MJL_Uncensored Reviews

See You Yesterday (2019)

High Hopes Meets Poor Execution

[6/10 · 14 January 2024]

"See You Yesterday" seems like one kind of time travel film on the surface and turns out to be another. What could have been an adventure for two prodigies trying to correct an injustice by the police turns into a darker film that's less Back to the Future and more Butterfly Effect. What looks like a PG-13 adventure film is more of a soft R-rated film about geniuses that swear a lot, the neighborhood goons that harass them, and vicious cops and criminals that kill black males repeatedly. It's tonally jarring and it hampers what could have been a good message film. And the film isn't bad, it's got its merits but so much time is spent on executing the plot that we never get a chance to love the characters.

The lead character, C. J. (Eden Duncan-Smith) is a genius engineer but she's so impulsive that it makes you doubt it and we are never given much background around her character to help the audience overlook her worst traits. Her best friend Sebastian (Dante Crichlow) is the likable one, but it's obvious he's mainly here to service the plot from the moment we start time traveling. I wanted to like this film and these characters but their decisions are so irrational at times that it hurts your ability to connect or care about them.

I give a lot of leeway to time travel stories, as there are always logic holes, so I'll give this film the same luxury. This film breaks from most time travel lore while still trying to embrace what the creators assume the audience already understands. So this is the weakest aspect of the film. The dialogue at times is also forced. In an attempt to sell the films message, there's a lot of lines delivered like they were stolen right off a social justice T-shirt. I have no problem with social messaging; I think it's important that films capture the era we live in for historical value. Just make the dialogue feel authentic instead of like a series of slogans.

The film is produced (not directed) by Spike Lee, so the heavy dose of Brooklyn culture was to be expected but this time, it felt forced and misguided for this film at times. Instead of the culture arising in organic ways, it's thrown at us in was that makes you think the writer didn't grow up there. This film misses the mark in so many ways that it saddens me. There were clearly a lot of gifted actors in this film. The cinematographer is clearly talented. But the direction of this film is all over the place as the film fails to understand it's tone or target audience.

Ant-Man and the Wasp: Quantumania (2023)

Phase Five Starts Out Big With a Small Character

[8/10 · 17 February 2023]

The third Ant-Man is ambitious, silly at times, and surprisingly eerie at others. This is Scott Lang's chance to finally shine on a grand without the Avengers and you know what...he does! By no means is this a perfect film but it's the first film where an Ant-man film feels like it has stakes for the broader MCU beyond a post credit scene like Ant-Man and the Wasp.

Quantumania is a psychedelic journey through a miniature Star-Wars-eque universe that's inhabited by oddities ripped straight from a 10-year olds imagination. That's not a bad thing, but I suspect the rigid minds of adults will find it too trippy in some areas of the film (which I'll discuss near the end) but it's this creativity that gives the Quantum Realm its visually stunning appeal.

The story itself is a simple one: Scott Lang and family are pulled into the Quantum realm and introduced to the newest big bad in the MCU...KANG!! Kang is trapped and needs Scott to help him to escape. Johnathan Majors as Kang is a beast of a man. His mood switches between vulnerable to vicious in the flick of a light switch and it is awesome to see. Kang is menacing, crafty and cunning but its Michelle Pfeiffer's range of emotions as Janet that sells Kang's villainy better than anything the film gives us. Janet Van Dyne is the embodiment of trauma in this film and Kang is the trauma she suppressed.

I always have to remind myself that Ant-Man films are intended for kids so there's a reason for its tone and style. But there are times that I wish the film trusted itself enough to just lean into the world they created and allow it to engross us instead of occasionally relying on silliness that pulls us out of the moment. I long for the day when sci-fi films gives us a world that has a sort of evolutionary synergy like Avatar instead of feeling like a dump of toys from a child's toy box onto the screen. Ancillary characters should fill the world, not serve as a punchline. That's one of the weaknesses in this film.

Overall, its a fun return to the MCU's ever expanding universe and sets up the future in exciting new ways.

Avatar: The Way of Water (2022)

A Basic Story Empowered by Beyond Exceptional Visuals.

[7/10 · 16 December 2022]

I'm not going to start this review like everyone else's because it's redundant. This is a review coming from one of James Cameron's biggest fans. And I have to say, it's weird not knowing how I feel about a James Cameron film when my entire film school journey has been me solely idolizing his craft and declaring him to be superior to Spielberg and Scorsese to a room full of film snobs at Columbia College.

I saw the first Avatar over five times in theater. I own three different versions of the film (the bare bones version that was released), the special edition, and then the 3D version. I have all the toys from the first film, still factory sealed because I believed this was the future of franchise films. So, I was more than ready for Avatar: The Way of Water. Almost too ready, so I tampered my expectations.

At this point, saying that Avatar: The Way of Water is a technological masterpiece is like constantly saying Jordan is the greatest NBA player ever. Everyone gets that. So, on pure visual spectacle, James Cameron proves once again that no one is on his level. You will find yourself in awe of the hair fibers on someone's arms. When it comes to action scenes, no one frames shots better or knows how to exploit the full width of the frame to tell an amazing visual story. This film is the standard for CGI.

But what matters, at the end of the day, is story. And this is where Avatar: The Way of Water falls flat. It's Dances With Wolves, and it feels just as dated. The performances never feel like the actors created a new culture to explore, they feel like actors imagining what it would be like to be Native American and it feels weird at times. Fresh off the heels of Wakanda Forever's deep cultural dive, this feels dated by comparison. This film also exhausts too many moments showing off how awesome the CGI is in multiple scenes where the characters marvel at the world they live in. When you already live on the most beautiful planet in the world, it's fascinating to see the Na'vi still in awe. But in fairness, we live on a beautiful planet and we're still in awe at times too.

I say all of that to say, this is not a bad film. This is a film worth seeing in theaters. This is a film I'm grateful for because it advances the medium light years ahead in only the way James Cameron can. But for the first time in my 30+ years of James Cameron fandom, I found myself wishing my favorite director/writer had let someone else write the story because this is a franchise that can be so much more than what was given. And perhaps in the sequels, it will prove to be just that. But for now, this film proves what we already knew about James Cameron and also reveals that his style of storytelling is not as timeless as I would want it to be.

Spider-Man: No Way Home (2021)

They Understood the Assignment

[10/10 · 17 December 2021]

Movies like Spider-Man: No Way Home is why we go to the theaters. To have our emotions unlocked, unleashed, and rewarded.

The hype for this film was so intense I was afraid the film could not deliver. So like Zendaya's character MJ, I lowered my expectation to protect myself from disappointment. Well, let me say...there is nothing to fear because Sony and Marvel Studios deliver perhaps one of the greatest superhero films of all time.

To those that hate superhero films...no one cares. This. Is. Cinema.

I'll leave my review at the trailer level. Peter Parker wants the world to forget he was Spider-Man and enlists the help of Doctor Strange to help him. Peter Parker's penance for talking during Strange's incantations creates a rift that unlocks villains from past Spider-Man films.

And before I go any further, let me say that the people who have criticized the MCU's Spider-Man trilogy are probably eating their words right now when they realize how much his super-powered friends enhance the stories that can be told. The freshness of Tom Holland's world brings a special joy to the interactions between his world and those of multiversal Spider-Man foes: Doc Ock, Green Goblin, and Electro.

On the surface, the film feels like any other Spider-Man film, and then the story explodes, and you are not ready for the adventure that comes afterward. There are so many surprises here that remind you why you're a Spider-Man fan and a person who loves going to the movies.

Spider-Man: No Way Home is the Christmas present we all needed. And my packed AMC IMAX crowd was united. And it felt good to be an American enjoying one of America's greatest comic mythologies: Spider-Man.

Eternals (2021)

So Much to See, One Viewing Is Not Enough

[8/10 · 28 November 2021]

It took me a while to process the whole experience of Eternals--partially due to two lousy theater presentations that caused me to miss key moments. But everything came together brilliantly in the third viewing, and I have to say, Chloe Zhao achieved something special here.

The film begins with an opening crawl that the audience will distrust as the plot is revealed. We meet the Eternals on their spaceship as they arrive on Earth in 5000 BC to combat the Deviants, a race of monstrous predators that have begun killing humans. The ten Eternals arrive and start their mission of protecting humanity over centuries from Deviant's, vowing never to interfere in humanity's conflicts under strict orders. It's a smartly addressed question posed to them early on by Dane Whitman (Kit Harington) when he learns his girlfriend Sersei is an Eternal, and he wonders why they never helped fight Thanos.

