Reviews

Oppenheimer is Christopher Nolan returning to the absolute peak of his craft. You can say the same about Cillian Murphy, who delivers a performance that will hopefully be discussed or even studied in the years to come.

The success of this film mostly lies on him, and what helps the star shine is the ensemble supporting cast. Nolan, with his tight screenplay and intimate direction, is able to get career-best performances out of Robert Downey Jr., Emily Blunt, Josh Harnett, with an understated David Krumholtz and the limited screen precense of Kenneth Branagh.

Editor Jennifer Lane's work allows Oppenheimer to jump from scene to scene, time to time, actor to actor ever so seamlessly. Nolan's one of two expertises displayed here is his significant use of time jumps. Sometimes the jump cuts in this film are excessively overwhelming. This might be an unconventional comment, but I enjoyed Oppenheimer best when it slows down to present a long conversation. Some scenes of the trial and testimony is tense because it allows the rapid-fire dialogue to flow naturally.

And then the shattering sequence of bomb detonation arrives. It is a breathless few minutes. The audience were staring at the gigantic IMAX 70mm screen with culminating intensity. The other expertise of Nolan's is how he handles sound design. Sure, sometimes the audio is so bombastic that we feel the explosion in our core, but it is sometimes the alternative scenes with absolute silence that we feel the most effect of.

As far as the plot goes, those who are invested in it might figure out some historical details that are missing, or that the subplot about the character Oppenheimer's personal life (with Blunt and Florence Pugh) feels half-baked. But as viewers, it won't take long until one realizes that Oppenheimer isn't simply a movie about making the atomic bomb. This character film is fundamentally about a man coming to terms with being the person solely giving people the power to destroy the world. Cinema is a powerful medium, and Oppenheimer uses it to its full extent to deliver a harrowing story that leaves us stunned.

Yet another mission, yet another exciting action thriller, yet another proof that the Mission: Impossible series is the most consistent action franchise of its generation.

What the biggest takeaway from Dead Reckoning is that it is structurally and visually similar to the first M:I film. Christopher McQuarrie's direction is very often tilted; an obvious homage to De Palma. Some of the set pieces and the way the exposition scenes play, they are all set to please fans of this series.

Dead Reckoning is not necessarily as much a masterpiece as Fallout, but that is an incredibly high bar. This movie stands on its own. It is breathtaking and riveting in its own ways. The Mission: Impossible movies follow a definitive formula. The formula will always work when the movies themselves is well made. The works of McQuarrie and Tom Cruise are excellent craftsmanship. They made a movie that upholds its practicality and entertainment value, while establishing a team of interesting characters that serve significant purpose to the plot.

This might be Ethan Hunt's most personal mission yet. The movie explores this fighting machine of a character, and why he does what he does. The thriller elements of the movie, which includes cleverly plotted dialogue exchanges, works surprisingly well amidst the relentless action sequences. This is a very engaging film to watch; Dead Reckoning is simply a good time at the movies.

A vicious cycle of music, booze, love, and drugs, occasionally intervened with police procedure, so we can be reminded that, oh, the main characters of Rush are on an undercover operation with an objective, except that they are dragged so deep in this grimy rabbit hole that they are no different from the people they are against.

Jason Patric and Jennifer Jason Leigh play two cops, kind of rusty in the opening act, who are on an operation that puts them into a dangerous emotional and physical state. They buy and do drugs, in scenes that are quite raw and authentic. When the people in this movie do drugs, the whole process is shown, unlike other drug movies that only half-show everything. The actors here also do not overact. After taking a dose, they seem to mentally process it more than physically. When Leigh had her first try at heroin, she looked helpless, but that slowly turned into acceptance.

Rush is also beautifully directed by debut director Lili Fini Zanuck. She has a firm visual style; Long tracking shots and swift camera movement. I was hooked from the first shot, and stayed there till the last.

