Ratings
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The Day of the Jackal (2024)
Darn Good Limited Series, But I See Racism With the Lead Actress
I watched the episodes they put on Peacock and overall I thought the acting was very good, the storyline is compelling and suspenseful and the game of cat and mouse between The Jackal and the MI6 British intelligence agent is riveting. Eddie Redmayne is always excellent, but I see a ton of people here defaulted to disparaging the Black actress Lashana Lynch and calling her a DEI hire, even though she's a great actress and has been in a myriad of films and delivered excellent performances. It's unfortunate that seeing a Black person triggers some people, but that's where we are. Meanwhile, The Day of the Jackal is an superb globetrotting spy thriller. Don't allow these obviously, biased "reviews" turn you off. It's just ugliness rearing its head once again.
Trigger Warning (2024)
You Need a Trigger Warning Before Watching This Film
I watched this new film on Netflix called "Trigger Warning" starring Jessica Alba. And allow me to say this...the film didn't make an ounce of sense. Jessica Alba has never been one of the greatest actresses in Hollywood, however, some of her films were okay. Her TV show "Dark Angel" had me hooked back in the day. But I'm not buying one bit that her character Parker is the bada** special forces commando she's supposed to be. That was laughable. Not because she's a woman, I'm a woman, and I know a few truly tough bada** women in the military and federal law enforcement, but Alba was flat and trying too hard to convince us she was this stone cold killer.
The dialogue was terrible, compound that with poor acting, the plot is stuck in it's own self-absorption and the overall story is a gigantic waste of time. I literally burst out in laughter during some of the scenes that were supposed to be dramatic. Yet, on cue, it's #1 on Netflix, which in fact doesn't really mean much because Netflix has been frequently called out on always being sketchy about what metrics they use in order for something to end up #1, as well as their subscriber numbers, churn and the list could go on and on. For a very long time, their math has never been "mathing". There's been shows and movies who never made it to #1 or dropped like a stone out of the Top 10, yet per Netflix, they had more viewing time than those who stayed at #1 or in the Top 10 for weeks.
I don't normally agree with critics because I think some of them are extremely biased, but on "Trigger Warning", I'm in full agreement. The jokes write themselves with Alba's acting and this film. Thank goodness it's on a streamer I already pay for because if I had paid money to see this in the theater, I would have asked for my money back.
Erased: World War 2's Heroes of Color (2024)
A Great Docuseries that Spotlights Unsung Black Heroes.
This docuseries hardly received any marketing or PR. I actually stumbled upon it surfing on Hulu. I know that there are so many unsung Black heroes of WWII, WWI, the Korean War and Vietnam. But what these men went through during WWII trying to serve this country was atrocious. They were mostly serving in support roles. And those like the Black soldiers serving in the 761st Tank Battalion, have been mostly forgotten until Morgan Freeman did the documentary about them. 8 million people of color served in WWII, almost none of them have been honored. In almost every film or TV show, Black men and women who served this country honorably are left out. This country didn't, and in many ways still doesn't, want any heroes but one color and it's not Black, it's White. This docuseries gave a lot of insight to the erasure of the Black people in this country who have risked and lost their lives for Democracy, and our rights and freedoms, yet they were still considered inferior and not worthy of mentioning. It's taken decades for someone like Doris Miller to receive his accolades. There are still others who are waiting, and though many of them have passed on, it's never too late to do the right thing. It's an excellent docuseries and I hope more people watch it.
Atlas (2024)
Generic and Lackluster
I watched Atlas (it's now on Netflix), and while Sterling K. Brown is a superb actor, I can't fathom why he chose to be part of such a bland film. Plus, here's an Emmy, SAG, Critics Choice, NAACP Image Award, Golden Globe winner and Oscar-nominated actor, whose talents are totally wasted and is basically an afterthought in Atlas. I have some questions???? Atlas is just another mediocre addition to Jennifer Lopez's filmography, which also includes a recent, laughable documentary. Lopez has always excelled at self-promotion and dancing, but her acting often falls short. The hype around "Jenny from the Block" (a myth in itself) caught me briefly, but I quickly moved on.
As someone who screens many films, I've seen the full spectrum from great to downright bad, and Atlas falls into the latter category, though not excruciatingly bad, but it does leave a lot to be desired. The storyline is entirely predictable, recycling elements from countless other sci-fi films. We've all seen bits and pieces of Atlas over and over again, just pick a sci-fi film. The character A. I. Smith, Lopez's AI protector, is reminiscent of The Matrix, and the suit she's is right out of Pacific Rim, which doesn't help the film's originality. Lopez's performance is inconsistent, with overacting in some scenes and underperforming in others. The dialogue is flat, and the action sequences are extremely lackluster. However, the set design is impressive, and the CGI-rendered Los Angeles cityscape is phenomenal.