Having gone their separate ways after their final mission during the Aztec War, they find themselves reuniting to combat the Deviants who have suddenly emerged once more. But this time, they're different, capable of absorbing the powers of the Eternals. It's a small detail that's glossed over, but it a savvy MCU viewer will know this is a setup for a bigger story later.

The story progresses by showing you The Eternal's past failings over the years and how they ended up where they are now. They need each other to ward off an even more significant threat: an event known as The Immergence.

There is so much to explore here as Zhao uses every scene to plant seeds about this new world while deconstructing these gods. In many ways, they are as weak as humans, flawed beings who have also been fed lies to further the agenda of the powerful. Zhao uses her settings and camera work to create the most epic-looking visuals ever seen in a Marvel film. And nothing plays out as you expect it to play out in this genre. The decisions each of these ten Eternals make are profoundly different than what we've come to expect from superheroes. Yet, there is still that element of heroism that makes Marvel characters feel as though they care about the worlds they inhabit.

The performances are sedated to some degree, and at first, it felt a bit off for Marvel's usual cast of energetic, quippy heroes. But once I learned their true origins, it made more sense for them to behave as they did. Each Eternal is gifted with a unique ability such as super strength, healing abilities, illusions, mind control, and super speed. The later power is one of the best on-screen presentations of a speedster I've ever seen, and Lauren Ridloff's Makkari, a sticky-fingered speedster, is easily my new favorite Marvel character.

The Eternals is a film that has already divided the Marvel community as it doesn't feel like any other film in the universe: it's more methodical and heavy on exposition. But that's what I love about this film. There is some intense world-building at play here, and while some of it may have been best served in a Disney+ series, the visuals demand a big-screen presentation. This is one of those Marvel films that viewers will go back to years later and realize how much it matters to the broader arc of Marvel films and make them wonder how they missed all that was seeded here.

Bruised (2020)

Oscar Worthy Performance

[9/10 · 25 November 2021]

The limited release in theaters to allow this film to qualify for the Academy Awards was a wise decision. In her directorial debut, Halle Berry proves she studied the craft and learned the importance of not only acting performances, but tone and camerawork.

Bruised is a gritty down-on-their-luck fighter story, nothing we haven't seen before except this time, the subject matter centers on a former UFC fighter in the women's division. Disgraced as a fighter she finds herself with an opportunity to get back in the fight and make some much needed cash to support herself and her son whom is suddenly thrust back into her life.

The strength of this film is the performances from not only Halle Berry who clearly pushed herself to the limits to learn mixed martial arts fighting. But it's also the ancillary characters such as Jackie Justice's mother, Angel who portrayed with such authenticity that I had to wonder if she was ripped from one of the dysfunctional families I know.

But the heart of the film is Jackie's relationship with her estranged son who seems to have some sort of undiagnosed form of autism. Jackie's string of failed relationships shows how broken she is but her determination to make her relationship with her son work is the most important of all of them.

Bruised is a slow burn, but a worthy one. And for this viewer, this is Halle Berry's best work ever.

The Suicide Squad (2021)

Fantastic Fun But It's Not For Everyone

[8/10 · 7 August 2021]

The Suicide Squad is an exhilarating entry into the comic-book genre that takes the best elements of past James Gunn films, other comic book adaptations like Deadpool, The Boys, any combination of Tarantino films, and turns it into a high-caliber exploitation film. That's not a negative; it's an observation that is crucial to understanding the creative choices that drive the experience of the film. This is a film about horrible people trying to save the world, and they never let you forget that they are awful people. In the process, we, as audience members, are tossed into an equally hilarious and vile world that makes you question the limit for comic book movies.

From the opening scene, Gunn makes sure you're well aware of what you've gotten yourself into as he injects a vomitorium of violence to desensitize you early on. Then he spins the narrative around to introduce you to the titular characters and establishes what's at stake. This is a film about the risk for everyone involved in the story to the film's actual production. The Suicide Squad swings for the fences, and in the process of delivering a home run, the ball lands in a fan's eye and bloodies them good. No one is safe in this film except for a few. As shocking as many of the deaths are in this film, a savvy gambler could still see the foreshadowing behind the deaths of most characters.

Gunn does what he has done well with the Guardians of the Galaxy, taking a group of misfits and helping them find synergy in the most unconventional of ways. But along the way, there's a tragedy, betrayal, and real stakes that make the film's absurd big battle thrilling to watch. He also manages to give the film heart by taking the easily most likable member of the group and giving her a story that makes you care for her. But as the film explores her roots, the film literally takes a dump on the type of people she represents in a weird social commentary about capitalism that feels like satire from Team America World Police.

There are choices made that are juvenile and brilliant, all at the exact times. There are other tasteless and unnecessary choices, even for a film that establishes its extremes early on. So it's not hard to surmise that this film will be a hit with one segment of moviegoers and a turnoff for others. That's how polarizing this film is. But no one can deny the brilliant cinematic style on the screen. Gunn paints the canvas with some of the best cinematography I've seen in a comic book film. It's gritty yet colorful. He exudes mastery over the camera angles in this film, literally framing every scene in an artistic and kinetic way. And while audiences may split on their feelings about this film, everyone will walk away thinking about the lovable scene stealer that is King Shark.

I can't say more about this film without rolling into spoilers, but what I can say is, The Suicide Squad is without a doubt one of the most creative comic book movies in recent years but it's also the most disturbing.

Snake Eyes (2021)

Close But No Cigar

[6/10 · 1 August 2021]

Snake Eyes: GI Joe Origins is a good movie that could have been better had the filmmakers decided to build the universe and give meaning to the mask. Henry Goulding is fantastic as Snake-Eyes, and the social media whining about his ethnicity is the kind of stuff that's suited for less evolved minds, so I have no patience for that complaint. But for the fan who is concerned about the core story of Snake Eyes as a disfigured military veteran, that is a valid concern that alters the dramatic tension of this film.

The Good: The Modified Origin Snake Eyes: GI Joe Origins works as an astonishing Yakuza tale with the looming influence of COBRA. Snake Eyes and Tommy (who is later revealed as Storm Shadow in the film's trailer) have a fraught brotherly relationship that allows the orphaned mix martial arts fighter to join a secret clan of ninjas that protect society. There's the usual test of character trails you've seen in many martial arts films, and these are unique in their own right. In the dual-agent nature of Snake Eyes and Storm Shadows' relationship and the betrayals that underlie their relationships, the story is the strongest.

The Bad: The Introduction of GI Joe Scarlett O'Hara's intro is a direct rip-off from Black Widow's Avenger's interrogation scene. And Scarlett and the Baronesses sultry femme fatale act is a bit dated, overacted, and feels out of place in this film. You welcome their presence because it connects the universe, but at the same time, it's so poorly utilized that you don't care at all other than the first few moments they appear.

I bring up Scarlett because fans of the comics and the 80's TV series know there's a strong bond between her and Snake Eyes. At no point do you get the sense that these two will become lifelong besties. They are as disconnected as two strangers on Twitter. And this is where the decision to change his origin story hurts the film. In the comics, Snake Eyes saves Scarlett during a helicopter crash, resulting in disfigurement and loss of speech. In the later years, she goes with him to experiment with plastic surgery procedures as Snake Eyes longs to have a love life of his own. I'm sure the producers didn't want to scar Henry Goulding's beautiful face. Still, the absence of that history makes their relationship topical and the arrival of his acclaimed mask...well, meaningless.

The Ugly The plot has a lot going for it when you pay attention to the themes the director is trying to convey. The conflicted nature of Snake Eyes makes him a bit of a jerk but still, one we can empathize with him. Where the story goes wrong is the introduction of the infamous secret weapon that you expect in a GI Joe movie, but it's so poorly introduced that it feels like an afterthought to create a more great third act. Another exploit of the snake theme already lies in a film about a man named Snake Eyes with an enemy known as Cobra. It's a bit hokey and unnecessary to the film; it also shows a lack of creativity by the filmmakers. The film also misses the mark to make the universe feel bigger. It's a smaller self-contained story which is fine, but it doesn't do enough to make you want to know more about the world awaiting Snake Eye's future.

Overall: An fun pop-corn movie While it may seem like I'm hard on the movie, I'm rooting for it because I am a huge fan of GI Joe. A trip to my garage will reveal thousands of dollars of collectibles tied to that franchise. But Hasbro still hasn't figured out how to use this franchise in a way that makes it to the next level. Because there is a lot that's done well in this film, the cinematography is just suitable for this world--gritty enough to add tension but stylish enough to feel like a comic-book-themed universe. The actors are practical, not perfect. And the action is reasonably well done. So there's still a lot of work to be done before GI Joe lands it big at the box office.