The music work here done by Eric Clapton is excellent, especially for its guitar-heavy compositions. If I were to find a way to describe the best scenes from the film, it would be that they play like an intimate rock song. There are some excellent ones in the soundtrack, like the theme song "Tears in Heaven," which is among the saddest ever made.

The two protagonists barely hold themselves together. By the end, all they have is each other. They finally spiral out of control in a shattering climax that left the story in a realistically tragic tone. This is not a deep story, but it is handled with great care and prioritizes authenticity.

Here is a charmless remake that has the same ideas and characters as the original, but none of the energy. Director Calmatic's idea of a sports film is to put a rap soundtrack on and show us poorly shot and edited basketball scenes that are tedious to follow and care.

There are lots of rambling in this movie. This is not neccessarily a complaint. There are lots and lots of trashtalk in the original White Men Can't Jump too, except those are brought with wit and delivered by actors that know how to act intimidating and over-confident. The actors here are as flat as a cardboard. Wesley Snipes and Woody Harrellson are way out of Sinqua Walls and Jack Harlow's league.

So the story involves Harlow and Walls teaming up to play basketball. That's about it for the movie's depth in storytelling. The screenplay here has barely any emotional engagement. In the climax of the movie, in what was supposedly the high point of the movie, I felt nothing. Any other viewer will not feel anything. Not even our characters look like they felt anything. It's all a lazy string of basketball montages and dialogue so monotonous and uninteresting that it plays like a conversation you are stuck in and want to get out of.

This is a movie that thinks it has really cool vibe but is just a slog. Calmatic's previous film is House Party, another remake of a (somewhat) classic. Maybe it is time for him to work with material that are at least original. Maybe remakes like this shouldn't exist for the best.

Wong Kar Wai's feature debut is decently confident; Beautifully directed, even if the film itself is held back a lot by the basic gangster formula. As Tears Go By is an intimate film with a structure I can almost compare to Blue Velvet. Both films interwine two storylines of gritty organized crime and naturalistic romance. The two plots don't directly interfere, but they both feel carefully constructed to paint the main character Wah (Andy Lau, a powerful performance).

The plot is predictable like any of these late 80's Hong Kong crime thrillers. It all involves risky operations and life-threatening situations. It is always obvious that there are no optimistic outcomes. This part is a story of brotherhood, between the powerful Wah and his sidekick, an impulsive gangster wannabe who easily gets himself into trouble (hence the constant need for Wah to set aside his personal life to save him). Besides all this is a romance between Wah and his cousin Ngor (Maggie Cheung, always the glimpse of innocence in an otherwise darker tone) that is simple, yet affectionate, and bittersweet.

Wong Kar Wai entered his directing career with a more mainstream title. As Tears Go By is almost a vehicle for him to build his style. There are differences between this film and others of its kind. For one, it has a tender soul beneath its cold, bitter surface. The presence of such a quiet relationship between our protagonist adds the film some humanity.

If only Wong focuses a little more on the emotional parts instead of the bleak scenes of fights and confrontations. And two years later, he made Days of Being Wild, an emotional character study that is unconcerned with plot but with mood. Now that's a true Wong Kar Wai film.

My knowledge of pool is limited, but that doesn't stop me from thinking that The Hustler is a great film. The setting, the atmosphere, the perfectly casted actors, the stillness and the patience...They're all mesmerizing qualities in this film that I found amusing. The plot revolves around Eddie Felson, an up-and-coming pool player with a half-drunk, arrogant attitude. A long pool game that lasted for more than 24 hours takes place, and indeed the scene is fairly long. I still paid full attention and was never bored, because seeing Eddie's slow progression into insanity and exhaustion is absorbing. There is also some breathtaking color grading and cinematography. A part of me didn't want that scene to end. Or the film.

The game finishes, and the rest of The Hustler intertwines between pool games and the personal life of Eddie. The film shows everyday occurrences around him, who develops a romance with Sarah (Piper Laurie), with an interesting arc on her own. Now why do we need to see these moments? Because this film studies Eddie so fully, it is important that we see his transition from overconfidence to self-awareness, directly facing his own flaws and completely changing his priorities.

