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Rebel Moon - Part Two: The Scargiver (2024)
I give up.
This was more of a rant than anything, it's not like Snyder is going to read this and take it to heart. As a director, at what point do you actually sit back and reevaluate your filmmaking? I ask this, because Zack Snyder doesn't seem to care, or even try to learn and improve from missteps - such as an over reliance on slow-motion. I say this as a viewer that always hopes for a director to turn out a good product. But aside from a few okay extended cuts, his films have been largely misses.
If you are reading this, you might've already made up your mind as to whether or not you'll view this sequel. I'm just here to vent like almost everyone on the internet. The Scargiver is somehow worse than its predecessor, and also less exciting. There is a core concept that seems to be interesting despite multiple elements being lifted from properties such as Star Wars. Which makes it even worse knowing that it's squandered. Such as character development, and overall plot structure.
Now, I know Zack Snyder trolls will say, "Just wait for his extended cut. That's when it gets good". Problem is, there's nothing about this "franchise" that would justify, or improve the movie to warrant an extended cut. Zack Snyder shouldn't make his name being a director that makes good extended cut - he hasn't earned it. It's just a marketing gimmick for himself and his followers. Even then, some of his extended cuts are simply 'fine'. If you can't make some sort of coherent product on the first initial cut, then you probably aren't cut out to be a director.
I say this as someone who wants to see him succeed. By all accounts Zack Snyder seems like a nice man with a signature visual flare. What he needs is a good set of writers, and people to reel him in when he gets off the rails. I hope he moves on to different projects and gets his footing, but by all accounts, The Scargiver is part two in a franchise that's already exhausting.
Dune: Part Two (2024)
A more than worthy conclusion.
Dune: Part 2 is an extraordinary feat of filmmaking. Director Denis Villeneuve concludes Paul Atredies' (Timothee Chalamet) story with brilliance, while never sacrificing the human and ethical elements.
Part 2 picks up where the first film left off. Granted, this film isn't technically a sequel, as it continues from the first half of Frank Herbert's beloved classic. In a way, Part 2 enhances the first half due to the ramifications that follow. Paul's story of finding out if he's the chosen one while earning the respect of the Fremen - specifically Chani (Zendaya) and Stilgar (Javier Bardem) - is one of the more fascinating aspects.
Paul's story is only one aspect of the narrative, as the Harkonnen family - led by the imposing Stellan Skarsgård - is still trying to wipe the Fremen off of Arrakis. Dave Bautista returns as the impulsive Rabban, while new addition Austin Butler plays the Baron's nephew, Feyd-Rautha - a psychotic rockstar of a character who's well-trained in combat.
Butler is one of the movie's standouts. His introduction as a challenger in a gladiatorial celebration on the Harkonnen planet of Giedi Prime is one of the more haunting and unique sequences I've seen in some time. Viewers might find the villains to be one-dimensional, and in a way, they are. However, they're still imposing enough that the point comes across clearly.
Familiar characters return such as Lady Jessica (Rebecca Ferguson), and others - I won't go into detail if you haven't read the book. Suffice it to say their character development is just as impactful as Paul's. This is made all the more important given the rapid pace of scenes that range from quiet and contemplative, to action-packed and invigorating.
Viewers also shouldn't slouch on the technical aspects of the film. Villeneuve returns with cinematographer Greig Fraser and composer Hans Zimmer. Greig's photography rivals his previous work in such a way that he might get nominated next year. Likewise, Zimmer's score is captivating within the context of the action scenes, and emotional at the film's bittersweet ending.
By the end of the film, I couldn't help but feel a sense of sadness, as I'd enjoyed being in this strange - yet captivating - universe. If you get the chance, be sure to see it on the biggest screen possible. I could go on forever about how much I loved this film, but I'll just say: go see this movie.
Villeneuve has proven, yet again, why he is one of the greatest directors of our time by doing the impossible: adapting one of the most beloved, unfilmable books ever made.
The Marvels (2023)
An uninspired entry.
The Marvels is a film that seems to play it safe, but unfortunately, it ends up feeling a bit flat. The villain is your typical bad guy without much depth or originality, making it hard to get invested in the conflict. The plot follows a familiar formula, with predictable twists and turns that don't offer much excitement or surprise.
However, there is one aspect of the film that stands out: the teleportation powers. These abilities add some much-needed excitement and intrigue to the story, making for some cool action sequences and clever plot points. It's a neat gimmick that adds a layer of fun to an otherwise uninspired movie.
Overall, while "The Marvels" has its moments, it doesn't quite live up to its potential. With a generic villain and a predictable plot, it struggles to leave a lasting impression. But if you're a fan of superhero movies and cool powers, it might still be worth checking out for the teleportation scenes alone.