WandaVision: Previously On (2021) Season 1, Episode 8

This Is World Class World Building

[10/10 · 27 February 2021]

This show is brilliant!!! Marvel is deep-diving into superhero trauma in a way I never knew the genre needed. For years, we've been programmed to accept that superheroes either bounce back as tougher individuals (like Batman), or just turn evil. This show is none of that. This is not an overt attempt to turn Wanda into a villain (although that may happen). We know she's insanely powerful but the show doesn't spend it's time making it somethings she boasts about. This is an attempt to understand how an Avenger who has lost everything, is coping. She didn't want to be a hardened superhero, she wanted to be happy and it's all falling apart.

Episode 8 is one of my favorite MCU experiences ever. Watching Wanda relieve the tragedies of her life made this the one of the most heart-breaking origin stories I've ever witnessed. Agatha Harkness as her manipulative host through the worst moments of her life is captivating and sickening all at once. And the explanation for why this sitcom world exists is so satisfying that I found myself wishing Wanda could get it all back, even though I know it's wrong. This is great television. This is exceptional world building. This is Marvel Studios proving that Endgame was not the peak of what they could accomplish--it was only the beginning of things to come.

Wonder Woman 1984 (2020)

WW84: "I Wish" This Were A Better Film

[6/10 · 26 December 2020]

I got the sense that director Patty Jenkins wanted to tell a character-driven story that pushed against the superhero genre's standard tropes. I applaud the effort, but for me, Wonder Woman 1984 failed to capture the magic of the first film and, in a lot of ways, regressed back to an era of superhero films most of us wish to forget.

I didn't even want to write this right away because I wanted to take some time mentally dissecting what went wrong. And for me, it comes down to three things: the style, the pacing, and the plot. It's one of the few films where I wish a studio exec had intervened and said there are certain necessities for a superhero film: even character-driven ones. For instance: you know that guitar riff that plays when Diana is about to do battle--you need that. You also need badass action scenes--without exception. And the story...well, that needs to be concise. "I wish" someone had done that for Patty Jenkins. Instead, what we got was the discombobulated mess that was WW84.

The Good: The heart of the character Diana Prince is on full display here. She's a compassionate warrior, not the jaded journeymen every superhero film tries to create. Chris Pine is still fun as Steve Trevor; his charisma leaps off the screen despite a weak storyline for his return. And the post-credit scene. I won't spoil it, but it was a wonderful homage. That was the good stuff. Now...the bad.

The Style: Wonder Woman 1984 tries to capture the nostalgia of the '80s, it's bombastic fashions and its capitalism overload that defined the era. There's plenty of homages to it, including Pedro Pascal as Maxwell Lord, who delivers a weird persona merger of Donald Trump and an 80's infomercial salesman that falls flat and feels too cartoonish to care about. It also captured a sort of hokey style of action from that era that made Wonder Woman's fighting skills seem regressive compared to 2017's Wonder Woman. While Wonder Woman gliding on air currents is often a forgotten skill-set of hers, it feels unnecessary here, it's visually uninspired and brings back the level of cheesiness that makes modern superhero movie fans cringe. As much as I love the '80s, Wonder Woman 1984 could have learned from Netflix shows like Glow and Stranger Things that you don't have to mimic all the bad elements of 80s entertainment to tell a story from the era.

The Pacing: This is where a bulk of the movie's problems start. This could be the first DC movie in need of a trim rather than an extension like the Synder Cut. One of the film's best moments, the opening scene takes far too long to state its purpose: the value of truth. When you layer that message with Maxwell Lord's Trumpian behavior, you suddenly see the not so subtle political messaging. That's not the problem; the problem is, it takes forever to get there. We are taken on a lot of traveling scenes to deliver moments of exposition to show how Maxwell Lord is exploiting his new gifts and causing chaos. Then we're taken on more traveling scenes to show how Wonder Woman and Steve are looking for him and always just a step behind him. Typically, a film of this scope will use an action scene to break things up--nope--Wonder Woman 1984 takes the path less traveled: more exposition scenes. The delay in superhero gratification should have been met with more excitement when Gadot finally put on the suit, but oftentimes, I found myself checking to see how much time was left in the film because I wanted it to end.

The Plot I understood the plot, but it never felt fleshed out. The plot felt like an idea in search of an identity. The film already started with a MacGuffin device that was loosely explained. Then, in it's an almost Doctor Whovian-like conclusion, the third act of the film suddenly ratchets up the global threat of Maxwell Lord's actions. Maxwell Lord even acquires access to a world-shaping device that conveniently appears in the film's final act. And Wonder Woman, who couldn't quite figure out how he was doing what he was doing, suddenly figures out how to fix the problem in an overly magical moment that feels like the screenwriters wrote themselves into a corner and created a magical cheat code to get out.

Conclusion: Wonder Woman 1984 is one of the most disappointing DC films I've seen. The first Wonder Woman film is one of my top three favorite DC films (along with The Dark Knight and Superman I), so maybe my expectations were too high. This film is sluggish, sloppy, and only salvaged by Gal Gadot and Chris Pine's charisma.

X-Men: Dark Phoenix (2019)

Better Than Apocalypse Should Not Be the Bar

[6/10 · 9 June 2019]

I wanted to like this movie, but I couldn't. I kept telling myself that maybe everyone's hard on the X-Men franchise because Avengers: Endgame was so epic that everything else that came after it was getting a bad rep-but I knew better. The stories around this film's production had become legendary long before Endgame was released. However, it was still the X-Men; there was no way it could be all bad.

It wasn't. However, it wasn't great, either. Dark Phoenix wasn't X-Men: Apocalypse bad, but it didn't do much to redeem that tragedy that was X-Men: The Last Stand. It was just ok, which is unfortunate considering that this is the end of the road for this franchise under the 20th Century Fox banner. So, let's get after it with the good, the bad, and the ugly of it all.

The Good

The first act of the film is surprisingly well done. It felt like the director (Simon Kinsberg) had a clear vision for how he wanted to translate the Phoenix saga-this time around. The X-Men are beloved as heroes for the first time in the US, and the opening scene's NASA astronaut rescue is a well-done set piece that establishes that. However, this scene itself sets up the ugliest part of this story, which I'll get to later. Sophie Turner (Jean Grey), James McAvoy (Charles Xavier), and Michael Fassbender (Magneto) are the highlights of the film, giving stronger performances than this film deserves. Also, Hans Zimmers thunderous score provides the movie with an intensity the film would have lacked without it. Hans is the MVP of this film.

The Bad

For all the praise I can give to Sophie, James, and Michael, the opposite is true for Jennifer Lawerence (Mystique), and Nicholas Holt (Beast). Both deliver some of the clunkiest performances of the entire franchise. Then there are the antagonists. We get villains no one cares about (The D'Bari). The heroes don't quite feel like heroes in this film; they all come off like wannabe Wolverine's who were asked to do things that are out of character to make the movie feel dark and edgy. There's no sense of comradery here, just a group of actors running up a special effects bill and some do it for unnecessary reasons-like Magneto pulling a train out of the ground. However, the biggest issue is the plot. There's no emotional weight, just beats of action. Everything is rushed-there's no time for character building. The films big second act action piece is a dull fight in the park against random baddies. Moreover, the big climactic train battle feels like it belongs in another film (this scene is well done-it just doesn't fit).

The Ugly

People have complained about the continuity of the X-Men films for years. I was usually more forgiving. Not this time. The events at the end of Apocalypse and the origin story of the Phoenix force in this film is a HUGE continuity error. Storm, my God, how many times can they get Storm wrong. Well, apparently, in every X-Men film as she's now developed the ability to shoot lightning from her hands. Then there are the villains who are bulletproof in some instances and not so much in others. However, perhaps the ugliest thing in the film is the grotesque effect of making Charles Xavier walk that seems somehow unnecessarily cruel and disrespectful. It just doesn't work.

Conclusion

This was an opportunity to close out the franchise with a bang (I get that this film was shot before the big Disney/Fox merger) and they didn't. Instead, they closed out a 20-year franchise with the kind of disappointing ending that would make Game of Thrones fans feel incensed all over again.