It must be mentioned that Eddie is affectingly charming all through The Hustler. This is Paul Newman we're talking about; A natural scene-stealer who can add a touch of elegance to any behavior and emotion. It is a blessing that we see him in almost every single scene. His presence is simply enchanting.

It must be hard to steal the spotlight from Newman, but Laurie, George C. Scott and Jackie Gleason nearly do so in their supporting roles (Scott as Eddie's abusive manager, Gleason as Eddie's nemesis). All the actors and technical qualities come together to shape this performance that defined Newman's career. The final 10 minutes is a lesson on how to end a film with an intense, bittersweet, yet fulfilling conclusion. After all we've seen and all the characters have experienced, it becomes so much more than a simple game of pool. It becomes the resolving of conflicts and the decision of fates.

Woody Allen's The Purple Rose of Cairo is both a simplistic romance story and a love letter to cinema. The concept is kind of thin, but Allen is a master of his craft. His dialogue and scenario setups can add depth to any story. He creates rich and humane characters in a sincere story, set between the line of reality and fantasy.

One of my discoveries is that Mia Farrow is a wonderful actress. Her adorable and optimistic appearance lit up the screen. Jeff Daniels is also great in a dual role, one as a seasoned actor, and one as a fish-out-of-water fiction character. The story involves a minor character in the titular fictional film jumping out of the screen to be with Mia Farrow. It is clearly inspired by (and paying homage to) Sherlock Jr., a classic silent picture of similar themes. The Purple Rose of Cairo isn't necessarily as extraordinary or bold as that film, nor does it aim to be. Allen only wants to deliver a short and sweet love story, and he succeeds.

Movies are fantastical and enchanting. They are magical places that we revisit over and over again. They send us to a place of comfort and joy. The Purple Rose of Cairo is a great showcase of why people love the movies.

If you're gonna see one action movie this year, make it John Wick Chapter 4, a non-stop action picture with the most dramatic lightning and the classiest setting. In this sequel, everyone wears expensive suits, equipped with high-tech weapons. The action sequences defy logic, physics, and human capacity.

Keanu Reeves is more a killing machine than ever, but his allies and rivals are equally dangerous: Donnie Yen chews up the scenery as a blind assassin, Scott Adkins is the longest lasting villain, an expert in martial arts. Bill Skarsgard never fought (sadly) but has a powerful presence.

My complaint towards the last John Wick movie, Parabellum, is the lack of progress in the story. This one shuts off that criticism completely. There is actual setup and payoff; Yes, all very drawn out in the near 3-hour runtime. But this is the kind of movie that I don't want to stop watching. The pacing is stunningly fast, with some truly beautiful locations (Some really stylish usage of Osaka and Paris). There is such an overload of fight scenes that the non-fight scenes underwhelms by comparison.

Watch John Wick Chapter 4 in theatres for maximum effect; you get to hear swords slash, guns fire, bullets fly, and bodies thud very clearly.

Here is a masterful exercise in how to establish and maintain great control of your narrative. I was captivated from the first frame to the last in Goodfellas. It plays like a huge, ongoing montage sequence that I could have watched 10 hours of. I could have stared at the Scorsese tracking shots forever while admiring the mesmerizing performances of Joe Pesci, Robert De Niro, and the late Ray Liotta.

This is such a fine film. The first lines are well-spoken by our protagonist, Liotta's Henry Hill: "As far as I can remember, I always wanted to be a gangster." Not only do these words hang on for the rest of the runtime, viewers just know they are off to a long, fascinating ride when they hear this.

Seeing a great film is the closest one gets to experiencing another person's life. Watching Goodfellas, I was fully immersed in Henry Hill's dark, gritty life of alcohol, drugs, smoke, and murder. We get a detailed inside look at how a gang is managed, and how the members think and operate. Pesci is a short-tempered, foul-mouthed person who kills in a matter of seconds. De Niro is calm and powerful, a figure that everybody fears. Liotta has the most growth, from the new kid to the one closest to his boss.

