theislandcinephile

The Fantastic 4 - First Steps comes to lay a foundation for the new generation of age-old comics. Going in with low hopes, I was pleasantly surprised at the completeness of this film. This easily must be one of Marvel's best foundational films in years since the disbandment of their original gang. With a well-thought-out, uncomplicated storyline, and authentic characters - it was bound for success. Set in a vibrant retro-futuristic city, this story finds us on Earth-828. These superheroes, who were formerly astronauts, became mutants after exposure to cosmic rays from a rogue space mission. With fresh introductions, we are met with a team of superhumans named Reed Richards, Sue Storm, Ben Grimm, and Johnny Storm. The premise of First Steps follows the rudimentary stages of this young team as they navigate being celebrities, superheroes, and human - two of which dehumanizes them. We are brought along as they face grandiose threats from Galactus, "The Destroyer of Worlds" his heralder, Silver Surfer.

Built on a lovely foundation and stellar interpersonal relationships between characters - this is everything you would want from a re-introduction film. Each character is given depth, and we get to explore their temperament through their interactions with others and in external situations. Reed Richards, portrayed by Pedro Pascal, is evidently the head of the group and a leader in creating innovative technology. Even more than that, his relationship with his wife, Sue Storm, is a gentle partnership that is beautiful to behold. He does not seem to be well-suited for combat on the field, perhaps in the lab or a classroom. Sue, acted by Vanessa Kirby, is the matriarch of the group and head of the Future Foundation which calls for world peace and demilitarization around the world. She is one of the most powerful members of the four, a formidable force to be reckoned with and the sister to Johnny Storm. Johnny, played by Joseph Quinn, is surprisingly intelligent. Usually, comic relief characters are left to be bumbling airheads, however he operates as a self-sacrificing, womanizing, polyglot that can manage threatening situations. Similarly, Ebon Moss-Bachrach portrays Ben Grimm, also called the Thing. Grimm functions as comic relief but with a heart made of flesh. Despite his rocky exterior, he has a lot of love to give to his team and his community. The poignant scenes between these characters helped to establish their temperaments and the actors did a stellar job in showcasing this.

Technically, the costumes fit the 1960s style era with plaids, pinafore dresses, and sweater vests. Even the set design managed to be crafted well, and not too pristine and unlived in. The film's score was arranged by Michael Giacchino, who is a prominent composer from some of the most memorable soundtracks of the 21st century - The Incredibles, Ratatouille, Up, and one of my personal favorites - Bad Times at the El Royale. It was very fitting to utilize his compositions for this superhero movie as he has a distinct ability capture the feel of heroism. The storyline was uncomplicated albeit a bit predictable, but not an issue as it operated a bit linearly. Due to the lack of multiple sub-plots, the audience had been given more time to get acquainted with the characters. The writing for the film seemed a bit average with a few jokes sprinkled in. Also, it was greatly appreciated to see formidable villains being an actual threat to the safety of these heroes.

Marvel struggled greatly to find their footing after their ultimate film after phase three had wrapped. As a foundational film to usher in a new set of heroes, The Fantastic Four - First Steps is a strong start. With characters you can love, a good story, and good production - there is so much potential for this upcoming franchise.

Polished in black-and-white, colorful dialogue paints the reels of this Old Hollywood film. While no one expected its success, Casablanca went on to receive much acclamation and is considered one of the greatest and most influential films ever created. Structured around WWII, the stakes are high as Hitler's advancing regime to exterminate Jews begins to spill over in neighboring countries. Enter our protagonist Rick Blaine, an American, who owns a bar in Casablanca called "Rick's Café Américain." Mimicking his home country which remains neutral amidst war, his café operates neutral grounds which are frequented by numerous clients. This diverse clientele ranges from German officers, refugees wishing to flee Casablanca, and those who wish to profit from both sides.

