extreme lengths in those areas(being that it is a short film and time is limited) it still manages to feel compelling and intriguing all the way through its 11 minute runtime. It is not in any way a perfect short film or concept, but having said that 9 is an excellent model for a short to feature film process.

Shane Acker created this all computer generated world that is both visually creative and detailed with stunning visuals and sound design. The animation appearing on screen is well detailed with very clear textures and modeling, but what enhances that animation is the lighting. Just like in live action and non-animated films, the right lighting setup can have a great impact on what's being shown on scree- creating mood, emotion, atmosphere and so on. Lighting throughout the film acts as a constant reminder of the darkness of the world and how fearful the characters are in this world. Then one of the last things to notice in 9 is the sound design, which is quite good. Each and every sound feels right on point with the interactions between characters and environment. Even though there is no actual dialogue being spoken, the film's sound design and visuals all come together to tell an interesting story.

Once 9 has ended you are left with an interesting concept for a story, where you might be asking yourself, "Is there more to this world?". The answer to that is yes there is, which came as Shane Acker's 2009 full-length feature film version. As I said earlier in this review that this film is in no way a perfect idea, but it does show great promise for future endeavors to further explore the world of 9. Overall Star Rating: 8/10

A good old-fashioned war film takes an audience to some deeply troubling times in history(whether its story is fictional or non-fictional) and brings together a group of characters dropped right in the midst of all the war-torn chaos. Like any war film, there's a mission or series of events the characters must go through in order to achieve their goal and having a triumphant victory to bring their war to an end. To get to that triumphant victory there's going to be some sacrifice which can come in any form, whether it's emotional, physical, psychological, etc. A lot of times I have seen these films tell compelling narratives with a wonderful cast of characters, but you as the audience feel as if you are just watching the story from a far or observing these stories invisibly. In the case of 1917, we pretty much get all of what I previously mentioned, yet unlike other war films this film manages to completely immerse you into the story and take you right along side of the characters as they go on their mission. It's a massively immersive thrill ride that allows you to get a complete feel for everything that happens before your eyes.

Now many have gone to compare 1917 and its familiar elements to that of a previous hit war film Christopher Nolan's Dunkirk, which I would have to admit they do feel quite similar to each other. Dunkirk was an experience to see and hear what happened during WWII in those areas surrounding Dunkirk, however, it still felt like I was merely invisibly observing the events rather than completely feeling like I was right there next to the soldiers and civilians. 1917 takes its audience right into the action and has you follow right along side the characters every second of the journey. It makes you feel like you are just another soldier going on the mission as well. I do tip my hat off to Same Mendes for creating such an experience that you don't get have often during a film.

1917 has a good narrative with some good leading characters, but nothing overly complex in those areas. Now I'm not saying that's necessarily a bad thing and as I just previously said it has a good narrative, but it's a rather simple story- two soldiers are given a mission and they go to reach the objective. Simplicity can be good a lot of times, but with this kind of film you need to have something to compensate for the simplistic story(that they do have in this film). Where the film really shines and excels extensively is in its technical areas such as the cinematography, music, sound design, etc.(especially in its cinematography). I know that I have mentioned the immersive multiple times already, but I will say it once again- this is film is an immersive experience! Perhaps the biggest factor to creating this immersive experience comes from master cinematographer Roger Deakins as he turns the camera from a observational presentation tool to an "on the ground" and personal viewpoint for the audience to feel like you jumped right into the film as if you were a fellow soldier. As soon as the film starts, the camera is in constant motion and never really comes to a complete stop. This concept of having the camera at a constant state of motion gives you the feeling that you are on a journey and that the journey continues to go forward. Beautifully framed and composed while being in a constant state of motion. Stitching together scenes so seamlessly that it appears the characters as well as ourselves never stop moving owes itself to two things: exceptional choreography and clever editing. Yes it's very apparent that this film was very much choreographed and most likely practiced countless times in order to nail the scene as perfect as possible. With excellent cinematography and choreographed scenes comes the next big part here is the clever editing used to keep us up with the continuous journey. Taking careful moments in the progress of the film, editors select moments where to hide a cut and make it seem as if they never really stopped rolling.

Then we get into the next big parts of the film, which all involve the sound areas. It cannot be overstated how important sound is in a film, especially to a film like 1917 where sound is essential. The sound design heightens the audiences senses to get e good feel for the tension and atmosphere in any given scene. Just another way to feel immersed, having the sound of gunfire, explosions, footsteps, and other sound effects to make you feel the same way as the characters on screen. Thomas Newman's score not only lends a hand to the tense war-torn atmosphere, but also reaches the deep emotional guts of those going through war.