John Wick: Chapter 3 - Parabellum (2019)

It's Not A Masterpiece, But Keanu Is Masterful In this Role

[7/10 · 17 May 2019]

The John Wick franchise, like Fast and the Furious is one of those franchises you have to grade on the quality of the action rather than the quality of its story. Neither of the first two John Wick films had a remarkable story, so the John Wick experience is really about enjoying one of the greatest action stars of his generation doing what he does best in the most creative of ways--killing bad guys. Killing lots of them.

For the third installment in the John Wick franchise, Keanu Reeve's and Halle Berry guarantee you will not survive any drinking game based on their character's kill counts. If you thought John Wick killed a lot of people in the first two movies, then you're going to need a calculator for this gun-fu ode to Bruce Lee's Game of Death. Keanu continues to master the art of injury-limping through his films and finding the energy necessary to eviscerate one guy after the next. He's done it so much throughout his career that you sometimes fail to appreciate how talented he is as a real action star during some of his scenes--you expect it. That's not a knock on him, that's a tribute to how good Keanu is at these types of roles.

What was a surprise was Halle Berry's fantastic sequence of kills that looked like the spawning of her own franchise with the intensity and length of her fight sequence. Anyone who's ever tried to collect alimony from Halle Berry should seriously try to reimburse her after seeing this. She was gloriously vicious in this movie.

The opening scene's kill in the library was without a doubt, the movie bad guy kill of the year in a movie full of award-winning fatalities (if there were such a thing). It's a franchise brimming over with mind-numbing violence that still finds ways to always make you squeamish.

One of two problems with John Wick 3 is the organizational structure of the fight scenes. You expect a movie to open strong, settle down, and build to a crescendo. Unfortunately, some of the best fights happen earlier in the film, leaving the ending fight filling a bit anti-climatic. The other is a lost opportunity to use to more moments of humor to liven up a movie that occasionally becomes so repetitive that you're just waiting for it to end. One of my favorite scenes from the first John Wick film was John killing multiple guys in his home and having the police stop by and totally ignore it like it was just another day in this neighborhood. Moments of levity mixed with action are the hallmarks of this franchise. This movie gets it half right and that's not an entirely bad thing, because the other half is what John Wick fans came for--Keanu Reeves reminding you that he is the best action star in the world.

Avengers: Endgame (2019)

This Marvel Studio's Masterpiece Is The Cinematic Experience of A Lifetime

[10/10 · 26 April 2019]

This will probably be one of the shortest reviews I've ever written because I do not want to #SpoilTheEndgame for those who haven't seen it. So this review is more of an explanation of how I felt after walking out of the theater and there is no way to adequately describe the sort of visceral impact that this movie will have on audiences across the world.

THIS WAS A CINEMATIC EXPERIENCE UNLIKE ANY OTHER! THANK-YOU MARVEL STUDIOS!

When a franchise takes you on a 22-film journey, over 11-years, it's safe to say there's a lot on the line for the filmmakers to deliver. I can't imagine the pressure the filmmakers felt with making this film. I felt unease going into Avenger's Endgame prior to the initial first reactions that were posted online. When I saw the glowing praise this film received, I was relieved, but that still didn't prepare me for the experience.

You know a movie like this is going to deliver on the big moments. Huge set pieces are what Marvel Studios excels at. But you don't know just how well it's going to come together as a whole. My God, this film does it better than anything you've ever seen. If Infinity War was the movie that tore audiences down, Avengers Endgame is the therapy and revival that we all needed.

This is a testament to the strength of great character building and storytelling. This film is a tribute to all the year's fans spent going on this journey. This film truly is a culmination of every "phase" of the Marvel Cinematic Universe and Avenger's Endgame just proved that the world needs heroes. This is without question, the greatest superhero movie of all time, and arguably one of the best cinematic experiences ever. 10-stars!

Shazam! (2019)

Shazam Is the I Like You But I Don't Love You of Superhero Films

[7/10 · 7 April 2019]

I didn't LOVE Shazam! as a movie, but I have to admit, the film is pretty adorable, and it leaves you with some good memories that it's tough to say anything wrong about it, so my review is a little conflicted.

Shazam! is your typical origin story movie (which I really wish filmmakers would reconsider revising like Black Panther did). It follows the story of a troubled kid, Billy Batson who is moved into a foster home with a group of misfit kids that are so irresistibly charming that you can't help but want to adopt a quintet of diverse foster kids. The film follows Billy's struggles to adapt, but when he's forced to stand-up for a family member (Freddy Freeman)--a socially awkward boy with an undisclosed physical ailment--he is deemed worthy by an eccentric wizard (a former Shazam) to take his place and become the new Shazam! That's not a spoiler, that's canon, and the trailer already told you that.

Pretty straightforward, right?

What follows next is Zachary Levi's best Tom Hanks impression as a child in a man's body, and he executes it with the kind of glee you expect from an actor in a Christmas movie. And yes, this film takes place around Christmas, so Shazam! could quickly become a Christmas movie that's in heavy rotation in years to come. Levi finds the right balance of goofiness to keep you smiling without becoming annoying like that kid that keeps doing his one trick move to get the family to laugh during family gatherings. And the story of Billy Batson's quest to find his mom has enough emotional heft to pull the movie into more grounded territory when needed.

Of course, what would a film like this be without a super villain? Enter Dr. Thaddeus Sivana.

As villains go in movies, Sivana is as tropey as they come. Daddy-issues and weird childhood obsessions seem to be Hollywood's analysis of how to turn children into sociopaths. His motivations are weakly defined, and his performance is clearly classic Bond-villain inspired, but his creepiness as an onscreen baddie is elevated by some pretty cool CGI that I won't spoil. Sivana's appearances created some moments that caused a little girl in the theater with her parents to cry every time he came onscreen--so as a kid villain, his shtick works. For adults, he's a bit of throwaway character.

The film's strength is its children and the story's conclusion--a feel-good story that has some genuinely lovely surprises for the audience. Hats off to the marketing team for not spoiling it. And as formulaic as it is to have that one foster child that is so irresistibly cute that you wonder how anyone could ever abandon a child like this--Faithe Herman as Darla Dudley--was an absolute scene stealer. They could have done an entire movie about her, and I would never tire of seeing this young talent onscreen. The children are the real stars , and I wonder if they were removed, would this character or this movie be able to stand alone. What I mean by that is, if you slap adult Shazam! in the Justice League (comic nerds, back off, I know his relationship with the JLA) would he work or hamper the film? This isn't a slight on Levi, it's a slight on the character.

The film's weakness surrounds its villain (as previously discussed), and it's costume design. As much as I love seeing classic comic outfits in cinema instead of the S&M leather worn in the early X-Men movies, this is one of those times that an update would have been better. I'm sorry, Shazam's muscle suit is distracting and so 90's retro that it's annoying to look at.

There's always the conversation of "superhero" fatigue amongst reviewers, and that is probably a legitimate state of mind right now when you consider the extraordinary number of films (and television shows) that have been based on comic book source material. But that's not me. You could fill my entire plate with serving after serving of comic book films, and it would never taste stale to me because it hasn't since 1989's Batman. But Shazam, like the first Ant-Man, seems to feel like a snack until the main course arrives. Wonder Woman and Aquaman are now the new faces of the DCEU while DC tries to figure out how to reboot Batman and Superman for the umpteenth time. Where Shazam! fits in the scheme of things is too be determined. But for now, Billy Batson is here and he's fun to watch, even if his hair and outfit annoy you.

Captain Marvel (2019)

CAP'tivating: Better Than You Think

[8/10 · 11 March 2019]

Whatever nonsense you heard about this film leading up to its release--ignore it. For all the controversy surrounding the release of Marvel Studio's Captain Marvel, this film rises above all that noise to deliver another delightful addition to the Marvel Cinematic Universe. Brie Larson as Captain Marvel is a joy to watch.

One of the things I've always treasured about Marvel Studio's formula is that they execute it consistently well, even if doesn't always produce the most groundbreaking product. That formula ensures that no matter what, you're getting your money's worth. Captain Marvel is a testament to that model. This is a traditional origin story that's beautifully executed, and the only thing unique about it--sadly--is that it took Marvel 20 films to produce a female lead. Well, Brie Larson's take on the classic comic book hero is here, and I was smiling from ear-to-ear throughout the film.

Before the hordes of moviegoers pack theaters in April for Avengers: Endgame to see the conclusion to the most significant story arc in movie history, we needed to know who was the hero Nick Fury paged at the end of Infinity War. Who was so powerful that the architect of the Avengers felt that this was the moment out of all others when he would need them.

Carol Danvers (aka Captain Marvel) is the answer.