In the end, Atlas left me wanting much more, and I got far less. If I had paid to see this film in a theater, I would have been tempted to ask for a refund.
Unfrosted (2024)
You hear that, it's Unfrosted landing with a thud!
Out of the gate, Netflix's "Unfrosted" is the most Unfunny, boring, and unforgivably bad comedy I've seen since 2023's "Asteroid City." This film had enough talent in it to have made the audience scream with laughter, but instead, it had me staring at the screen not even cracking a smile, wondering when would it mercifully be over. Jerry Seinfeld's directorial debut, in which he also serves as co-writer, producer, and lead actor, proves to be a misstep. The comedy consistently misses the mark, with none of the gags landing and every scene feeling like a humorless dud. Even the presence of Melissa McCarthy fails to salvage the film from its status as a snoozefest.
The synopsis is simple: In 1963, Kellogg's and Post, sworn cereal rivals, race to create a pastry that will change the face of breakfast forever. It's basically who can invent Pop Tarts.
The production value is great, fleets of vintage mid-century cars, neighborhoods retrofitted with period correct signage, and hordes of background performers wearing outfits that would've fit into an early season of "Mad Men" perfectly. Plus, the circa early 1960s clutter on the office desks is another sign that the people who worked on this film cared deeply about the visuals being period correct. But some of the music in it comes from the late 60s, not 1963, the dialogue is ridiculous, the delivery is dry and outside of knowing that it's a story about the race to invent Pop Tarts, you don't know what Seinfeld was going for because "Unfrosted" is wandering aimlessly. So whatever it is he was trying to convey, he missed the mark. The film is a hodgepodge of fact and fiction, with a greatly exaggerated and a wobbly satirized account of the compelling true story of the Kellogg's-Post rivalry. Most of the characters were fiction, yet others were based on real people. And you can clearly tell which one is which.
If you pay for Netflix, it's there for you to view and people will watch it. That's just the bottom-line. But whether their attention span is strong enough to endure the entire film is another story. I almost nodded off twice. "Unfrosted" simply falters in its execution, squanders its potential with its underwhelming humor, disjointed storytelling, and inability to effectively balance historical accuracy with comedic license.
Challengers (2024)
Zendaya is Stellar & Carried this film to #1
Zendaya is perfectly cast and you can see why she deserved to win two Primetime Emmy Awards, a Critics' Choice Television Award, a Golden Globe Award, a Satellite Award and a Saturn Award, as well as earning nominations for an AACTA Award, a Critics' Choice Movie Award and a Screen Actors Guild Award. She is stellar in Challengers and literally put this film on her back and carried to #1.
This is a sexy, exhilarating film. I don't usually like a lot of time-jumps, but they worked in this film because it helped the audience to understand the dynamics of the three main characters and how they got to where they were in the present day. Challengers had everything but the kitchen sink thrown in it, but it all worked perfectly...competitiveness, infidelity, jealousy, envy, deceit, raw and completely unbridled passion and toxic friendships. There is really nothing that jumps out at me that really irritated me, though the first half was a bit too slow for my taste.
Every last one of the main characters...Tashi, Art and Patrick, felt real and relatable, yet toxic and flawed. If you're expecting a run of the mill tennis film, then this is not it. If you're expecting Euphoria set in the tennis world, you would be wrong again. If you allow it, Challengers will get you emotionally invested and then it'll take you on a poisonous, semi-erotic emotional rollercoaster.
Dune: Part Two (2024)
Disappointing with an Unsatisfactory Ending
I've read the books and watched the original 1984 film before these two remakes. They altered Chani's character arc (Zendaya), making her devotion to Paul Atreides clear but adding a condition to her love that he not change, only to have him change and betray her for political power after he transformed because of consuming the spice water. His transformation into both hero and villain was evident, especially in his choice of political power and the White Princess Irulan over Chani. Unfortunately, this depiction in Dune 2 felt like a slap in the face to her character as a woman of color, which I found disappointing.