In the end, 1917 manages to create an immersive experience that keeps you at the edge of your seat and takes you right into the film's story. A journey for audiences to follow right along with, which allows you feel and hear everything happening as if you yourself went back literally to 1917 during WWI. The films masterful technical elements never disappoint and make up for the rather simple story. Never have you seen or felt a war film like this one! Overall Star Rating: 8.5/10

If you are a monster movie fan or just love a good entertaining action flick, this film is for you. I had a lot of hype and anticipation when it came to this film and I have to say that it didn't disappoint for the most part. By the end of the film, I walked out feeling pretty satisfied, but like any these kind of films there are going to be a few negative things to take notice of. Many of those who go to see these films don't expect to see stellar writing and storytelling, they come to be entertained and awed by the sheer spectacle. I feel like this film falls under the scenario of "matter/style over substance".

On a technical note, the film succeeded greatly while its narrative/storytelling aspect fell short. The immense spectacle of Godzilla and the other Titans conquered the screen with each and every appearance. Awesome creature designs, well composed/framed action shots, booming sound design + music, and great use of color. Visual effects and grand spectacle elements made this film an immersive experience on a large scale.

From the narrative/storytelling side of the film, I found it to be a little weak and basic. I don't mind simplistic stories in many films- in this case of the creature features or action films specifically but at least some attempt to add a little flare and substance to make it more developed. There is an underlying story in this film, but not a very strong one. Messages possibly revolving around environmentalism can be seen yet they are not very effective in bringing awareness to it. One positive note I will make about the story is that I appreciate them attempting to explore the background and history of Godzilla and the Titans. The characters felt not as vibrant or interesting with the exception of Ken Watanabe's character. Godzilla being the main man of the show came in big and strong for the spectacle, however, I would have liked for him to have liked for him to have more substance and humanity- making a monster feel relatable or something more. This film just didn't quite make that turn towards a potential achievement.

Overall it was an entertaining film that had things for me to stand up and cheer about, while at the same time it had things I might be rubbing my eyes thinking, "why?". It wasn't a great film, but certainly entertaining to watch the spectacle. I would definitely recommend the film if you're looking for an energetic, action packed creature feature and to be entertained by such a classic character. Overall Star Rating: 6.9-7/10

Among all films adapted from the world of comic books or graphic novels, this one has been considered one of the most divisive of them all, however, among the divisiveness I believe there is still something quite enjoyable and entertaining about this film. The divisiveness is understandable and I can get while people give this film a hard time. One of most commonly heard reasons behind the divisiveness is its faithfulness to the graphic novel or attempt at it. While there are maybe some problems with it, I can't help but admire some the positives in it.

I have to admire Zack Snyder with his effort to make this adaptation a reality. Comic book and graphic novels are not always very easy to do so, especially when it comes to something as highly regarded as Watchmen. I admit that I saw the film first before reading the graphic novel, but it did give me push to go and read it. The graphic novel is one of the best things I've read- massive complexity to its plot, thematic depth, dark/gritty comic book world, interesting use of colors, and dimensional characters. A lot of these elements can be seen in the Snyder's film adaptation- some are achieved while others are partially done, yet we also get some of Snyder's distinct cinematic style adding a new element to this adventurous adaptation. Going back to the general complaint about the film being "too faithful" to its original source material, I find that partially true. While the majority of the film does greatly resemble the graphic novel on a visual and narrative standpoint but does stray away some. The graphic novel is full of thought provoking themes and ideas the story involves itself with each page you flip to next, however, Snyder's film does try to invoke those same elements I mentioned a second ago, but only goes to a short distance when telling them. Another way of saying it could be that it's only on the surface level rather than wanting to dive deeper. Another thing I would like to mention since we live in the time of Marvel's Cinematic Universe, Watchmen doesn't try to sugar coat itself or lessen the darkness of it simply to fit a wider audience- mainly family and kid oriented target audiences. Just because it comes from a comic book doesn't mean it needs to sacrifice what made it so infamous and groundbreaking in order to fit a traditional formulated type film so that it pleases a general audience/make a quick buck.