Plagued with a shattered memory, this Star Force warrior works on behalf of the Kree race (see Guardians of the Galaxy) as part of a special ops team out to hunt down Skrulls--shape-shifting infiltrators of other worlds. When a mission goes south and lands Danvers on Earth circa the 1990s, she is immediately intercepted by SHIELDS newest agent, Nick Fury. From there, we move into buddy cop territory as Larson and Samuel L Jackson work, fight, and trade barbs at one another in the most delightful of ways. When the search to uncover her past leads her to her old Air Force BFF, Maria Rambeau (Lashana Lynch), the movies discovers it's heart as we transition from quippy buddy cop mode to a human drama about the triumph of human spirit and the birth of a superhero.

This is a film that is self-aware of its social significance yet it doesn't get heavy-handed by reveling in it too much. There's just enough for you to get the point. There's also a nice amount of 90s nostalgia. I don't think it's crossing into spoiler territory if I tell you to see if you can spot how many homages to 90s films you can find in this film. There's also two wonderful Stan Lee moments in this film that put a knot in my throat.

The online complaints about this film range from legitimate to childish trolling. Is it perfect--no. There are some moments where there are awkward transitions into 90s music, Korath (Djimon Hounsou) is still just a cameo character as he was in Guardians of the Galaxy, there's not enough Agt. Coulson, and Capt. Marvel's hand to hand combat relies on too much shaky camera work that it distracts at times. But those are minor gripes. Hardly any of the 20+ Marvel movies we've seen, meet that standard of perfection. And the complaints about Bree Larson's acting fail to consider one of the first things established in this film about her behavior, which is why I have a hard time accepting some of the criticisms of this film.

This is far more refreshing origin story than most Marvel movies with the possible exception of Iron-Man and Guardians of the Galaxy. Ironically, both of those films play huge influences on this film. Captain Marvel isn't the movie you should see because it leads into Avengers Endgame, Capt. Marvel is the movie you should see because it's worth it.

Alita: Battle Angel (2019)

The Good, the Bad, and The Ugly of Manga

[7/10 · 15 February 2019]

Alita: Battle Angel is a visceral throat punch that delivers as an action film and struggles in the social commentary. It's the good, the bad, and ugly of manga, which is why I love and hate this film all at the same time.

Let's start with the obvious, Alita: Battle Angel is visually one of the most amazing cinematic experiences to date. When James Cameron's name is attached to it as the producer, you can expect nothing less. So I didn't go into this movie hoping to be wowed by the CGI--I expected it. Combined with Robert Rodriguez's flair for action, you know this movie will get your adrenaline pumping. But in case you're living under a rock, the film is based on the eponymous Japanese cyberpunk manga series and follows the story of a repaired cyborg who has forgotten her identity as a warrior trained in cyborg the martial arts known as Panzer Kunst. She exists in the dystopian city of Iron City (Scrapyard in the manga), and it's world occupied by murderous cyborgs that are hunted by bounty hunter cyborgs called Hunter-Warriors.

First, the good stuff. This movie kicks hard! I saw it in IMAX 3D and every punch, kick, or stomp by a Centurian was felt. The sound design of this film is as impressive as it's visuals and provides the sort of visceral intensity that makes every act of violence into a crucial storytelling mechanism. It's violence that you never get numb too. Each fight feels like there are stakes involved, even if you already know that Alita can overpower anyone. The story moves at a decent pace, so you get enough exposition to know what's going on and the right amount of action to keep it from dragging.

The bad stuff is minor when it comes to this film, but it can't be overlooked. The acting sucks, and not because the actors suck, but because the dialogue sucks. I doubt Denzel Washington could bring life to this stiff sounding dialogue. And maybe that was the intent because we are dealing in robots, but even the human characters have to work through some pretty hokey dialogue.

Then there's the ugly. At the heart of the story is Alita's problematic relationship with Dr. Dyson, a cyborg scientist who projects his affection for his long-lost daughter on Alita. The film's heavy dose of male-gaze is never creepier than when you see Dr. Dyson eye-balling Alita's new bodies. And yes, I meant to type bodies. Alita also falls in love with a teenage male name Hugo, whose side hustle as a cyborg parts trafficker makes it vividly evident that the men in Alita's life lack integrity. But that's the least of the films social critiques. Then there's the ominous way in which black actors are reduced to subservient roles in the movie too damn near "Get Out" style human hosts for a white man we have yet to meet named Nova. Initially, I thought my "woke" switch was on overload, but when Jorge Lendeborg Jr.'s (from Bumblebee) was told to "get over" transgressions from enemies from 300 years ago, it was clear it was deliberate. I don't know who Cameron is aiming for in his themes as he seems to attack capitalism and slavery while bathing in white supremacy themes. Since I'm not an aficionado of the source material, it's hard to pinpoint how much of this is Cameron's screenplay and how much of this is the source material. Lastly, while I love Rosa Salazar's performance, I can't help but wonder how much more accurate this film would have felt if an Asian American actress was given the role. Manga can be pretty homogenous, but to erase all traces of Asian culture from the film is disappointing.

Like all good science fiction, Alita: Battle Angel challenges you to think about classism, and it's destructive effects upon society. Like the best action films, it gives you a hero to root for. And like the futurist world in which this story exists, Alita: Battle Angel has room to grow and improve but it's worth the investment to see where this franchise goes.

Glass (2019)

A Good Movie That Deserved to Be Great

[6/10 · 26 January 2019]

I was supposed to love Glass.

Why don't I love Glass?

The critics hate Glass. I rarely agree with them, but for once, they were right.

I loved Unbreakable--one of the most underappreciated movies of 2000. "Split" was groundbreaking -- a film that floored me from start to finish and ended with one of the best plot twists ever! So I was frothing at the mouth when Glass was finally complete. This movie would erase the stain of The Last Airbender and restore M. Knight Shyamalan to greatness. Chances are at the time of this post, he's probably raking in a fortune from the hype, but I like so many critics, found myself sitting in the theater with furled eyebrows and stupified look that clearly read: Is he serious?

Glass picks up 19 years after Unbreakable. A weathered David Dunn (Bruce Willis) is still hunting down bad guys as a raincoat wearing vigilante. Elijah Price/Mr. Glass (Sam Jackson) is in a psych ward, and Kevin Crumb (James McAvoy) continues to terrorize young girls with one of his other 19 personalities. The movie opens with a splendid ode to vigilante justice in the vein of the Dark Knight and immediately re-establishes McAvoy's Kevin (aka the Beast) as one of the greatest on-screen villains ever.

The bar for success had been set and all M. Knight Shyamalan needed to do was hop right over it.

Well, not so fast, Flash.

This movie first starts to go off the rails when the titular character is left offscreen for the first hour. It might as well have been called Dunn vs. Kevin. Then, when all three characters are finally on-screen together, it sets up one of the most feeble-minded plot twists in the movie. I won't spoil it, but I will say, the entire concept of superhero therapy is as hokey as it sounded in the trailer. When you finally learn Sarah Paulson's role in the film as Dr. Ellie Staple, you'll wonder why her original plan was implemented at all.

But I tried to let it go because there are so many good things happening in this film. Shyamalan's POV style of action and off-screen terror--while a cliche of his cinematic style--is still useful in creating some pretty cool visuals. He keeps the camera tight on people, so sometimes it's uncomfortable, forcing you to deal with our primal issues with space, but it also builds tension in the best kind of way. So there's things here to be applauded. Visually, he is masterful in this film. It's the story that weakens this film.

It's no secret that Mr. Glass teams up with The Beast/Kevin to fight Dunn. That's what we're waiting on. But the epic battle is relatively weak. Where there should be action, there's monologuing. Where there should be tension, there's a distance between the hero and villain. And where there should be logic, there is none.

In the end, out of nowhere, Paulson's role is revealed, and it opens the door for a million questions about plausibility. Everything Mr. Glass has orchestrated comes into question. How did he know to plan for this? Sure, his superpower is intellilect but is he a prophet too. The Beast and Dunn are given a resolution the feels confusing considering everything they were put through. And Paulson's character presents earth-shattering plot twists that upend the credibility of the entire film as a cohesive narrative.

"Glass" is not a bad film. It's just not a great one. And it should have been. It's bound to be as polarizing as Bird Box. You'll either love it or hate it. I don't hate it. I'm just mad I couldn't walk away loving it.