Now we have a few people we care about, it's time to see how they work. One thing this film understands fully is that suspense is not to be forced but to be built. Your film is not intense when you introduce loads of characters just to kill them off. Goodfellas builds relationships and status for all of our characters and shows us how affairs can go horribly wrong, and all the reputation and power can be gone in a second.

The stakes are getting higher and higher, our characters are taking greater risks. It all comes down to themes of trust, morality, and ultimately betrayal. And after the film we are all left stunned, having just experienced the most exhilarating crime journey of all time.

Some of these images here will stay inside my head forever. I was completely mesmerized by Eraserhead from its first frame to its last.

It is the easiest thing to make an incoherent film. It is the hardest to make an incoherent film with the artistic value of Eraserhead, with an energy that grabs the audience's attention, never missing a beat. Some viewers may consider it an exercise in self-indulgence, and they might be right. The film does not intend to satisfy its audience, but requires them to be receptive. We are dragged deeper into a surreal rabbit hole that plays like a nightmare. It reminded me that nightmares are not always scary, or even creepy. Sometimes they are just ambiguous, as many scenes in Eraserhead are.

Many filmmakers take a couple of films to fully establish their visual style. But not David Lynch. His first feature film is his most characteristic, with his weirdness pushed to the max. You can call Eraserhead pretentious. You can call it repulsive, or abstract. But there is no denying that this is one of the most unique presentations of any visual media. It is a groundbreaking milestone of experimental cinema.

Not many actors can represent Lynch's work in the intended way, but the cast of Eraserhead, particularly Jack Nance, answer his call by not overacting for the sake of being strange, but performing as straight as possible given the material. This fits the film better, because it would not have its effect if we are watching actors being weird. Instead, we are watching "ordinary" people make sense of their uncanny surroundings. It is true that the characters are never really developed, but they are never individuals that the film revolves around. They are tools used by Lynch to develop his ideas.

I think I can declare this a masterpiece. A fearless film, not holding back, and not following traditional film formats on expressing its concepts. It remains a bold and confident piece of art.

Sidney Poitier is a steady, calm force among the wave of racial inequalities in a small Mississippi town here in the crime classic In the Heat of the Night. He is soft-spoken and intelligent, being a "homicide expert." He is observant and skillful, almost Sherlock Holmes-level. Acting opposite Poitier is Rod Steiger as a short-tempered, impatient local chief officer, reluctant to accept the presence of Poitier.

They solve a random murder together inside the hostile environment that is the town itself. The infamous scene shows Poitier slapping a privileged white man, which shows how "heated" the affair is. The central performances here are so fantastic that they allow the film to be special, and us to be completely mesmerized.

The film is never a bore, despite its basic storyline. There is a level of high intensity throughout with the flow never being broken. Not only are the technical credits impressive-particularly the fantastic Quincy Jones score, but the fearless writing itself also stood the test of time and aged amazingly. The story deals with racial issues that are still somewhat relevant, considering that the film is 55 years old. It is an angry film that speaks volumes.

The story that Rocky tells is simple, straightforward, and even formulaic at times. What differentiates the film from other sports pictures is that it has a big heart. The screenplay understands that to make a moving sports movie, there have to be characters that are worth caring for and rooting for. There is a reason Rocky is still so fondly remembered after all these years. Sylvester Stallone spends more effort into developing his now iconic characters than the final fight itself. That being said, this is still a movie of excitement and sensation, with its momentum being built steadily, and finally reaching its peak with some of the most energetic sports scenes ever made.

Rocky Balboa went from a relatively unknown boxer to a boxing legend. Life imitates art, and this wonderful film about him turned Stallone into an instant movie star. He gives one of the best sports performances, impressively believable as an ordinary athlete without any big aspirations. The amazing supporting characters build a strong base for Rocky, particularly the love interest Adrian (Talia Shire), who makes a sincere love story along the way with Rocky.