Snyder manages to find a way to somewhat balance itself in its plot in order to get as much of Moore's original storyline but not feel like its leaving out too much or obviously rushing. The color I will say does tend to differ a lot from the graphic novel, in which it appears more colorful while the film goes for a more darker tone in the sense of color with the occasional pop of color(mainly from Dr. Manhattan). Following Zack Snyder's trademark use of slow motion, several moments in the film are enhanced by the visually impressive technique allow audiences(more for those who have read the graphic novel) to mentally visualize moments from the graphic novel as if they literally leaped out of their panels/coming alive. Production value exceeds very well in capturing the right look and feel of the world the Watchmen inhabit. Like any other comic book related film, when it comes down to the costumes and outfits for the characters there are a lot to consider or discuss. In the case of this film, the costumes for some characters remain identical to the original graphic novel's designs drawn by Dave Gibbons, while others were changed, some of it border-lining on campiness, yet it doesn't feel like it's done without good taste. The major addition to the film by Zack Snyder was the opening title sequence, which I found to be such an immersive visual tool throwing the audience directly into the world they are about to see. Not just the sheer visual images being presented on the screen are immersive, but Bob Dylan's song "The Times They Are A-Changin" perfectly compliments each moment in the sequence showing that times are changing both literally and metaphorically. This sequence I'm glad is in the film and strongly believe that the film wouldn't be same without it.

The main ensemble cast consisting of Jackie Earle Haley, Billy Crudup, Malin Akerman, Patrick Wilson, Matthew Goode, and Jeffrey Dean Morgan- come together to bring their characters to life right out of the graphic novel. The one character I'm most impressed with and found to be an awesome portrayal was Dr. Manhattan played by Billy Crudup. Out of the main characters Dr. Manhattan is by far my favorite of the Watchmen. There's such a rich emotional complexity and depth to the character, which Crudup completely immersed himself as that god-like figure struggling to balance his humanity and intellectual understanding. I think throughout the film a considerate amount of time was given to developing Dr. Manhattan character, which gave us the opportunity to see all his dimensions(sides). Besides the performance itself, the effort put into making Dr. Manhattan visually impressive as he comes off as an actual person/character on the screen rather than appear as just another one of many visual effects.

Watchmen is definitely something to admire about when it comes to adapting such an infamous piece of work from another medium. Again it does not completely matchup to Alan Moore and Davie Gibbon's graphic novel, but it does have a good number of positive qualities worth cheering about. Overall Star Rating: 7.6-7.7/10

Doubt is a film that takes what made it such an impactful show on the stage and transfer it to the silver screen. There are many things stage plays and films do differently in order to bring to life the stories they wish to tell, however, there are times where it can feel similar. The production of Doubt is note complicated one, not requiring large production value when it comes to sets, costumes, lighting, and such. Rather than focus so meticulously on the visuals or spectacle of visuals, this film centers its focus on the intelligent writing and powerful performances of the casts. With John Patrick Stanley, writer of the original stage play, coming in to helm the film as the director and a primary cast consisting of Meryl Streep, Amy Adams and Phillip Seymour Hoffman- nothing but excellence could be expected.

I have admired many of the principals casts' performances throughout their respected careers. I would say that there is no denying these performances form the principal cast can be considered some of their career bests. These performances from Meryl Streep, Amy Adams and Phillip Seymour Hoffman have such power and emotion resonating with each dramatically fueled scene. The actors took a very high level of seriousness in order to sell each scene well. A major contributor to the fine tuned performances comes the well-written screenplay. I think having the original author/writer of the stage play invites certain advantages to push the progress the production smoothly. The story John Patrick Stanley's crafts is not only emotionally impactful, but it is also highly thought provoking. Keeping you invested in the story, constantly wondering that truly happened in the story's central conflict. Another bug part about this film is its handling of themes- including religion, morality, and humanity. All themes go hand in hand when creating tension, power, and emotion between the characters. I found myself "in doubt" whether or not I knew the real answer to the central conflict, which I find very good by the end. Thought provoking films have a good way of keeping audiences invested and wanting to know more. So again, this film exceeds that greatly to the very end.

Overall I found Doubt to be a film with a great deal of power and really making you think while watching it. I can see what all the buzz was about when i first heard about it. An adaptation that exceeds well and performs very highly. If I ever get the chance to see the theatrical stage production I'm going to take it. Overall Star Rating: 7.7-7.8/10

When I first heard news about them making this film, I was immediately hooked and became excited to see what they will do with the character's story. Joker is easily one of the most popular and intriguing characters in entertainment. Yet he is not a character that can be so easily defined, which can be seen in the comics. Joker has been in the world of comics since 1940 and he has captured our attention. His story has been told time and time again having no one specific origin story, which makes it a challenge for filmmakers to tell the origin story of such an infamous character. In the case of this film, it's best not to treat this story as a strict, clear cut origin story but rather it's one of multiple possible origins. As Joker once famously put it in Alan Moore's Batman: The Killing Joke, "If I'm going to have a past, I prefer it to be multiple choice!". Todd Phillip's Joker takes the story of the Clown Prince of Crime to new heights and gives a take on a classic character unlike anything we've seen before. It is something new and different, unlike any traditional comic book film made in the last decade.