Furthermore, I also found the main storyline convoluted, the subplots irritating, and the ending unsatisfactory. In this iteration of the film, it could have been titled "True Love, True Lies and the Thirst for Power" due to its theme of betrayal, the lack of trustworthy characters and the idea that absolute power corrupts absolutely. Additionally, the underutilization of Austin Butler as Feyd Rautha was a missed opportunity, given the hype surrounding his role. It was little more than a cameo. And in case you haven't seen the original 1984 Dune film, all of those characters were well-developed and the storyline was well-written. Sting, in that film, was a much better Feyd Rautha because his version was fleshed-out. I also didn't like killing off Duncan Idaho (Jason Momoa) in Part 1 and bringing back Gurney Halleck (Josh Brolin) in Part 2. Momoa's Duncan Idaho would have made better sense since he was Paul Atreides mentor and teacher of the "Weirding Way" technique, in addition to being a brave soldier. It's worth noting that critics have praised the film, and it has garnered a significant following among movie-goers.
I'm wondering did all of the people giving this film (9 and 10-star reviews) actually watch the same film as I did. Yes it was a beautiful spectacle in regards to the visuals, but how the film unfolded was confusing, the writing had no depth, the worms appeared to be an after-thought and what you're left with is more questions than answers. I simple liked Part 1 much better.
9-1-1 (2018)
Phenomenal TV Series
I love this show and I'm so glad that ABC picked it up for Season 7. Fox's loss and ABC's gain. What kind of crazy network executive cancels a hit show is beyond me. Angela Bassett as Athena is phenomenal. The entire cast is great. And the storylines are gripping, emotional, riveting and well-written. 9-1-1 harkens back to the old-school drama series' that had audiences glued to their TVs on the nights they were on. Bravo ABC for understanding the assignment and not allowing this wonderful show to coast off into the sunset. We need more of these and less of the schlocky and irritating reality TV shows. 9-1-1 will be a TV classic someday.
Mea Culpa (2024)
I Respect Perry's Hustle, But He Refuses to Grow as a Writer/Filmmaker
Tyler Perry writing the script himself (that's one of the biggest reasons this film is dull and uninspiring), because Perry is actually a horrible writer who doesn't want any input from great writers who know how to write wonderful stories and exceptional dialogue, that's why his scripts are always riddled with terrible dialogue. The actors struggled with clunky laughable dialogue (none of them were good enough to make lemonade out of rotten lemons), they delivered dry performances that felt more suited for a 2:00 AM B-list film, with the exception of the underutilized RonReaco Lee.
The storyline lacks coherence, and it failed miserably to even remotely resemble the erotic thriller Perry was obviously aiming for (think Jagged Edge, Basic Instinct, Dressed to Kill with a little Fatal Attraction thrown in for good measure. I felt that Perry was attempting to go for some Brian De Palma eroticism without having the ability needed to make it work), then there's the irritating uneven tone of the film which left the audience uncertain of its direction. What was the purpose of Mea Culpa in this unimaginative form...it either needed to be more steamy, more dangerous and a helluva lot more thrilling, or just open the silos to simply being campy and absurd. Unfortunately, Mea Culpa just languished somewhere in the lackluster middle, trying to find its footing, but never did.
Madame Web (2024)
Why? This Film is SO Bad...
Madame Web is do bad, where does one begin? First and foremost, Dakota Johnson is just not a good actress. Let's get real, she's gotten to where she is because of her Nepo baby status. The success of those dreadful Fifty Shades of Grey films had very little to do with with Johnson or her acting, it was because the books were fan favorites (the last film was the lowest grossing in the trilogy). Also, whoever wrote the script for Madame Web should never write another script again. The dialogue was trite, the storyline was boring and it was directed and shot like it was amateur hour on an abandoned studio backlot. The overall feeling of Madame Web felt super-low budget. I've seen student films that were way better than this nonsense. I don't always agree with critics, but on this disaster of a film, they are spot-on. Madame Web has no redeeming qualities at all. If your curiosity gets the better of you, just wait until it's on a streamer, but by no means spend your hard-earned money on it. Technically Madame Web is part of the larger Spider-Man cinematic multiverse, so how on earth did they get this film so wrong with an $80 million budget??
