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Reviews
The Holdovers (2023)
Yesterdays Future Classic
The Holdovers is a profound coming-of-age dramedy that perfectly captures the 1970s era. The standout performances, especially Paul Giamatti's nuanced portrayal of a lonely man seeking connection, paired with the thoughtful writing, spotlight the impact isolation can have across one's life. While the adherence to 1970s Christmas movie tropes grounds it in the time period, it also hinders the film from being entirely unique.
The direction employs a traditional 1970s style, drawing inspiration from classics of the decade. It excels at both the macro level, with well-controlled pacing and tone, and the micro level, using emotive group and one-on-one scenes to propel the narrative forward.
The acting shines, particularly from Giamatti, who delivers a performance reminiscent of his Sideways role as a smug yet sympathetic character battling loneliness. Da'Vine Joy Randolph likewise impresses as the mother-figure for the makeshift family, conveying the resilience of working-class New Englanders while dealing with her own loss. Dominic Sessa's chemistry with Giamatti perfectly captures his character's journey to find belonging. The child actors and supporting cast all deliver solid performances that round out the ensemble.
At its core, the story follows a simple coming-of-age formula, enriched by complex character development that reveals more depth as relationships form. While not wholly unique due to its adherence to the era's tropes, the thoughtful character writing and pacing make for an engaging journey. As expected in a 1970s Christmas dramedy, the symbolism highlights the quest for purpose and dangers of isolation. The foreshadowing, while predictable, stays true to the period.
The technical elements, from the soundtrack to the cinematography and editing, transport viewers seamlessly back to the 1970s. The slapstick sounds punctuate humorous moments. While the plot structure follows a predictable formula, this remains consistent with the homage to 1970s classics. The climax provides an earned, feel-good epiphany that delivers the dramatic and emotional payoff.
Ultimately, The Holdovers excels as a poignant 1970s dramedy that finds humanity in its lonely characters as they discover the true meaning of family. While firmly grounded in the conventions and style of the era, Giamatti's standout performance paired with thoughtful storytelling make for a rewarding journey.
Andor: One Way Out (2022)
A Masterpiece of Cinema
This is the first Star Wars production that really got to me. Even the Mandalorian never reached this level without resorting to fan service. This show never bows down to fan service or reduces itself to pandering. It doesn't have to, it's secret to being great is simple. Just be good, all the time. Write good stories. Write good characters that are real and fleshed out. Think outside the box and hire the best people, the best actors, the best production designers, the best directors and just let them make a great production.
Andor is not great Star Wars. It's just great TV. Lesson here, more Andor less Boba Fett.
Andor: The Eye (2022)
Telling a great story should be #1
Andor is doing something that other Disney productions, even Mando to an extent have forgotten. Tell a good story first regardless what it is because stories are universal. George Lucas told his story through a backdrop of intergalactic politics and adventure but in the end it could have been set anywhere. That's what Andor is doing, forget the Skywalkers, Jedi, Sith and familiar elements of what we think of in Star Wars. Problem is the writers from Obi-Wan, Boba drop the characters in and write stories around them producing disjointed productions. Legacy characters are great but sometimes they get in the way of telling their own story.
Wonder Woman 1984 (2020)
Sniff....something stinks.
Thank god I didn't pay money for this garbage. It made it easier to turn it off half way through.
The Upside (2017)
CRITICS DON'T KNOW JACK
This is becoming a tradition with critics and movie going audiences disagreeing with the critical consensus. Screw the critics again. They see everything from a nitpicky, emotional irrationality, complete biased thinking perspective that perpetuates professional critics. Professional critics have an agenda. Always had and always will. Sometimes they see eye to eye with everyday moviegoers but most of the time they don't. If a movie clicks with movie goers like myself and not them then they're looking at it from a perspective viewpoint that is based on personal feelings and opinions of their peers but with a subjective perspective one is open to greater interpretation based on personal feelings and emotions. I like the movie. I thought it was well done. Well acted by everyone. Bryan Cranston was very believable and really sold me as a man who had everything except what really mattered and Kevin hart who I enjoy as a performer really shined as an actor. The story followed 1st, 2nd, 3rd and 4th acts very fluidly and thought thought the strong characterization really sold me. Is it as good as Green Mile?? No. Doesn't have to be it's just good and I enjoyed it. That's what matters.