As I mentioned a moment ago that this film is not like your traditional/standard comic book film. In this day and age where we are dominated by Marvel's blockbuster cinematic universe and DC's attempted efforts, it's easy to make the assumption that just about any film related to comics will be another traditional comic book film. That is simply not the case for Joker as it is something infinitely more. Joker is a much darker and grittier take on his story, but in the form of a deep character study. This type of story allows audience members to become deeply involved and invested in the character's psyche and you as the audience member must take in as much information as possible in order understand the character and story. The film exceeds in that area greatly by taking us into a dark and cruel universe and see a man who has lost his way and more importantly- how the character is this way. Beyond the great character study aspect of the film, there are other several elements that make this film complete. Those other elements are consistent of the acting /performances, direction, writing, cinematography, music and production design.

Perhaps the biggest and most outstanding part about this film is Joaquin Phoenix's brilliantly terrifying performance as Joker. Phoenix brought such a neat and in depth look that allowed him to fully embody this character. Compared to previous versions of Joker, Phoenix's portrayal felt very personal and I believe that is largely due to this film's deep focus into the psyche of the character. Phoenix created two insightful perspectives, one for each persona of the character. One persona being Arthur Fleck(the man beaten down by society- before the madness began) and the other persona being Joker(the true, real Arthur Fleck- the end result of society's beating). One question I know people might be thinking of or have already thought of... was Joaquin Phoenix's performance better than the late Heath Ledger's? To be honest, I still hold Ledger's performance as the top one of all the other actors who have taken the opportunity to play this character. As for Phoenix's placement among the other actors, I would admit that Phoenix came pretty close but Heath Ledger's Joker still remains the best of them all.

The directing and writing of this film go hand in hand, especially since there was some concerns of Todd Phillips taking the helm. For the most part Todd Phillips is known for comedies such as the Hangover Trilogy, War Dogs and Due Date. so when Phillips decided to make the transition from comedies to dramas, he managed to make the transition very well. Phillips handles the material greatly, exposing what talents he has for turning a comic book character's story into a dark and gritty examination of a damaged individual's mind. In part of the Phillip's direction, the writing aspect is something to take notice of. Rather than do a direct/traditional comic book adaptation, Todd Phillips and Scott Silver take a well known character with many different origin stories and create a completely original feeling story. Beyond being inspired by the comics, writers took the opportunity to put in some real life influences into the world in which the story takes place in. Mental illness, problematic social interaction, violence in society and more- all culminate together to make this film feel real. This type of realistic feel/quality has definitely made some people feel unnerved or even scared, which I don't blame anyone for feeling that way. Some have went on to complain that it will inspire violence, but I believe myself and many others find the film to do the exact opposite. I find the real intention of the film is for audiences to think how much society itself plays a major role in how we can create social monsters as well as understand society's intricate problems in order for us to fix them. It serves as a cautionary tale for all of us to take note of.

Another important aspect that made this film so outstanding was it's beautiful cinematography. There were some truly gorgeous and brilliantly chilling shots captured by cinematographer Lawrence Sher. A nice consistency in the overall dark and grungy tone seen from the first shot to the very last one- nicely composed shots, flowing movements, and great shot variety throughout. They also put in a lot of detail towards the production design which includes but not limited to set production(value), lighting, costumes, makeup, props and more. The last big point I want to focus on pertains to the music/score. This aspect to me payed a large tribute in what made the film feel so unnerving and tense at times. Hildur Guðnadóttir created a series of musical pieces that evoke the vast and darkened emotions, which reflects both the character and the world. Every time I hear "Defeated Clown", I feel both amazed and terrified by its beautiful somber melody.

Overall I found Todd Phillips's Joker to be another film that pushed boundaries and shifted things around for comic book related films. A really well-made and well-told film that will certainly not be forgotten anytime soon. A film that we all know deep down is fictional, but it does have a great many real world influences and lessons for us to learn. Overall Star Rating: 9.1/10