Snoopy Presents: Welcome Home, Franklin (2024)
Franklin is smart and adorable...with good friends
I've heard some whining about Welcome Home, Franklin being tokenism because of how Franklin was introduced over 50 years (sitting on the opposite of the table), and what I say to that is...it's a cartoon, and you have to consider the era in which Franklin was introduced. Charles Schultz had to go through all sorts of hatred and changes to get Franklin in the cartoon, and though him sitting by himself was sad, it was simply apropos of the era. Networks also had to think about the viewership in the South, because from what I've read, they caught some serious heat, yet they still aired Franklin in the Peanuts cartoon in all of his African American glory. I watched Welcome Home, Franklin with my niece and she liked it, I liked it and we're Black. Franklin is not the weak people pleasing token some critics have described, he's a military brat who is used to constantly moving, attending new schools, sometimes all over the world...it's starting over again and again trying to make new friends and becoming comfortable immersed, in yet, another new environment. And unless a person has been down the road of military bratdom, back off. But ultimately, Welcome Home, Franklin, is about friendship. Franklin is smart and adorable. What more could anyone ask for.
Bob Marley: One Love (2024)
Ignore the critics, it's an amazing biopic
I don't care what these critics have to say about Bob Marley: One Love, this biopic is tremendously entertaining. It sounds to me as if these critics aren't really that familiar with Marley or what he was about and how his music had such a positive impact on people globally, though they pretend that they are such experts. His family was involved in making this film and they should know him better than anyone. Both Kingsley Ben-Adir and Lashana Lynch were amazing in their roles. Kingsley Ben-Adir encapsulated Marley to the letter. It hit the right notes with Marley's relationship with his wife Rita and his passion for music and his people. Plus, the weight he carried being an iconic music figure to most Jamaican people, and an irritant to those who saw him as sort of a sellout. Go see the film for yourself because critics would lead you to believe this film is subpar and it isn't. It introduces a younger generation to Marley and his music, and it reintroduces him to those who experienced his personal greatness and his music first-hand. I thoroughly enjoyed this film, and when I got home, I popped on some Marley tunes.
Genius (2017)
Genius: MLK/X Is So Disappointing.
I was looking forward to this series and it's slow, disjointed and does a grave disservice to two iconic Black figures. They didn't even try to cast actors who remotely resembled King and Coretta. The actor who is playing King keeps losing his King voice. I remember Selma with David Oyelowo as MLK and Carmen Ejogo as Coretta Scott King. They were well-cast and you could suspend disbelief with that film. Everyone was believable. I also don't know what's going on with Malcolm X and his wife Betty. I'm annoyed with all of it. Do the people who are casting these series at National Geographic think that any Black actor will do when casting a show about historical Black figures? This happened with Cynthia Erivo. She was so miscast as Aretha Franklin, it was cringy and infuriating. And here we are again. I can't even get into the story because I'm irritated and destracted. If National Geographic can't put more effort into these Black stories, then they need to stop doing them. Aretha, MLK and Malcolm X deserve so much better.
Masters of the Air (2024)
Another Stellar WWII Period Drama
I love period pieces and Masters of the Air satisfies my sweet spot. I'm a hardcore WWI, WWII and Vietnam nerd girl. I've been waiting on Masters of the Air for years now. The first two episodes of Master of the Air are visually stunning and though it's a tad too slow at the beginning, it's still stacking up to be a stellar series. You're stressed-out and white-knuckling it every time they're in their "flying fortresses". WWII was brutal, and I like how the brutally of war is portrayed. It's not sugarcoated in any way. This series is detailed oriented, beautifully shot, excellently produced and well-acted. Great follow-up to Band of Brothers and The Pacific. But I have to say, HBO must be kicking themselves that they didn't greenlight Masters of the Air. That was a HUGE mistake. Their loss is Apple TV's gain.
Suffrage (2023)
An Entertaining Indie Jewel
I enjoyed this film because it didn't attempt to be too cool for school or rely on esoteric clap-trap. It was a fun, quirky movie that kept me engaged. I stumbled upon it while scrolling through a streaming service and thought, "Why not?" Unlike many big-budget films that have bored me within the first 15 minutes, Suffrage held my interest.
Sure, there were some issues. The dialogue felt a bit forced, the pacing was a tad slow, and the storyline was somewhat disjointed, yet predictable. And you could pretty much anticipate where it was heading. However, if you stick with it, you'll be rewarded with a good amount of laughs.
Cat Black delivered a solid performance in the title role of Natasha Hall, while Eric Roberts played his usual type of character, as he often does in his later films. Ron Thompson added humor, and the rest of the cast performed adequately.
In summary, Suffrage is a delightful indie film. Is it a tour de force in filmmaking, no. It really doesn't have to be. Sometimes you just want to suspend disbelief and roll with it. There's enough genuinely cool laughs in to make it worth your time.
May December (2023)
Why Make a Long Exploitative Mary Kay Latourneau-esque Film?