The Hate U Give (2018)

The Movie You Don't Want to See, That You Need to See

[9/10 · 21 December 2018]

The Hate U Give is not just another book-to-film adaptation-it's a visceral movie-going experience that rips at your soul from the opening scene. It's the kind of movie that you don't want to see again because it's so painful to watch, but it's also the kind of movie you have to look at again because it's message resonates powerfully and poignantly. The Hate U Give isn't a film about another police shooting of another unarmed black male. That's a component of it. If anything The Hate U Give is a 2-hour therapy session on coping with the realities of our world and how people of color across the nation strive for justice in an unjust system. It's the therapy session we all needed but were afraid to attend.

The story is simple to follow yet sophisticated enough to ignite a firestorm of events. Starr Carter (Amandla Stenberg) attends a party where her childhood best friend Khalil (Algee Smith) is killed during a traffic stop by a white police officer on their way home from the party. Pressures from the media, the community, and activists try to force Starr to tell her truth, while the local gang lord-King (Anthony Mackie) demands her silence. This is just one world she lives. Prep school white kids surround her other life-Starr version 2.0-and she feels the pressure of hiding the truth about her community, who she is as a black woman, and her struggles against polite racism. All of this weight is on the shoulders of a child, and you're never allowed to forget that. Amandla Stenberg's performance truly shines in this respect-conveying the gravity of the situation.

The 23-year old actress immerses you into this teenaged character. She doesn't traverse the world with an unnatural level of confidence-Amandla makes Starr come off as a kind, level-headed kid, who doesn't feel like she fits into either world which she lives. She's insecure but tries to exude toughness because it's essential for her survival. Moreover, in the end, she's forced to mature fast to stand up to an adult class that refuses to hear her voice. Amandla takes you on this emotional and intellectual evolution in a way that you can embrace her good and bad decisions and respect the power of her commitment to change. Amandla Stenberg's ability to convey emotion without words is the reason you'll find yourself in tears repeatedly in this film as she tries to process her pain. She is our avatar in a world of injustice, and we feel what she feels.

I remember all the negativity that surrounded the casting of Amandla Stenberg as the protagonist-Starr (over her skin color) and the controversy surrounding one of the white leads being replaced for racists slurs he made on YouTube. It seemed like the film was headed for disaster before it was even launched. However, this film was too important to be derailed by social media pettiness and one actor's racist rant. So I'm glad none of that stopped the production of George Tillman Jr.'s best film since Soul Food. Tilman is an unappreciated auteur that deserves an introspective look into his filmmaking abilities. Tillman has a gift for telling stories about people of color in a way that's honest, respectful, and thought-provoking. There's a slight tendency in his film to get preachy, but it's never to this films detriment. If anything it's a part of this film strength. The Hate U Give is a must see for all communities. This is a film about what makes us human and why the fight for justice requires courage and conviction.

Spider-Man: Into the Spider-Verse (2018)

The Best Spiderman Movie Ever

[9/10 · 18 December 2018]

Spiderman: Into the Spiderverse is Sony's latest attempt to cash in on their license to Marvel's Spider-man franchise (like Venom), is one of the best non-MCU affiliated endeavors Sony has ever produced. While Venom was a refreshing update to the character's origin story, after the disastrous outing in Spider-man 3, it still lacked the presence of his most crucial adversary-Spider-man. With the infectiously fun Tom Holland's take on the web crawler side-lined till 2019, Sony needed to keep their only superhero franchise in the public sphere. However, this time, they took the bold step of animating the Spider-man franchise with a story centered around his multiverse doppelganger-Miles Morales.

For those who are unfamiliar with Miles, he's an Afro-Latino character introduced in the comics world in 2011 as Marvel experimented with shedding their homogenous base and reached out to attract readers of all cultures. In Spiderman-Homecoming, he's briefly mentioned by Donald Glover's modest take on The Prowler. He even appears in Sony's newest PS4 Spider-man game, so the ground was tilled in advance of his arrival. Moreover, his appearance is nothing short of spectacular.

Miles is a charming teenager with loving parents who are willing to send him away to ensure he receives a world-class education and the best chance at success in a dangerous world. He is the by-product of Gen-X age parents who were reared the same way. When he discovers his powers after the all-to-familiar radioactive spider bite, he has a chance encounter with the real Spider-man and soon has his entire world torn apart (literally) when an experiment by King Pin sucks multiple versions of Spider-man, into Miles reality. These multiverse Spider-people include two female versions of the acclaimed hero, two additional male versions, and a Looney Toons inspired pig version. It sounds like a recipe for disaster narratively. Surprisingly, the story works amazingly well. Moreover, that's not the only thing that works well in this film. Spider-man: Into the Spiderverse blends the beauty of 3-D animation with the stylized look of ink to paper art. The union creates a fascinating phantasmagoria of lucid animation that will leave you in awe of its quality for the first half of the movie. When you're done being mesmerized by that, there's still room on your plate for a heartfelt story about friendship, discovering one's purpose and the love of family - all the things you've come to expect from this franchise. There's enough heart in this movie to make you care about the stakes in this film-which are felt early on and repeated later in the movie to remind you that this isn't a rated-G film.

Now, it would be irresponsible to ignore Stan Lee's overriding message that the diversity of the Spiderverse (or Marvel in general) is a good thing in an era of diversity resistance. Miles parrots this, and so do all the other versions of Spider-man. Moreover, it's true. There's enough room in this world for multiple versions of this superhuman and we should all welcome updated take on the character when they're done this well.

This film is a dazzling display of style and story. The tongue in cheek narration finds a way to celebrate the ups and downs of the Toby McGuire & Andrew Garfield Spiderman eras. Also, it's as much of a nod to the past as it is a celebration of the future of this franchise. Now, if Sony can find a way to make its villains as intense as they were in this movie-in their live-action films-they will be able to milk the franchise for all it's worth.

Creed II (2018)

Delivers the Kind of Punch You Expect

[9/10 · 24 November 2018]

You have to give Sylvester Stallone credit--he has a gift for remixing the same movie over and over and again and making you actually care. Maybe it's because he focuses on the one thing that matters most in storytelling: compelling characters. And Creed II is full of them.

First, there's Adonis (Michael B. Jordan), the brooding, bratty, world champion with a chip on his shoulder. There's Rocky (Sylvester Stallone), the downtrodden wise sage who only recognizes his role in things when the chips are down. There's Bianca Taylor, a talented singer suffering from hearing loss and her love for a self-destructive boxer. There's Mary Anne Creed (Phylicia Rashad), the weary widow of Apollo Creed who is consistently forced to check her man-child son, and then there are the villains. Ivan and Victor Drago (Dolph Lundgren and Florian Munteanu), the Russian outcasts seeking redemption for the failures of Ivan Drago. Everyone has a purpose in this film, and everyone has a place in moving the narrative forward: avenging the actions of Rocky IV.

This is a straight-up reboot of a Cold War classic, complete with the final match taking place in Russia. You know what to expect. The challenge from Ivan's son is the kind of storybook rematch the sports world loves. You know Creed has to take the fight to prove himself. And you know at some point, Victor Drago will get the better of him, setting us up for a training montage that never seems to get old. You see, when Rocky IV was released, it wasn't just a boxing film, it was practically a propaganda film about the superiority of American values and ideals. In Creed II, it's not about the country--it's personal. It's about discovering what matters most to you in your career and your own life. And as cliched as that may all sound, it works amazingly well in this film, thanks in part to the strength of the movies character development, phenomenal actors who keep the theatrical bits grounded and brilliant fight choreography and cinematography to settle scores.

I'll be straight with you, we shouldn't like Adonis Creed, but we do. He's a temperamental grown man baby that even knocks himself in the movie for "acting like a b---h." We shouldn't care about Victor Drago--he's a carbon copy of his android like father Ivan and barely has enough dialogue earn a film credit. But we do because we know that his father is living through him. The once powerful Ivan is an outcast in his homeland, and Victor's mother walked out on both of them because she has no respect for losers, so they're surprisingly sympathetic characters in their quest to be menacing. And we shouldn't care about Rocky's meandering ruminations about putting family over boxing when at no point in his career, did he ever do the same. Yet somehow this movie manages to make you care because the film understands that it's real power are in those small reflective moments building up to the fight. Moments like Creed's return to the local cheesesteak house and being welcomed by the fans who urge him to take the battle against Drago. Moments like Bianca and Adonis laying on the floor together like they did in the first film pondering their relationship and what Adonis's decision means for them. It's moments like Rocky pondering the broken relationship he has with his own son and trying to figure out if he dares to make amends. This is the glue that holds these films together--putting family above career and ego. And when it finally comes time to fight, your emotions are so heavily invested in the outcome that you'll find yourself (as did my audience) verbally cheering on Adonis Creed.