One thing seldom mentioned about Rocky is how exquisitely well-directed it is, by John G. Avildsen, who will go on to direct another timeless sports classic, The Karate Kid. Not only are the boxing scenes technically brilliant, but the shots of the everyday life of Philadelphia are also well framed with a pleasing aesthetic.

After these slice-of-life scenes and a vibrant training montage comes the big fight with the intimidating Apollo Creed. By the end, the result is unimportant to Rocky and to us. What he did along the way is what's precious about this journey. The hard work, the determination, the persistence. Here is a moving film that will motivate its viewers and make them cheer, in awe of their new hero.

The performances here in The Whale are so fantastic that they deserve better material.

Having amazing actors like Brendan Fraser, Sadie Sink, and Hong Chau in your film but having them work with unintentionally melodramatic moments in a screenplay that isn't as profound as it thinks it is, is a misfortune.

The Whale follows Charlie (Fraser), an obese online teacher living alone, with his nurse Liz (Chau) and a visit from his estranged daughter (Sink).

I actually quite admired the film and thought the plot wasn't half bad, until the third act. Before that, it was quite a riveting story about our characters reconciling with each other and facing their own demons. But soon after, comes a disturbing scene where Charlie binge eats all of his stack of junk food. What I figured is that the film can't quite escape its thin knowledge of obesity. It can't quite achieve its intended effect without one or two of these uncomfortable sceneries.

What I also figured, pretty early on, is that the film is based on a play. The characteristics are thoroughly clear, from the single location setting to the direction of Darren Aronofsky, to how each line of dialogue follows one another so precisely. The conversations here never strive to be authentic, but rather transparently dramatic.

The title of this film is "The Whale," which is quite obviously a metaphor. Poems and essays are repetitively recited all through, discussing and dissecting this subject of a "whale." And thus it makes this one of the least subtle metaphors I've seen on film.

Once again, nothing is to be faulted except for the writing, which puts our characters, who all are broken people, in paper-thin scenarios and attempts to fix them with heavy-handed literature. Our actors carry this one all the way.

Luca Guadagino's Bones and All is an unconventional romance film with the aesthetic of a 70s drama.

This is also a road trip movie. We meet Maren (Taylor Russell), a closeted cannibal, on the go from her family to basically nowhere. There is never a clear destination on this trip. The first person she meets is an old, creepy fellow cannibal, or "eater," as they call themselves. The man is played by Mark Rylance, who is a scene-stealer, giving an unsettling performance that is especially memorable. We later meet Lee (Timothée Chalamet), a skinny "eater," whose relationship with Maren, believe it or not, is pretty romantic.

The spotlight of the film belongs to Russell and Chalamet's fantastic performances. They create a believably strong romance in the middle of this gory affair. The fantastic soundtrack is the icing on the cake; It gives the film a breezy, warm attitude. The sharp, layered screenplay paints our two central characters as ordinary human beings that just happen to be cannibals. It felt special to witness them come of age.

What a remarkable screenwriting achievement Aftersun is, the way it slowly builds up to something this devastating while being this subtle all the way.

Paul Mescal plays a father with his daughter Sophie (Frankie Corio) on vacation. Occasionally some home video footage will appear, so we will believe the father and the daughter are a true bond. It is possible to not be particularly impressed by their vacation scenes since they tell fairly little.

But by the end, we experience a sudden, powerful heartbreak; Something that we did not realize was being built up.

It wasn't until then I fully appreciated Aftersun's genius. We were almost completely oblivious to what was about to come, like Sophie. The final moments of Aftersun play like an hourglass arriving at an end, with the final dose of sand trickling through.