Allow me to say this, if you know anything about the Mary Kay Letourneau case where she groomed, seduced, and had sex with an underage boy by the name of Vili Fualaau (he was 12), then you'll understand the storyline in "May December." Only the names and locations have been changed. The screenwriter Samy Burch said at a New York Film Festival screening that she drew inspiration for the film from seeing the connection between the media climate during Letourneau's case and the current true-crime boom.
My primary question is: why choose to base a film on the actions of Mary Kay Letourneau, a notorious sexual predator? Given the numerous documentaries and films already exploring this disturbing story, it raises concerns about the decision to create yet another work with similar subject matter.
Despite very good performances by Moore and Portman, the film suffered from a slow and unnecessarily lengthy runtime of 113 minutes, which could have been condensed to 90 minutes. Certain scenes seemed mundane and failed to contribute meaningfully to the story and as they say...should have been left on the cutting room floor.
Charles Melton, portraying the pivotal role of the young man who becomes the adult husband of Moore's character, fell short in delivering a convincing performance. His portrayal lacked depth and failed to capture the nuanced emotions of a person grappling with suppressed trauma from a childhood incident of sexual abuse by his older, manipulative wife. The character's complexity demanded a more adept actor, and Melton's portrayal ultimately felt inadequate.
Additionally, a subplot involving Portman's character seducing Melton's character for information felt unnecessary and problematic. It added another layer of exploitation, with a more experienced woman taking advantage of the vulnerable young man. This further detracted from the film's credibility and overall impact.
Overall, "May December" is 4 star for me only because of Moore and Portman.
Priscilla (2023)
Torturous, monotonous and melancholy
Discussing the loss of some brain cells while watching the film "Priscilla" is quite an accurate description. I had initially been eager to watch it due to my affinity for period pieces, especially those that depict real historical figures. However, this film proved to be an exercise in complete frustration within the first 15 minutes. It began with an excruciatingly slow pace, followed by a moody atmosphere that failed to captivate in a compelling manner. To make matters worse, it rapidly devolved into an incomprehensible and unpleasant production that relied on numerous quick cuts with reckless abandon.
"Priscilla" made the unfortunate decision to hop between different time periods without delving into any of the characters in a meaningful way. None of them received the development they deserved, including the title character, Priscilla. What was particularly glaring was Sophia Coppola, who directed and wrote the script. Her portrayal of Elvis was nothing short of brutal, depicting him as a mumbling, shy individual with multiple personalities, a serial cheater, bad-tempered, controlling, sexually dysfunctional, stunted in his emotional development, and plagued by a Madonna Complex.
No wonder right before she passed away, Lisa Marie Presley hated everything about this script and also thought that it was akin to being a hatchet-job. I'm beginning to have some questions about Priscilla Pressley. She's been involved in too many controversies regarding her daughter, grand-daughter, Elvis and that estate. Just sayin'.
First and foremost, it's hard to fathom how a parent could permit a 14-year-old to associate with, and secretly date, a man 10 years older. Even more bewildering is the decision to let her relocate back to the United States, considering her father was stationed in Germany at the time, and reside at his estate. The only explanation that seems plausible is the overpowering influence of money. Given Elvis's wealth and fame, it appears that these factors overshadowed any morality her parents may have had.
The film portrays Priscilla as a pampered and privileged young girl, essentially held captive within the opulent confines of Graceland. In one scene, she expresses her desire to secure a job while attending school, telling Elvis it would be fun. However, Elvis dismisses this idea by presenting her with an ultimatum: him or a career, all while he's away filming and allegedly screwing his leading ladies.
Do any of us know if all of this is completely true...no, except the fact that her parents did hand her over to Elvis while she was underage. What we also know is that a child shouldn't be living with an adult man like this, and scenes like the one I described, without any context before enduring yet another quick cut time jump, is one of the many things that made this film extremely unbearable.
Also, Coppola rushing through years of multiple betrayals, sadness and pleasure at a breakneck pace, made the film feel as if she was trying to check all of the boxes on her ridiculous timeline, rather than fully immersing us in Priscilla's early life and experiences with Elvis.
Now let's get to the casting. Jacob Elordi as Elvis didn't strike me as authentic. There wasn't enough suspension of disbelief in the world to buy him as the titular 50s/60s heartthrob. The difference between his Elvis and Austin Butler's Elvis is simple: Elordi played Elvis and Butler became Elvis. That's what made Butler's portrayal more believable and real. Cailee Spaeny as Priscilla Presley was serviceable, though a bit stiff. She had 2 expressions in this film...wide-eyed, young and naive and sullen. That was about it. Even when it cut to her leaving Elvis after his Vegas show, there was nothing for the audience to get excited about. And by no means are either of these performances award-worthy, no matter what the Hollywood PR machine is spinning.