And in the end, it's the smallest of gestures by Sylvester Stallone (which I won't spoil) that lets you know that Rocky Balboa has nothing left to give and it is now Adonis Creed's time to shine in whatever sequel they have planned for us. Creed II a great time at the movies, even if it's a predictable one.

Avengers: Infinity War (2018)

This Isn't About Hype, This Movie Is the New Standard For Blockbusters

[10/10 · 30 April 2018]

How do you process a movie like Avengers: Infinity War?

As a fan of comic books and movies, I can safely say this was one of the most exceptional movie-going experiences of my life. Marvel not only matched my expectations for Infinity War, but they also exceeded it. Everything I thought I knew going in, would turn out to be wrong. Every prediction I made about life and death in this film-shattered. This is a movie that shouldn't work yet somehow it does. And what I mean by that is this: Avenger's: Infinity War raises the stakes to a crescendo and then walks away from it all without letting you fall gently. You are left to process your feelings, and Marvel doesn't care how you felt after it's over and done. That's bold. Secondly, no one...no one has ever been able to manage an ensemble quite like this. Reports are there are up to 70 Marvel characters in this film. Like seriously...who takes on this job as director? Well, thankfully it wasn't just one director. It was the powerhouse combo of Joe and Anthony Russo, and they deliver the best summer action flick in history! Hey James Cameron, as much as I admire your work, your opinion on Marvel movies sucks, and I pray they never end if they're going to make movies like this.

Thanos, the mysterious villain that has stalked post-credit scenes (and a Guardians movie) for years, arrives on the scene with some issues of his own. And in his mind, his destructive goals will ultimately save the universe from itself, despite the costs. Thanos argues for the indefensible: genocide as a cure for the battle for resources. He believes this will bring peace to the universe. Well apparently, our heroes will not stand for this, and it sets up the battle to stop him from gaining the last few Infinity Stones. I'm not a huge fan of CGI characters in a movie, but Thanos works-thanks to Josh Brolin's calm and confident portrayal of the sometimes sentimental madman.

This is a movie with some serious stakes, and that's hard to achieve in a film this weighty with characters because time devoted to dramatic impact is limited. But Marvel borrows the best of episodic TV and uses the emotional investment we already have with these characters to tear apart our heartstrings. In this film, the characters find themselves in unique pairings on separate missions, and wow...do these pairings work better than expected. Star-Lord, Dr. Strange, and Iron-Man. Let that sink in for a minute. Three of the most prominent egos in the Marvel universe--together. The interactions work better than imageable. The one-liners never cease, but it's never overly jokey. They know when to insert humor and when to get serious. And things get serious mid-way through thanks to some family drama. I was curious as to how well the Guardians would mess with our Earthbound heroes, but I got to say, that team delivers the heart to this CGI fest.

The characters in this film are all given moments to shine. We revisit the fantastic world of Wakanda, and it's more glorious than ever before as we get to see the city's defense systems. Captain America, Black Widow, Falcon, War Machine, Banner, and Bucky Barnes are all along for the ride, trying to protect Vision's infinity stone from Thanos. Hemsworth's Thor, without question, delivers one of the most crowd-pleasing entrances on film-judging by the roar from the crowd that was with me in attendance. And while it's hard to refer to any of our superheroes in this film as ancillary characters, know that the film focuses on three select groups of superheroes with each group having a few actors and actresses that claim more screen time than others. Scarlett Witch finally garners the screen time she deserves as the reluctant enhanced person with the power to save the world. Everyone and every action in this film have a purpose, which is why you care about the outcome of this film.

This is what blockbuster movies are supposed to be. This is why going to theaters are still more impactful than watching them at home on your television or handheld device. The Avengers: Infinity War takes you on an exhilarating emotional journey that will leave you exhausted, heartbroken and clamor for the next installment in the series.

The Incredible Hulk (2008)

Smashes Expectations

[7/10 · 15 April 2018]

The Edward Norton version of The Incredible Hulk is a lost nugget in the MCU. As a stand-alone film, it does more to connect the universe than any Avengers film when you consider all the references to the Avengers, yet it's one of the more forgettable films in the MCU. And it's not because it's a bad film-because it's not. It's because this isn't the Hulk that Mark Ruffalo embodied and turned into the fun-loving brute with anger management problems that we've all come to love. This is The Incredible Hulk as envisioned by a producer at DC, not Marvel-dark, brooding, yet competently executed. It's entertaining, just not memorable.

The film starts in South America, with Banner in hiding, mastering breathing techniques from Brazilian Jiu-Jitsu fighters and working at a bottle factory. He works with a band of scummy warehouse workers who sexually harass their co-workers and taunt him. Of course, they're just props for the Hulk to justifiably smash in between social messaging a scientist who is supposed to help him find a cure. Of course, Banner can't take a leak without the government tracking his scent, and the mad dog sent to track him is Emil Blonsky (Tim Roth), an angry Black-Ops guy with age insecurities. Luckily, the government just happens to have some of that handy Captain America super-soldier serum to give him, and unlike Rogers, the serum amplifies Blonsky's worst attributes. When Blonsky attempts to go one-on-one with the green one, and it ends with nearly catastrophic results for Blonsky. So note to Cap, don't fight don't Hulk. Leave that to Thor. Liv Tyler stars as Banner's estranged lover, Betty Ross, the daughter of the stone-faced general Admiral Ross, that's hunting the Hulk. She's completely wasted as a whispery and dotting ex who seems to serve the male gaze and not explore Liv's talents as an actress.

The film boasts some thrilling action sequences, so it has that going for it. The first battle between the military and the Hulk is fast, hard-hitting and badass. It's a huge improvement over the Ang Lee version that lulled audiences to sleep with psychedelic colors, mutant dogs, and real-life comic book frames that played out simultaneously to confuse everyone. No, this film doesn't make that mistake; it makes new mistakes.

Instead of building off of Blonsky as a human super soldier threat, they decide the only way he can battle the Hulk, is as a Hulk, or as comic book fans know him-Abomination. I wouldn't have a problem with that if the creation of Abomination happened earlier and presented an increasingly difficult challenge for the Hulk. At no point do you ever feel like the Hulk might lose? Abomination is literally a throw-away character that even Marvel chooses to forget about when it comes to the MCU. Toss in the dark and muddy tone of the film, and you have yourself just a run of the mill smash 'em up film in New York. But if that's what you came for, then this is a smashing good time.

Iron Man (2008)

The Tony Stark Way: Style Beats Substance

[7/10 · 7 April 2018]

When I went back to watch Iron-Man for this review, I remembered how unfinished this movie felt and how I thought it was an excellent start to the Marvel Cinematic Universe, but by no means was it a great movie. Good, but not great. But that being said, there was something so cool about this movie that you forgive its shortcomings because, without Robert Downey Jr.'s hyper-narcissism, this movie would have only have been known for the extraordinary Iron-Man suit.

Everyone knows how the story of Robert Downey Jr.'s career resurrection, it's biblical in scale at this point and I couldn't have been happier to see him make Tony Stark into a household name. In Iron-Man, we meet the billionaire, womanizing, and war profiteering Stark who learns the horrors of war first hand when his military caravan is ambushed by Afghan rebels led by Raza-your stereotypical Islamic terrorists that could have easily have been plucked from James Cameron's True Lies. But this was the era we were in-the end of the Bush era and American's were growing tired of war. So it makes sense that Stark's feelings mirrored this after one of his weapons were turned against him in the attack-leaving him with shrapnel in his chest from a Stark Industries bomb that exploded a bit late. With the help of a Middle Eastern doctor named Yinsen, Stark is saved thanks to magnet installed in his chest to pull the shrapnel away from his heart. And as cool as the upgraded version of Stark's chest-installed Arc-reactor is, the hole in his chest makes for some of the more squeamish moments in this film.

So, let's talk about the villain. Jeff Bridges as Obadiah Stane-the acting COO of Stark Industries and you guessed it, he 's another stereotypical villain. Stane is a white collar corporate madman who seems to have no motivation other than being dominant. That's it. That's all I got. Obadiah isn't even remotely impressive, and his final method of attack is uninspired and makes for one of the weaker third acts in a Marvel film. Luckily, Robert Downey Jr. does enough heavy lifting in this film to make Iron-Man fun to watch. Let's face it, this a movie about a great character, not a great story. Stark is so intriguing that you can't help but wonder how he'll outthink his opponents. The Tony Stark character, as portrayed by Downey is one of the best comic-book interpretations ever, and it's the life-blood of this movie.