Madame Web (2024)
As bad as we thought.
"Madam Web" fails to deliver on its promise, leaving audiences with a lackluster and forgettable experience. The film's narrative is convoluted and disjointed, making it difficult for viewers to engage with the story or its characters. Despite the talent of the cast, including A-list actors, the performances feel uninspired and fail to elevate the material. Visually, the film falls short, with subpar special effects and unimpressive action sequences. The pacing drags, making the already tedious plot feel even longer. Overall, "Madam Web" is a disappointment, lacking the depth and excitement fans expect from a superhero movie. It adds little to the character's mythos and will likely fade into obscurity among the plethora of forgettable adaptations. Fans of the character would be better off revisiting the comics or animated series for a more satisfying experience.
The Banshees of Inisherin (2022)
One of the best feel-bad movies.
Banshees of Inisherin features moments of sadness, humor, and melancholy. Colin Farrell and Brendan Gleeson re-team with director Martin McDonagh since In Bruges. From the painterly landscapes of the island to the intimate character interactions, Inisherin makes the viewer part of its story. Some viewers might be looking for a more complex plot. Inisherin doesn't do this, instead it focuses on the failing friendship between two men, and they lengths they go to understand one another. If you are a fan of In Bruges' humor, then you'll be happy with Inisherin, some of the scenes had me dying of laughter due to how they're filmed. Overall, if you are looking for a slow - often humorous - look at fragile friendship, then Inisherin should suffice.
Glass Onion (2022)
Great sequel!
The greatest strength of Glass Onion is that it's fun. Despite the character's flaws (which there are many), I couldn't help but have fun watching the actors mingle with one another. It truly felt like they were friends, much like they are in the film. Aside from the group of friends, Daniel Craig brings his charming Foghorn Leghorn accent and charisma to the table once again. Watching him chew up scenes with his delivery never got old, and viewers will tell by how much he enjoys his character. This, coupled with the exotic Greek island locale in which the film takes place is a far cry from its predecessor's cold, sometimes bleak, Massachusetts setting.
Halloween Ends (2022)
That is it?
After a surprisingly good revival/sequel with 2018's Halloween, and its sequel, Halloween Kills - which was a major step down in quality - I wondered how this new trilogy would conclude? Halloween Ends doesn't know what it wants to be. Set years after the events of Halloween Kills, Laurie and her granddaughter are living together and adjusting to life - like the other residents of Haddonfield - without Michael terrorizing them. The film takes a good forty to forty-five minutes before we get to any Michael action, with the bulk of the beginning of the film establishing a new character, Corey. I won't go into spoilers about him, but he is an eventual love interest of Laurie's granddaughter, Allyson. Cory's story is intriguing but feels forced into a movie that's supposed to be about, you know, Halloween. It doesn't help that I found Cory's actor, Rohan Campbell to be not that great of an actor. It could be a combination of the direction and acting? There are some interesting ideas in the film, but Halloween Ends could have done without them. In a way it feels like a fan-film where the filmmakers creatively pitched around ideas, filmed it, and then realized, oh yeah, we have to conclude Laurie and Michael's story. Sadly, despite the cliched tropes viewers have come to expect with the Halloween series, there is really nothing to celebrate. I will however give the film points for trying new things, even if it didn't stick the landing. Who know's when Halloween will get rebooted again? All I know is I'll be there, good or bad.
Blonde (2022)
Marilyn deserved better.
Blonde is a disappointment that has some positive merits to it. For starters, Ana De Armas is great in the role and does her best to portray Norma Jeane with what material and direction she's given. Which sadly results in about 95% - give or take - of the scenes with her crying in it. This leads my to my main criticism, which is how Marilyn is depicted. The movie tries to tell the audience how exploited she was during her career, but doing so, falls victim to its own ambitions. Marilyn was known to be an intelligent woman from the people who knew her best, but it's sad that Blonde focuses mainly on the men in her life, for better or worse. From a technical standpoint, I think the score and cinematography are good, and definitely made it slightly more enjoyable. Blonde was one of my most anticipated movies of the year, now it's one of my worst.
Elvis (2022)
Austin Butler saves this film.
Director Baz Luhrmann is known for spectacle, and to a fault. He brings his talents to this biopic that has a shaky first 30-minutes, but when Austin Butler goes full-Elvis it gets better. I wouldn't be surprised if Butler gets an Oscar nomination for his performance, since what drew my attention to the film was his mannerisms and acting approach. On the other hand, Tom Hanks (who is one of my favorite actors) is almost a parody. Him with his accent and bad prosthetics make you appreciate how the makeup department did Colin Ferrell's design in The Batman. Elvis tried to cram as much content it can into 2-and-a-half hours, and the result isn't the best biopic, but one that stands in between that of Rocketman and Bohemian Rhapsody.