Rick remains neutral regarding the political affairs within Casablanca, and makes it known to all through discouragement. His temperament, which was crafted in the play "Everybody Comes to Rick's (1940)" and receives praise decades later, is fully realized after Humphrey Bogart's rendition debuts. Seemingly aloof, selfish yet very trustworthy, his unapproachable nature is attributed to the woman who changed everything in his life. Ilsa Lund, the woman of the hour, is Rick's former lover and the only woman he has ever loved. Played by Ingrid Bergman and with great conviction, Ilsa is understood as a character that is in a conundrum concerning her feelings for her husband and an ex-lover. After years of separation, Rick meets her again in his café and is surprised to discover that she is married to another man. Victor Laszlo is portrayed by Paul Henreid as a devoted husband but also a fierce advocate for justice. The difference between Victor and Rick is stark regarding social responsibility to moral responsibility. Outwardly, Rick prides himself on neutrality and turns a blind eye to illegal activities, unlike Laszlo's vocal activism which constantly seeks to protest injustices - even if it may mean that he loses his life. His reason for the intensity of his fight when Rick inquires is awe-inspiring. He responds by saying, "You might as well question why we breathe. If we stop breathing, we will die. If we stop fighting our enemies, the world will die." The poetic nature of the script, even more so delivered by talented actors, supremely elevates this otherwise average story.

Despite my generous rating of the film, it did start off slowly and struggled to keep my interest throughout. However, there was an unexpected love that developed near the end of the final act; something which prompted deep reflection within. The beautiful story it weaves about love and sacrifice is its claim to fame. True love considers the needs of others above their own even to the point of self-sacrificing. The redemptive nature of the story is beguiling as it unfolds in accompaniment with charming dialogue. Casablanca can only be described as a perfect marriage between film and poetry.

Bobby Deerfield is an unexpected romance loosely based around the premise of a sports story. This shallow, self-important, and competitive formula 1 racer pursues his dreams regardless of the familial baggage he carries around from his estranged brother or loveless relationship with his French girlfriend, Lydia. Deerfield participates in a race where he claims victory, but tragedy strikes after a two-car collision. What makes it even more agonizing is the fact that the car that crashed is the exact model of the one that he races with. Disturbed by idea of his own mortality being accelerated by a faulty car, Deerfield spirals as he attempts to understand the cause of this crash. He resigns to visiting the crash survivor, not out of the goodness of his heart but to subtly press him on what led to this tragedy. Whilst here, Bobby meets an enigmatic, abrasive, and intrusive patient named Lillian. Evidently a threat to his modus operandi, Deerfield is caught up in a whirlwind as he becomes the transportation for Lillian as she traverses her way to her uncle in Italy.

Though a commercial flop it is liberated by the superb character work it produces. Not merely an asinine love story, both characters bring a sense of realism and appeal. Pacino produces a stoic disposition with underlying mania that seems unlike any of his more madcap roles we had experienced from him previously. He does a stellar job at crafting a character that possesses major depth, despite the obscurity his life is shrouded in. Lillian Morelli was portrayed by Marthe Keller and her work in this film has a lot to love. Spontaneous, random and eclectic - this character is superbly written as the audience is just as intrigued as Bobby to know more about her. She did a stellar job as a charismatic, larger than life woman that aided in Deerfield's development. Their chemistry unfolds leisurely, and it could almost be sweet if not for the fact that Deerfield is cheating on Lydia. I guess the part where we find out that she was terminally ill should force us to have some sympathy for their complicated affair - but it does not. There were many negative responses from the film which could be attributed to the way it was marketed mostly as a sports film. One would be severely disappointed if you anticipated gratuitous race scenes or sports commentary, it functions as a love story solely with a small focus on the racing aspect. Despite this, it produces a progressive storyline with interesting dialogue which is enough to sustain its runtime.

Bobby Deerfield is a better-than-average movie because of the superb character building, uncomplicated storyline, and succinct dialogue. The negative reception or polarizing ratings may just be due to the whiplash the audience would feel if they expected to watch a sports drama but instead found themselves caught in a love triangle.