Every once in a while there is a film that will blow you away from start to finish, in this case Lawrence of Arabia ins one of those very few films that will blow you away. For many years my grandfather enjoyed this film and suggested it to me for some time, finally being old enough to see it, I see why he and many others have enjoyed it. Epics are a kind of film that take an immense approach towards a story that needs a massive vision in order to tell such a story. David Lean took this massive vision in order to create something of epic scale and scope, which captured the extensiveness of an epic-genre film. Like most other epics, they take a great amount of time to tell their long stories, some ranging between three to five hours long which I will say may be too long for any kind of film. Lawrence of Arabia runs in at three hours and thirty-six minutes would seem like a rather long film, but this runtime feels appropriate when telling the progressional story of T.E. Lawrence building his character in great depth. Think of it like breaking the character of T.E. Lawrence into several parts such as a man, soldier, hero, leader, and advisor. In regards to the performances, Peter O'Toole brings T.E. Lawrence to life on multiple levels making us feel for his life journey and all other circumstances that he faces on that journey. All supporting and secondary performances adds a lot of good flare as well, especially from Omar Sharif's character. The direction by David Lean resonates every minute of this epic, Lean took such great care in creating a film of scale, meaning making this film both look and feel immense. Great utilization of wide lenses and shots allow the look of the film to larger than life, which in turn makes those particular shots more impactful.

I would recommend this film to anyone, even if it were just one time. This film has been on many "top films or greatest films of all times", after seeing it I feel that this film justifies its placement on those lists. Overall Star Rating: 8.4/10

One of the most bold, clever, and hilarious comedies I have ever had the pleasure of watching! A film that made a choice that many would have considered a bit "too ambitious" or " too outrageous" for when it was made that choice being having two men dress and act like women. I definitely feel the idea of cross-dressing would be more acceptable in today's world despite some of society's/culture's differences on the matter, but making a choice such as cross-dressing back in 1959 was a very bold move. The story of the film is a cleverly written piece a comedy gold which combines not only humor but wit, amusement, and great direction. The comedy genre is probably one of the hardest genres to become acclaimed by both critics and audiences, whereas, other genres like dramas some times have easier when it comes being considered an acclaiming film. A well written script and dialogue exchanges all culminate into enjoyable performances from Monroe, Lemmon, Curtis and the rest the secondary cast members.

Some Like It Hot is film that hits the mark in all the right places as a comedy film. Full of laughs and memorable moments that you can enjoy again and again. If you're looking for a good comedy to watch there's no need to look any further. Overall Star Rating: 8.0/10

Green Book told a story that is simple and easy to understand, but in a larger scope it deals with serious issue. You don't always need to have a complicated or complex storyline to enjoy a good movie. While I'm not one that likes to see politics in movies much less talk about politics, however, this film approached the topic of race in a respectful and less obnoxious way. Many have said this remark before about the film, so I will continue it by saying it was well acted, well written, well told, overall great movie! Performances from both Viggo and Mahershala were profoundly enjoyable, envisioning real people that you almost wish you were able to meet in real life. The screenplay or writing for it was told once again with a lot of heart, but also found itself being a good personal, conversational script where you as an audience member can find yourself feeling like you could have a similar conversation with someone you know. One of the biggest aspects of this film that I found impactful was the key ethnic demographic as being an Italian-American myself, this all felt very familiar to me. On one side of my family, they experienced much of the same situations as portrayed in the film being an Italian-American family living in the 50's and 60's America where people were divided. Understanding that we are all the same, which are people trying to live their lives to the fullest regardless of the color of their skin. This film's story hit me really close to home, which made it feel like I had a personal attachment to it. In the end, I'm pleased with the film and that a story like this one can be for everyone to enjoy.

The tremendous work and artistic ability of Greta Gerwig's Lady Bird tells a story that feels like you have either lived this story or know someone that has. Lady Bird has such a relatable story, where you are observing the life of a young teenage girl traversing the struggles of life both at home and at school. Gerwig's story is something that can be considered funny, enlightening, dramatic, sad, crazy, but overall it's relatable. Telling a story about life is as much of a human story as you can get, something that touches us so closely to our hearts. Any teenager, young adult, or even grown adult can see something in this story that feels real to us or have/can happen to just about anyone.

Three Billboards outside Ebbing, Missouri is certainly a depth defining film that tells a story that we will surely not forget any time soon. Like any good film, it must have a way to both entertain an audience and make the audience feel in a certain way. Performances from Frances McDormand, Sam Rockwell, and Woody Harrelson each bring a blend of love, hate, grief, loss, and a profound sense of humor. Frances McDormand is a shear Tour De Force from beginning to end as you can never forget the look and feel of a grieving mother wanting answers by any means necessary. With the case of Sam Rockwell, he brings along the humor, but also shows his recklessness as someone wanting respect and to show he has a power that people should respect. In accordance with everything from the performances to the story, all can traced back to the carefully crafted work of Martin McDonagh as both writer and director. Overall it is an excellent film providing a balanced blend of drama and comedy that will leave you cheering and heartfelt.