In case you might be thinking about Col. Tom Parker, he never appeared in this film. You just heard Elvis on the phone with him. Even Priscilla's parents were in it sporadically. Elvis' mother was already dead and his father popped in and out with his now wife or girlfriend, that too wasn't fully explained. His grandmother, Black housekeeper and his so-called "memphis mafia" were seen here and there.
"Priscilla" is a torturous, monotonous and melancholy story surrounding the relationship between Priscilla and Elvis....nothing more than that. It had the potential to be a seering and engrossing film because all of the elements were there, but the ball was badly dropped and much to this film's detriment, no one took the time to find it.
I usually like Sophia Coppola's films, with the exception of that abysmal "The Beguiled", and I'm sure I'll end up in the minority with my take about this film, but none of it worked for me. From the beginning to the end, I kept wondering what in the Hell am I watching???
The Continental (2023)
The Continental delivers on its promise of action, assassins, and unapologetic violence.
The Continental takes us on a thrilling and stylish journey into the dark and deadly world of assassins that John Wick fans have come to know and love. Focusing on the origin of the iconic hotel-for-assassins, the series offers a fresh perspective through the eyes and actions of a young Winston Scott. If you're a fan of the John Wick franchise, "The Continental" is a must-watch that delivers on its promise of action, assassins, and unapologetic violence.
The series kicks off with the charismatic and enigmatic Winston Scott, played brilliantly by a charismatic Colin Wodell. His portrayal captures the essence of the character we've come to admire in the films, adding depth and history to the man behind the Continental Hotel. The 1970s setting is a fantastic choice, providing a rich backdrop for the gritty and dangerous world of assassins.
The supporting cast also deserves a commendation for their performances. The ensemble of assassins, each with their own unique quirks and skills, adds depth and intrigue to the story. We get glimpses into the inner workings of the assassin society, and it's a treat for fans of world-building. The series manages to maintain a sense of tension and unpredictability throughout, as alliances shift and rivalries intensify.
However, "The Continental" isn't without its minor flaws. Some character motivations and plot twists may come off as a bit contrived, and at times, the pacing feels uneven. While the series excels in delivering action-packed moments, it occasionally sacrifices character development for the sake of adrenaline.
In summary, "The Continental" offers an exciting and blood-pumping entry into the John Wick universe. It successfully explores the origins of the Continental Hotel and the enigmatic Winston Scott while staying true to the franchise's distinctive style and brutality. If you're a fan of the John Wick series, this prequel is a thrilling addition to the lore. While it may not reach the same heights as the films, it stands as a worthy extension of the franchise and leaves you eager for more assassins, action, and mayhem.
Oppenheimer (2023)
A 3-hour magnum opus of incredible storytelling!
I love history, especially period pieces, so I was drawn to "Oppenheimer" from the get-go. But sometimes period pieces will insert too much modernity into the visuals and dialogue, but Christopher Nolan stayed true to the period. "Oppenheimer" is as close to a true undeniable masterpiece as I've seen in a film in years. It is a symphony of powerful performances (Cillian Murphy as Oppenheimer is brilliant, and his name had better be in many award season nominations), Emily Blunt and Matt Damon were amazing and Christopher Nolan weaved a profound film that went beneath J. Robert Oppenheimer being the "Father of the Atomic Bomb". He humanized him and showed us all of his triumphs, insecurities, tragedies, fears and flaws.
"Oppenheimer" is a sublime, haunting and mesmerizing film that makes you think. It stays extremely close to historical fact, and examines the gulf between empathy and compassion as it pertains to science and whether your allegience to your country should ever be stronger than when your conscience and moral compass is telling you what you're doing for your country is intrinsically wrong. And when you choose country over morality, what is the cost? Oppenheimer paid one helluva price for giving Truman and his country something that was truly a weapon of mass destruction. Now, there are bombs 10 times more destructive and deadlier than the Atomic Bomb, and unfortunately, Oppenheimer opened that Pandora's Box and there is no way of ever closing that lid again.
Jumping between that Kangaroo Court grilling Oppenheimer withstood because, as we all know, the government will giveth, and it will taketh away if a person doesn't tow the line, to how he came to be the head of the Trinity Project, his personal failings and to the ultimate testing of the Atomic Bomb, was acted and shot amazingly. I don't normally like a lot of time jumps, but this was needed in order to figure out his journey, and to get a glimpse of the man behind the bomb. From the first frame, it draws you into the long-hidden world of J. Robert Oppenheimer.