It's disappointing, how this promising Netflix documentary about Taylor Swift is nothing but a painfully surface-level mix of repetitive footage that ranges from her fame and success, to her songwriting process, to archival footage of news reports about her, to interviews with her that, even when combined, are less informative than a magazine cover story. There are thoughtful ideas here scattered around, but they are never connected strongly enough.

What bugged me about Miss Americana is its insistence to show us how much bad press Swift has been getting throughout the years. The negativity surrounding Swift is a great point for this so-called "revealing" documentary to explore, but all of that is reduced to clickbait news headlines being smashed in front of our faces. It was not pleasant to have to sit through all the problematic incidents and annoyances she experienced. Those are better off without being discussed and mentioned repeatedly.

The fairly large section involving politics is well-intentioned but forced. This is another example of director Lana Wilson not having a strong enough connection to the themes of her film. It's admirable what Swift has done to use her voice for advocacy. If only the political material here was used on a better occasion.

We are back to her songwriting process again, with seemingly endless footage from the recording studio, with her producers, discussing albums and songs. Fans will no doubt find these rewarding like they will with the entire film. But the thing is, Taylor Swift is a really interesting person. She deserves a documentary with a clearer focus and more compelling statements. This one is barely serviceable.

The Edge of Seventeen comes and goes like a breezy autumn wind. It passes by quickly and likely won't be named as the best of its genre, but it gets the job done.

The wonderful cast allows the movie to be more than what its material and craft deserves. Riddled with coming-of-age clichès, the screenplay often lacks the kind of unique quality that makes John Hughes movies great. We have the awkward/uncomfortable scene that shows us how good the actors are and how good the tension is built. We also, of course, have scenes that show sincere human connections. The kind of stuff that makes you feel all good and warm inside.

Hailee Steinfeld is crazy good as the main character, who is dealing with the situation of her brother dating her best friend. Woody Harrellson shows up as a cool teacher, almost a father-figure to Steinfeld. The two of them, having admittedly excellent chemistry, make the feel-good parts. No surprise here.

I didn't buy the ending, not because it is predictable-That's a thing I already expected-but because the movie took an easy route to give us the ultimate satisfaction that movies like these build up to. Not that we are not happy for her by the end, but it just seems way too good to be true.

Over the years, the character of Batman has been recast, rebooted, and remade to death. What is needed is a fresh start. A true Batman film requires a kind of comic book awesomeness, while also being rich in atmosphere and style, staying true to the character.

Matt Reeves' The Batman delivers, through and through, as a true Batman film. Robert Pattinson plays Bruce Wayne with a kind of subtlety and calmness. This is a character that does not feel emotions, and treats being Batman as a sort of escape from his actual identity. Here, Batman emerges from dark, dark shadows. Not the kind of dark where it's hard to see what is going on, but the kind of dark that is ominous and moody. When explosions burst through the screen, we are treated with some of the best lightning in modern blockbusters.

But yes, I found it overlong with its three hours runtime. I was also not a fan of the villain, the Riddler (Paul Dano), as he is no more than a stereotypical psychotic villain. What I do really love is that Reeves took a noir mystery thriller approach. Se7en is one of my favorite films and here I get to see the Batman version of that.

I have long grown numb to the tedious superhero blockbuster formula. The Batman restores a little of my hope in comic book films. It is highly rewarding for viewers who are willing to accept new elements in this genre.

Incredible filmmaking here in Athena, an overlooked French thriller that is excellent for its explosive, stunning nature. A film about rage leading to chaos. It packs a strong punch.

Athena opens with one of the best opening scenes I've seen in a long time. It is a 10-minute shot of one too many events to describe. The central story concerns three siblings dealing with the aftermath of their youngest brother's death. Our protagonist Abdel leads a riot group named "Athena," a unified group of young people who use fireworks and torches as weapons. Those create the more aesthetic shots.