Now, can we stop and just applaud the production design of that suit. Everyone knows that suiting up is the pinnacle moment of any superhero film. The first time the film reveal the outfit that will strike fear into the hearts of evil men is as essential to the character's mythology as their backstory. But there is something about the Iron-Man suit that eclipses every superhero costume ever seen. Maybe it's the orbiting camera, NASCAR pit-stop like nature of the sequence. Perhaps it's the testing of the all the air dampeners and locking of the metallic suit linkage. Maybe it's the badass eyes on the face of the first Iron-Man suit. Or maybe it's the lack of synthetic rubber and leotards that make it so cool. Whatever it is, it's that suit that makes Iron-Man one of the most spectacular introductions to a comic-book character. While Iron-Man is a pretty simplistic story, it's an excellent character study, and it's got enough fresh CGI to make you think that a man flying around in an iron suit is a pretty good idea. But the most fantastic thing about this film happens after the credits-the introduction of the narrative linking post-credit scene that is the drug of choice for Marvel fans worldwide.

Captain America: The First Avenger (2011)

A Respectable First Outing But Not the Spectacle Cap Deserves

[6/10 · 1 April 2018]

With Avenger's Infinity War around the corner, I decided to revisit every single movie in the Marvel Cinematic Universe. 18-reviews in 27 days. And I'm reviewing these movies within the chronological order of the MCU, so instead of starting out with Iron Man-the first film released by Marvel Studios-I start with none other than Captain America: The First Avenger.

What's not to love about Captain America? This guy embodies everything we want to believe about America-even when our nation doesn't always live up to its promises. It's a harsh reality Steve Rogers will have to confront in time, but let's not jump ahead to the darker years ahead for our America's hero. Instead, let's embrace a simpler time when men were sexist, chauvinist jerks looking to die in the theater of war for country and honor.

Captain America: The First Avenger, takes place during World War II. In the film's prologue, we are introduced to Johann Schmidt-the head of HYDRA's special weapons division and legendary Marvel baddie, Red Skull. In the tradition of MCU villains, Skull has world domination ambitions and very little motivations for us to care about. What we do care about, is that in the opening of the film, he has tracked down the Tesseract, the first of several important artifacts we've all come to know and fear as Infinity Stones. A student of mythology, Skull alludes to a future Avenger's cultural history when he describes the Tesseract as the prize treasure of Odin's (Thor's father) collection. It's little nuggets like this that make watching all the MCU films such a treat the second time around. Meanwhile, in America, a skinny young man named Steve Rogers is catching a beatdown in the alley after calling out a rowdy moviegoer. Despite being outmatched, Steve's determination to fight-on is already at superhero status. It's the first time we see his famous battle-weary catch phrase, "I can do this all day."

It's at that moment that we realize this guy is special.

After an argument with a close friend and military enlistee Bucky Barnes that reveals Steve's inherent good nature-Abraham Erskine and Howard Stark (Tony Stark's father) decide to use Rogers for their super-soldier experiment. Abraham's search for a man of good character to entrust with these powers is such a valiant archetype that I get all warm and fuzzy knowing that they couldn't have found a better pick than Steve Rogers-our disillusioned good guy. But a HYDRA spy disrupts the experiment and makes off with the serum after killing Abraham. Immediately, a newly powered Steve Rogers and the ultra-badass Agent Peggy Carter springs into action to "avenge" Abrahams death. It's a remarkable sequence that turns Steve Rogers into the symbol of America's military superiority. Yes, Captain America is propaganda. But it's the kind we like so who cares.

And while Rogers will spend a good deal of his time as a figurehead for the war effort, he eventually demonstrates his true worth when he stages the rescue of hundreds of POWs without the support the military. The rescue operation makes him a real hero, and he's promoted to the official rank of Captain. Later on, we're treated to more Easter eggs, when we learn about Cap's vibranium shield which seems to be unaffected by the Tesseract-powered guns (that sound a lot like Iron Man's repulsion weapons) that HYDRA is using throughout the movie. That's fascinating subtext if you're curious as to how Wakanda will play into Infinity War. The final act of the film involves a pursuit to stop HYDRA and avenge the loss of Bucky Barnes who seemingly dies is combat. Keep in mind, Cap is utterly unaware of the more significant dangers the Tesseract imposes upon their world, and it's hardly a focus of his efforts, which makes the introduction of this weapon in this film, somewhat odd. I love the idea that no one really knows what it does, but I also hate the fact that no one really knows what it does. That's because it's reduced to an arbitrary bad guy weapon for the sake of showing of some CGI. And sure, we all know now, that it's not, but this is a wasted Easter egg in that respect.

As for the actors, Chris Evans-much like Chris Hemsworth and Robert Downey Jr.-was made for this role. After a missed opportunity as The Human Torch in the non-MCU version of Fantastic Four, Evans dons multiple versions of Cap's red-white and blue uniform (even a version of the horrific 80's-movie version) and embodies the role completely. Chris Evans is Captain America, and there shall be no other. It's a shame Agent Carter's character was never fully realized in her own series because she is one of the stand-outs in this movie. Of course, it's not a spoiler at this point to state that Captain America will emerge from a deep-freeze decades later to find himself face-to-face with Samuel L Jackson's Nick Fury. But it's also a miss in this film how loosely they handle Captain America's introduction to the 21st Century. Come on guys, do better.

Captain America: The First Avenger isn't as stylized as Cap's next outings, indeed not as action-packed and the storyline is relatively mundane. If we're being completely honest, the first time I saw it in the theater, I drifted off. But now that the vision of the MCU is fully realized, I've acquired a greater appreciation for this film solely as an origin film for one of my favorite MCU characters and the first bridge towards Marvel's most prominent story-Infinity War.

My MCU Rank: #17

Moana (I) (2016)

An Animated Feast For Your Eyes

[7/10 · 31 March 2018]

If I could write a review solely based on Moana's animation, it would be 20-pages long, and the movie would score a 10 out of 10. I cannot emphasize how beautiful this movie is. The textures, the colors, the movement, and the design of Moana are just breathtaking. This is the type of opulent 3-D animation that makes you wonder why Disney still owns Pixar if their animation studio is pumping out quality like this. This is Technicolor for the digital age, and it is glorious.

Moana follows the timeless Disney tradition of young girls finding their identity through a journey of self-discovery only to see that home is where their heart lies. One would think this trope would wear thin, but not with Disney movies. Disney's willingness to explore different cultures, their timely use of humor, and a cinematic storytelling style that is pure Disney magic, keeps things fresh and enlightening. And no, I don't work for the House of Mouse, but I'm definitely a fan. This time, Disney ventures into the Ancient Polynesian culture to tell the story of a young princess named Moana's (newcomer Auli'I Cravalho) who is desperate to save her people from a food shortage. But to do this, she must venture out beyond the barrier reef, against her father's wishes. A near death experience for Moana almost convinces her that her father is right to avoid traversing the ocean, but Moana's sage-like grandmother gives her departing words of wisdom that is all she needs to find the inspiration to carry on.

Armed with no knowledge of sailing, Moana sets out to find the demigod Maui-played infectiously by Dwayne "The Rock" Johnson, because he is believed to be the only one who can help save their island. And Moana is a determined young woman who is willing to endure Maui's stubborn, narcissistic and borderline abusive male ego, to achieve her goals at all costs. The story follows them (and a stupid chicken) on a journey across the Pacific Ocean to return a magical pounamu stone that Maui stole from the goddess Te Fiti to give to humanity as a gift for purely selfish reasons. Moana and Maui will spend most of their time sparring before realizing they need one another to complete their mission, but it's the final climatic battle with the lava monster Te Ka that reveals the films biggest secret and showcases an epic cascade of animated artistry.

Moana is a fun family film that allows The Rock to showcase that egotistical charm that won him millions and millions of fans as a pro wrestler. And Auli'l is so passionate about her performance that Moana comes off as one of the fiercest yet loveliest Disney princesses since Mulan-one of my favorite Disney films. No disrespect intended to Frozen and Princess and the Frog fans. While the songs in Moana are not as epic in scale as the renaissance era of Disney films in the 90's, the songs are still enjoyable. And Alessia Cara's theme song for the movie-"How Far Will I Go"-is the kind of self-empowerment anthem that will leave you humming the chorus long after the movie ends. While the film drags in a few sections, overall, Moana is a fantastic journey into Polynesian mythology, and it'll leave you wanting to plan a vacation to South Pacific to immerse yourself in this fantastic culture.