The Next 365 Days (2022)
Why won't these days end?!
At this point in my life I question a bunch of things: what happens when we die, is there life out there? I can finally add another question to my list: why does Netflix keep making these movies?! It's obviously cheap and easy to make. But, like it's predecessor it does absolutely nothing to improve character development (there is none), or remain interesting. I don't know what the appeal is of this series anymore. It's not sexy, if you're looking for that there's superior content on the internet. There's no story, you'll find a more compelling one in The Room (hi mark!), and not a single character that is even remotely realistic.
She-Hulk: Attorney at Law (2022)
Gave it a shot.
Despite the initial trailers with questionable cgi, I still gave She-Hulk a shot. The show started out promising despite the questionable effects, and I thought Tatiana Maslany was good in the role. The biggest problem though, is there's a lack of cohesiveness in terms of storytelling. Five episodes in and I don't know where the story is going. Each episode feels like a one-off and is jarring. There's moments of promise in the show, such as courtroom deliberations featuring superhero's, but when it starts to be intriguing the show falls apart. I'm still going to finish the remainder of the show, but She-Hulk is a missed opportunity for Marvel.
Cyberpunk: Edgerunners (2022)
Surprisingly entertaining!
I was a bit skeptical when I heard Cyberpunk: Edgerunners was announced. It seemed like an anime that was only made to continue the hype of Cyberpunk 2077. To my surprise, I'm wrong. Edgerunners is a surprising treat that kept me hooked due to the story, animation, and characters involved. There are moments of exposition-driven dialogue that sometimes get in the way of an otherwise well-paced story. Aside from that minor annoyance, the rest of the show is a pleasure to watch, especially if you've played the game. Who knows, maybe it will introduce people to the game. The best takeaway I had when I was finished is the cyberpunk genre and anime go together like PB&J.
Trainwreck: Woodstock '99 (2022)
A nice, short binge.
Trainwreck: Woodstock '99 isn't the best documentary to be found on Netflix, but it sure is entertaining. Three 45-minute episodes chronicle a chaotic weekend in 1999, that was even worse than I remembered back in the day. If you are a fan of Netflix's superior documentary, Fyre, about the disastrous Fyre Festival, then you're sure to be entertained with Trainwreck.
Prey (2022)
Worthy Prequel
Prey understands what makes the Predator franchise great. Tension builds throughout, and as a viewer we are along for the ride. Amber Midthunder's performance is great since she's the central main character, we as a viewer, are attached to. The action is arguably some of the best the series has to offer. If you are just looking for a Predator film that brings inventive, gory kills, then look no further. But if you are looking for a survival story in a period that's not depicted on film too often, then Prey has you covered.
The Gray Man (2022)
Budget Bond
The Gray Man isn't the most revolutionary spy film out there, but it sure is entertaining. Thanks to the humor, and chemistry between both Gosling and De Armas, as well as a cocky villain performance from Evans, the film never gets tiring. Sure, there are things that don't work, such as characters conveniently showing up when needed - even though they are in a different country or state; or lack of character development. But if you are looking for a fun action film on Netflix look no further.
Top Gun: Maverick (2022)
THE blockbuster of the summer.
Top Gun: Maverick is far superior than its predecessor. It builds off the original, grounding - to a degree - well known characters, and adding a maturity while getting rid of the corniness. Aside from the more fleshed-out characters, the action scenes are incredible. This is where the movie shines. The cinematography puts you in the thick of the action. If you can, see the film on the biggest screen possible, preferably IMAX. Maverick is a a breath of fresh air in terms of summer blockbusters. It's a technical marvel, that's also feel-good and fun.
365 Days: This Day (2022)
Makes 50 Shades of Grey look like a masterpiece
Well, here it is. The sequel to one of the most uninspired, least-sexy, and tacky movies in recent years, 365 Days. The sequel commits the cardinal sin a movie can make: not learning from its mistakes. The movie is a blatant cash-grab that hardly costs anything to make, and an excuse for actors and crew members to film in luxurious locations. Bad acting, no plot, and an absurd runtime for what it has. No wonder Netflix is losing subscribers, it has more unoriginal garbage like this.
Titane (2021)
One of the more bizarre movies you'll ever see.
Titane is a wild ride. This French film is equal parts thrilling, suspenseful, horrific, and slightly touching. Viewers looking for a unique story that doesn't follow a typical path will be in for a treat. The film is very much 'art-house', and frankly there aren't many movies like this out there.