But ultimately what Christoper Nolan showed us is that the true monster in this film was not Oppenheimer's invention, but the insatiable appetite for power, and knowing what kind of destruction the bomb unleashed upon humankind. That realization plays out in Oppenheimer's pained and haunted face all thoughout the entire film.
I was transfixed throughout this 3-hour magnum opus of incredible storytelling, cinematography, set design, acting and directing. This is a film that MUST be seen on the big screen to embrace the greatness and enormity of it.
Asteroid City (2023)
Wes Anderson Got Lost in the Pastel Weeds, And Never Found His Way Out
After watching "Asteroid City and to say I'm disappointed is an understatement. I normally like Wes Anderson's quirky films such as "The French Dispatch", "The Grand Budapest Hotel", "Fantastic Mr. Fox", "The Royal Tenenbaums", "The Darjeeling Limited," "Life Aquatic" and "Moonrise Kingdom." I love period pieces and "Asteroid City" is set in the 1950s. But with "Asteroid City", you'll need NASA, a GPS and a map (you might need to dust off the old Thomas Guide too) to find your way around and out of this loopy film. It's confusing and very hard to understand exactly what it's trying convey to the audience, and more than that, what in the Hell is it trying to be?
"Asteroid City" has a major identity crisis that distracts you from following the storyline. No character is fully developed and it moves at a snail's pace...after trying to concentrate on following the scattershot storytelling, you're dog-tired. But I must say that the gorgeous pastel aesthetic, production design, set pieces, and cinematography are this film's saving grace.
Plus, with this super-A-list cast, which is way too extensive to mention, not one of them gives a good or even remotely memorable performance. It has nothing to do with their talent, but everything to do with Wes Anderson's horribly choppy, disjointed script full of inane dialogue. There's only so much even an A-lister can do when the writing is so terribly bad.
With "Asteroid City", it will have you fighting to stay awake hoping something...ANYTHING will happen to spark your interest and it never does. It just meanders along in the aimless carefree bubble of Wes Anderson's denial that he got lost in the pastel weeds and never found his way out. It's a wildly confounding film because we know Wes Anderson is capable of much better.
Flamin' Hot (2023)
Why Perpetuate A Lie, His Real Story Was Enough
Richard Montañez did NOT invent this product and it's been debunked for a while, yet Montañez and director Eva Longoria doesn't allow facts to deter them from perpetuating this falsehood, wrapped in an upbeat can-do story. Montañez was a janitor at Frito-Lay, and he did become a director of marketing, with a knack for reaching overlooked and underserved Latino consumers. But according to a company statement backed up by the Times' reporting, plus a multitude of retired folks who worked with Montañez have all stated that "he was not involved in any capacity" in the development of Flamin' Hot Cheetos.
The story of Montañez rising through the ranks to become the director of marketing was enough of a so-called "rags to riches" story on its own, (he had no formal education, was in and out of trouble as a kid, belonged to a street gang, sold drugs and came from an impoverished background) what's not to cheer for, but to continue to promote this fabrication when it's been debunked time and time again, ruins the entire film for me.
I love these types of stories as long as they're truthful and not overly embellished to the point of being highly improbable. "Flamin' Hot" never acknowledges any of the inaccuracies, it just blissfully goes along promoting the lie. However, Montañez did, according to the L. A. Times, play a major role in the development of the company's Sabrositas line, which included a lime and chili Frito, but that was in 1993, three years after the "Flamin' Hot" launch. This film is so myopic and obsessively committed to the underdog mythology that it's never really believable, and loses all of its credibility as the film plods along. "Flamin' Hot" plays like an ad/commercial for the product.
The running theme is reach for the stars, don't take no for an answer, and maybe one day you'll attain your dream and become a millionaire along the way. That's all well and good, yes things like that can happen. And though Eva Longoria's story is a nice, albeit an untruthful one, "Flamin' Hot" leaves you with nothing more than the orange Cheeto dust on the tips of your fingers.
Fast X (2023)
Jason Momoa Was Stealing Scenes Left and Right...Yeah!
I have long been a Fast & Furious franchise supporter. 4 of the films were a bit meh, however, overall I'm in. But Fast X though...Jason Momoa put this film on his back and carried it across the finish line. He played THE best villain I've seen in a while. This was one of his best performances to date. Momoa was in his lane playing a full-blown psycho and stole every scene he was in. Though Momoa isn't always seen as an actor with great range, but he's done a few variations on the macho bada**, and the fact that they all felt different with distinct personalities is impressive. I'm definitely going to watch Fast X again.