Speaking of shots, I'm not familiar with any of the filmmaking talent involved, but I assume director Romain Garvas has a way with long, unbroken shots. (Although most of them are stitched in post, still impressive) One of them starts with a still, turns into a tracking shot, zooms out to show us the location and ends on a close-up. They are also fantastically choreographed, to the point of a big stage play. Some might say it's over done, but I believe the advanced cinematography serves a purpose into telling this big chaotic event.

Athena seems to focus more on the technical details than to give us deep enough characters. But the way it potrays the brutal tension between sides is... something else.

Not only was I very much impressed, I was also shocked and disturbed, in ways that Brandon Cronenberg clearly intends his audience to. Infinity Pool is an electrifying experience of excellent atmosphere. I consider this better than Cronenberg's last film Possessor, as there is a better-paced narrative and livelier characters.

I also appreciated Cronenberg more as a filmmaker. He is imaginative, visionary, with a specific talent for body horror. I think he will be satisfied knowing that his work gave me a headache, for better or worse. With the ear-pounding, distorted music and the distinctive close-ups of body parts, I don't think anyone else could've made this good a film with the material.

Alexander Skarsgård does well as James Foster, a novelist on vacation in an isolated resort with his partner (Cleopatra Coleman), who gets himself into a big, violent, terrifying mess. Mia Goth plays the figure who drags him down deeper into the rabbit hole. No one could've played this role better than Goth. She is a fearless actress at the top of her form. She knows how to make herself terrifying and mesmerizing. The award-worthy performance here is the highlight of Infinity Pool.

So here is a film that does not limit itself, and never shies away from sensitive subject matters. Cronenberg's film contains more gore than Possessor, and also more sexual scenes, which are never erotic, but powerfully unsettling. There are many walkouts in my theater; People who are clearly not aware of what they are in for. If you are mentally prepared for Infinity Pool, do go for it.

Boys State is not a film about politics, but the unification of 1000 Texas boys that came from building a government system from the ground. Any person, Republican or Democrat, federalist or nationalist, left wing or right wing, can watch Boys State without trouble. Political parties are not the focus here, but instead it is the boys' search for moral principles and developing their own voices. The film reminds us, time to time, that they are possibly the future leaders of the state of Texas. After finishing the film and seeing their complete journey, I'd say the future there seems bright enough.

The film focuses on only four important participants. Two of which are running for governor, the other two for State Chairman. They make powerful speeches, showing us their political positions are stronger than ever. It's challenging to please a crowd of rowdy 17-year old teenagers; The crowd either cheers enthusiastically or let out loud boos. There is no inbetween.

It is especially challenging for the introverted Governor runner Steve Garza. He is soft-spoken but never weak. He prepares thoughtful, captivating speeches. I don't agree with everything he says, but his delivery of speeches makes it clear why he won so much support from his fellow Nationalists. Another particularly impressive participant is the progressive State Chairman René Otero, who delivers the film's most powerful monologue.

So now the views, personalities, and leadership styles of the four main people are set up, the only thing left is the election itself. I figured that this Boys State program is educational, practical, and stressful for the boys. But at the same time it's clear that they are having fun. A thousand teenagers is a tough group to work with as politicians. I can't imagine the entire state of Texas.

I watched Possessor to see if I'm a fan of the style of Brandon Cronenberg, so I can decide whether to go see his upcoming Infinity Pool. Unfortunately, I still don't have an answer after finishing Possessor. I didn't love it, didn't hate it, and ended up in the middle. It recycles an ancient sci-fi plot of a person possessing another person's body to complete missions. This is Cronenberg's own take.

He undoubtedly has great talents. Possessor is filled with a brutal, cynical amount of gore. They are cruel but never ugly to look at. The film, in its crucial moments, is visually impressive. That is if the viewer has tolerance for violence and would appreciate the craft behind it.

I was anticipating a horror film when I started Possessor, but that anticipation gradually decreases when it reveals itself to be more of a thriller. Andrea Riseborough made great use of her moderate amount of screen time as our protagonist Tas, possessing Colin (Christopher Abbott, also great) to kill a powerful figure. It just mostly seems like an ordinary mission until the one-hour mark. We are overwhelmed with flashing imagery and violence. Before that, the film seemed to be searching for a purpose. I found myself not all that looking forward to whatever Cronenberg prepared for us.