Deep Water (2022)
Stay away!
I love the work of both leads Affleck & De Armas, but this film is a misfire. For starters, the script is by-the-numbers with writing that a group of high school students can easily do - and do better. Character motivations are all over the place, and plot points and sub-points tend to go nowhere, leaving the viewer wondering, "wait, what?!". The film also doesn't work as a good erotic-thriller; it wants to be Basic Instinct, instead, its just basic.
The Batman (2022)
An exciting new vision.
Director Matt Reeves' take on the cape crusader is a darker, more grounded interpretation than previously envisioned; even mores than Nolan. The film's also filled with great performances, including Zoe Kravitz's Catwoman, Robert Pattinson's troubled Bruce Wayne/Batman, and Colin Ferrell's unrecognizable Penguin. Paul Dano's performance as The Riddler is also compelling, as he portrays a Zodiac Killer-inspired foe that pushes the limits of Batman. It's a visually stunning film, but not in the cgi spectacle way. The way each scene is blocked, how the action is directed, and the scope that lies within the setting all work. Also, there's a batmobile chase that made the hairs on my arms stand up. My only complaint is the length. At nearly three hours, it can linger. The only caveat to this, is I wouldn't necessarily know what to edit, since the pacing and length of each scene was crucial to the narrative. A great start to a promising future.
The Power of the Dog (2021)
I don't understand the hype.
Let me start by prefacing this with I liked the movie. I just don't understand the overwhelming praise it's getting. When critics go over-the-moon for a certain movie, such as LaLa Land, I can understand where they're coming from, this however, is not that. The themes involved throughout were intriguing, and there's great performances along the way. The biggest complaint I had was the meandering pace. I'm used to slow-burn movies that gradually evolve character development and nuance, but this was plodding. This isn't your typical western, so don't go in expecting shootout's and bank robberies. Instead, the film is all about the characters and their struggles around one man. However, before the credits roll and the climatic scene unfolds, you might ask yourself, "that's it?". It's a film that doesn't necessarily reward viewers' participation.
West Side Story (2021)
Updating a classic.
If there is one thing that is evident from watching this updated version of the 1960's classic, its that Steven Spielberg will go down as arguably the most versatile director in history. His sensibility, eye for a scene, and getting performances out of actors - especially that of Ariana Debose - is a thing of brilliance. While some aspects feel rushed, like that of Tony and Maria, and a musical scene that doesn't feel as polished, it's still a marvelous achievement in filmmaking. Taking certain aspects the original film had, while fixing it up and making it more refined. Such as the struggles between Jets and Sharks. While it could be argued Hollywood likes to remake films for the sake of it, which is true; in the hands of a legendary director and his longtime cinematographer, Janusz Kaminski, the film is justified. Given the length of time and a new audience.
Free Guy (2021)
GTA: The Movie
I loved every minute of Free Guy. From the charming and outlandish characters, to the world-building. It isn't without it's flaws, but the concepts of a Grand Theft Auto-akin world and how characters interact with each other is a joy to watch. The Standout's are Reynold's (Guy) and Comer (Molotovgirl), with Lil Rel Howery as Guy's friend, Buddy, who I wouldn't mind having as my friend. Even Taika Waititi's purposeful, over-the-top villain role is a sight to behold. There's also some smart easter-eggs viewers would enjoy, since this is a 20th Century film that Disney now owns. Given that Reynold's is the star - and producer - of the film, you probably know what to expect. It's an enjoyable film for those looking for fun.
Kimi (2022)
A snack of a film.
Kimi isn't the most groundbreaking film; it's simply a quick enjoyable movie - that at times has a message. Steven Soderbergh is no stranger when it comes to directing thrillers, and with Zoe Kravitz in the lead, makes it compelling. It's the type of "snack film" to quickly watch if you have nothing else. The film wraps up surprisingly quick, with an ending that's bonkers compared to the type of story it's telling, which may leave some viewers' questions unanswered. Overall, if you want something that's not of the traditional viewing experience, Kimi has you covered.
Eternals (2021)
Disappointed
I went into the film knowing how divisive it is, but as always I keep an open mind. The film isn't a dumpster fire, or the worst superhero film ever made; it's simply uninspired and misguided. Throughout the lengthy runtime, characters either walk from place to place or sit giving exposition for minutes on end. Leading to an uneven narrative flow that is also bogged-down by sparse fight scenes that aren't thrilling. There's a talented cast here, and the film is often gorgeous to look at. The problem is, the film can't convey why it's important to be in the MCU. Not every movie is a winner.