Fast X is much better than F8 & F9 and is equal to F7, which I thought was the best of the franchise until now. Fast X is WAY over the top, so fasten your seatbelts, you're in for a helluva ride. Did Fast X make a lot of sense in technical cinephile terms, nope. But who cares, sometimes you just want mindless fun with heroes, villains, awesome stunts, explosions, car chases and craziness.
Numerous critics are dragging this film like they expected it to be some tour de force in filmmaking...where have they been all of these years? The Fast and Furious franchise isn't meant to be The Godfather, it's meant to entertain....try to pay attention critics.🤣
The acting was good, though Vin Diesel and his mumbling irritates me, but it is what it is.🤣If you just want a mindless, albeit enjoyable thrill ride in a film, plus get your money's worth considering these high ticket prices, Fast X is the film for you.
The Mother (2023)
This was one Mother of a Time Waster
The Mother was one tedious piece of nonsense. And I'm sick people in and outside of the media always finding excuse after excuse to prop her acting up, even though deep down they know she's basic at best. Lopez is just not a good actor. She has two speeds as an actor...wooden or histrionic and both are obnoxious. But she wasn't alone, the overall acting in The Mother was horrible. Plus the "mother's love" bit they tried to foist upon the audience, was laughable. J-Lo's "bada** female assassin actually treated her daughter mostly as an inconvenient annoyance. Oh and by the way, let's play "who's the father of her 12 year old daughter", because that storyline was just an afterthought. Is the father him over here or him over there trying to kill her? And as a supposed highly trained assassin, how was she not using some sort of birth control? Don't get me started there. Everyone, except Lopez thinking she's a female Jason Bourne with a franchise in the offing, looks eyerollingly bored, clunking along with some of the worst dialogue known to humankind in this exhausting hot mess of a film. I watched it because being an action/thriller, I thought...how bad could it be right? Well, I wasted time I can't get back, and if this wasn't on a streamer most of us already pay for, I'll bet you that hardly anyone would waste time and money going to see this film at a theater. But I can say with absolute certainty, The Mother is the end of the road for me with J-lo films. Enough already. I'm done.
Queen Charlotte: A Bridgerton Story (2023)
More Episodes Needed...Season 2 Please!
I thought I wouldn't like anything Bridgerton after the first season (wasn't vibing on that second season at all), but here I am with Queen Charlotte. I love this limited series. It's way better than both seasons of Bridgerton because it has depth, maturity and excellent acting. I appreciate the telling of the origin story of how Queen Charlotte came to power by an arranged marriage to King George. Then how they fell in love. There's so much chemistry between the two leads, it blows your mind. It also introduces us to Lady Danbury which is played by Srsema Thomas...bravo to her. The young actress who plays the young Queen Charlotte, India Amarteifio, is superb. She shows a stellar acting range portraying the young queen, that belies her youth and acting experience. Here's hoping that Amarteifio is well on her way to a phenomenal career. And of course Golda Rosheuvel as the older Queen Charlotte is as excellent in this as she is in the regular series.
Truthfully, there's not many missteps in Queen Charlotte, and if there are some, they're so minor, they're hardly noticable. Every actor/actress in this series is cast right and understood the assignment. I wish Shonda Rhimes would have made this more than just a 6 episode limited series.
Fatal Attraction (2023)
Fatally Flawed and Fatally Bad
There is absolutely NOTHING worth watching in this laboriously dreadful series. I finished the first 3 episodes just out of curiosity, and we all know what not only killed the cat, but me along with it and what I found will not bring me back for the rest of the series. The original Fatal Attraction film was a product of its era, so I understand why this series had to reimagine some of the material. However, when material is changed much too much, and it relies on the chemistry between the two lead actors with little to no chemistry, it simply languishes in nothingness without anywhere to go but down. The smaller storylines are rushed, the pacing is way off, and the ancipation of what comes next between Alex and Dan is not there as it was in the original film. You just don't care because whatever comes next is probably just as boring or worse than what happened before. This Fatal Attraction series took all of the erotic thrills out of it being a must watch erotic thriller. The problem I have with remakes is that they're rarely as good as the original and that streak continues. Sometimes a classic film should just be left alone. Allow us to enjoy the greatness of the original, without our minds being polluted by the horrors of the remake.