It must be said that Cronenberg modified the plot just enough so it doesn't feel formulaic. My feelings are mixed, but not without admiration for the film itself. I might as well go see Infinity Pool now. Whatever I feel about that one, at least I know I'll be impressed.

Note: Watched Possessor Uncut, the recommended version.

A Guilty Conscience has some of the most absurd, implausible courtroom scenes I have ever seen. The climax is so dramatic that it makes soap operas look grounded. It looks like the most exhausting trial ever. Lawyers shout at each other as if they are in a heated debate contest.

Our protagonist is the lawyer version of Doctor House: A bitter, talky person that solves cases in his own way. He is played by Dayo Wong, who used to be an infamous box office poison. Here he is better than ever (This doesn't mean he is great). The start of the plot is standard legal drama material (Think a Law and Order episode). Wong fails a big case involving a child's death, causing harm to an innocent person. Two years later the case returns... Yes, a Guilty Conscience recycles an ancient "redemption arc" story, yet it is done in a gloriously entertaining way.

None of the story is believable. They exist in an overwritten screenplay. Despite looking like and sounding like one, this is not a screwball comedy. Although when you think about it, certain parts are funny for the wrong reasons. The sudden rise of absurdity leaves me with a mixed feeling, but I sure am entertained.

NOTE: If you're planning to see this in theaters, be aware that the audio mixing is obnoxiously terrible. The dialogue is so loud, and gets covered by the even more deafening music. I felt like the lawyers were shouting beside my ears during the trial.

Frances Ha is yet another one of those films about aspiring people. In this film, we follow Frances, an aspiring dancer, living in New York, who is realistically clueless about her life and ambitions. This film, along with the recent "White Noise," reminded me that Greta Gerwig is almost as talented as an actress as she is a filmmaker. She plays Frances with a naturality that makes the character a genuine, human one. I know why: The credits list her as a co-writer-she must have written her own dialogue and created her character's traits.

There isn't much written dialogue, from what I've seen. Mostly improvisational. The film is also shot in black and white, and that adds life and soul to the film, instead of the opposite. Director Noah Baumbach shot a gorgeous film. There is much to learn from, like where he put his characters in the frame in certain scenes, and how quickly the film is paced, jumping from one location, one point of life, to another, without having much of a big narrative.

Some of the scenes with Frances hurt to watch. Like the end of her short Paris trip, and some other awkward situations. Some other scenes, we are happy for Frances, like the ending, which is predictable but rightfully so. We don't want to have our hearts broken after all she's been through. Most of Frances Ha is made to be relatable to its target audience. As a film, there is no doubt some blanks to be filled. As a character piece, Frances Ha very much worked for me. Maybe because I'm the target audience, and related to Frances.

My first French noir. Louis Malle's classic Elevator to the Gallows depicts a chain of events beginning with the murder of our protagonist's boss. The opening murder sequences play like a cold open of a classic Bond film. It is calm, quiet, neat, and emotionless. And the murderer, Julien Tavernier (Maurice Ronet), has the same charm as James Bond.

The motive is that Tavernier has an affair with the boss' wife Mrs. Carala (Jeanne Moreau with an excellent performance). Tavernier becomes stuck in an elevator (hence the title), and handles this occurrence in true bond fashion: Sit back, relax for a while, and make plans. Carala is searching for him, as she is seen walking in the rain with lights from the street shining on her face in an iconic shot. Another event would be a couple stealing Tavernier's car to worsen the situation.

I expected a straight cat-and-mouse/run-for-your-life thriller, but instead got a crime story told with three intertwining parts. For sure, the parts tie together and wrap up brilliantly, in a way that only noirs do. I give it 10 stars for now; Subject to change after I see more of these.