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Wicked: Part I (2024)
Pure cinematic magic
Wicked is pure cinematic magic! A masterpiece of classic Hollywood musical filmmaking! Wicked left me speechless! I'm floored, I knew I was going to love it going in... but I didn't expect to adore it this much! Like... woah... it was incredible! I need to see it again right away, this is easily one of my favourites of the year, if not of all time! (I love my musicals so much!) Truthfully, I don't quite know how to find the right words to describe how much I adored this film. It swept me off my feet. Wicked is *my* movie of the year. The high that you feel after watching it is unexplainable. I'm just so in love with this movie and had the time of my life! It was the shortest 2 hours and 40 minutes of my life (could have even gone on longer). I was spellbound. It is made with pure and unadulterated love for these characters and this world. Infectious and energetic, Wicked blew me away. I thought I'd like it, but did not expect to be so emotional and struck by its weight. All my minor issues with the film fall away in the face of just how emotionally epic the whole thing is. There's so much to love about Wicked but the last 14 minutes during "Defying Gravity" go so hard - I was shaking and enthralled; stunned and breathless. A film that sends you out the door feeling like you're soaring is exactly what I needed right now!
Wicked was the most breathtaking, awe-inspiring, mind-blowing, and utterly unforgettable movie I've ever seen. That's it in a nutshell. To me, it was perfection - exactly what I wanted. Wicked is everything I hoped for and then some. It's the ideal adaptation - one that is oozing with love and reverence for the musical but also seizes opportunities to enhance it via the new medium. Every ounce of this movie is dazzling - buzzing with energy and brimming with next-level craftsmanship. There's so much to love here, but it's a movie that does feel like it hinges on its lead duo, and Cynthia Erivo and Ariana Grande are just absolute perfection as Elphaba and Glinda. They are the Elphaba and Glinda everyone already knows and loves from Broadway, but also versions of the characters that feel unique to Erivo and Grande. Erivo delivers such soulful work with a beautiful intensity, and Grande's spot-on comedic timing and tone, and all-around effervescence. Their chemistry together is also off the charts. Easily one of my favourite big-screen pairings of 2024. And BOTH deserve Oscar recognition. I've never been a fan of either, frankly, I haven't seen or heard enough of their work to be one. I was doubtful when I heard about their casting. But after seeing Wicked, I am eating my words - they are perfect in these roles. And don't even get me started on Jonathan Bailey, who radiates pure charm and confidence as Fiyero, making him absolutely swoon-worthy for all.
After more than 20 years, Jon M. Chu has finally given Wicked the feature-length adaptation it deserves, or at least the first half of it. A dazzling green and pink explosion of euphoric energy and grandeur, Chu brings Oz, Shiz, and their inhabitants to life in spectacular fashion, with wondrous designs and impressively assembled musical numbers that will have audiences cheering multiple times. (I know I was resisting cheering after each like at a Broadway performance!) What Jon M. Chu has done for Wicked is what Peter Jackson did for The Lord of the Rings.
Jon M. Chu's direction deserves all the praise in the world. Every single detail feels intentional and lovingly crafted to honour the heart of the story while elevating it to new heights, from the dazzling costumes to the exciting choreography and the mind-blowing sets (Nathan Crowley and his team went insane with the extensive practical sets and creative art design). It is abundantly clear that Jon M. Chu and the incredibly talented artists poured so much passion and creativity into this first part of the adaptation. The grand spectacle is such a delight to behold while giving room for the emotional power of the story to shine. Under Jon Chu's visionary direction, each scene feels like it's defying gravity, lifting the story's emotional depth and visual splendour to breathtaking new heights. The production design is a marvel, setting a new standard in cinematic beauty and immersion. It's vibrant, mesmerizing, an experience you won't forget-leaving you craving every second and wanting more.
The musical numbers are beautifully performed across the board, perfectly complimented by staggering costumes, production design, cinematography, and choreography. It is a shame that the lighting and visual effects are not as consistently up to par, but the energy in these scenes is palpable. This is what happens when you have people who know how to make musicals!
I think as a a society we really need to spend some time this weekend reveling in the existence of Jon M. Chu. We now have a top-tier, A-list filmmaker who seems primarily interested in making big, splashy joyful musicals and large-scale rom-coms. That is huge in a way I haven't seen enough people talking about. His last 3 films (Crazy Rich Asians, In the Heights, and now Wicked), have all well exceeded expectations. After this, I can't wait to see what he does next!
Having never seen Wicked on stage, I knew the music but not much else. Finally getting to experience the story in this grand fashion was a wondrous experience and I truly was enthralled for the entire runtime. From the music, to the narrative beats, to the relationship between Elphaba and Glinda, I just couldn't get enough. The runtime never once bothered me, in fact, I was surprised that 2.5 hours had passed when it ended, I didn't feel it once (pacing is remarkable). I was worried about splitting this into two films when it was announced, but having now seen Part One, I fully understand and love that this choice was made; it is absolutely needed to tell the depth of the story that Chu is telling. I was also really surprised with how funny the movie was!
I also cannot overstate how perfect the timing is for this movie to come out. It is a message we all need. What happens when we let fear of those who are different dictate our beliefs in a fraudulent man hungry for power. Also emphasizing the silence and complicity of those like Glinda in a system built for them compared to someone like Elphaba villainized for being the other who doesn't conform.
This adaptation of Wicked will go down in history alongside some of the all time great musical adaptations such as The Sound of Music, Chicago, West Side Story, Mamma Mia, In the Heights, and more! As a fan of musicals, I gotta say I love finally having a musical that general audiences are loving and rallying behind - I've seen so many lately (that I loved) like Spielberg's West Side Story, In the Heights, and Tick Tick Boom that were so good but never got as much love as they deserved. When we talk about classic films in 40 years, Wicked will be on the list. A loving tribute to Old Hollywood and the 1939 film (with some fun easter eggs hidden throughout the film).
Wicked is a cinematic spectacle. I was spellbound and I genuinely cannot stop thinking about it. I can't wait to see it again and again! Wicked truly lives up to the hype and then some! Ariana Grande, Cynthia Erivo, and Jonathan Bailey deliver electrifying performances that pull you deep into their magical world, filled with charm, intensity, and unforgettable moments. The wizardry and love of Jon M. Chu & co in Wicked fill in the limitations of the stage with an unlimited dream yet intimate anecdote of female friendship and what it means to finally feel seen in a world that shows you wickedness. This film is truly special and I won't be surprised when this gets a lot of awards attention. Everything from the performances, sets, costumes, cinematography, musical numbers... perfection in my eyes!
I cannot wait for Part 2 next year!
Heretic (2024)
Never before has pondering theology been so devilishly entertaining
Never before has pondering theology been so devilishly entertaining - and amen to that! Heretic is a masterpiece of modern horror. Creepy, taut, and brilliantly written, Heretic is an unnerving psychological horror that will both entertain and challenge you. Scott Beck and Bryan Woods' deft hands craft something so freaking good, something truly remarkable - a deep and profound look at the decisions we make, the power of control, and iterations of religion. The movie itself is great, but I absolutely adore this intellectually stimulating screenplay most of all. It's an ingenious script that will shake your religious beliefs to their core as it ponders religious truth while also filling you with a deep sense of dread. A battle of wills as intellectualism and spirituality go head to head under the most tense and terrifying of circumstances. It begins as a simplistic yet effectively-written thriller and slowly transforms into something a lot darker, as this screenplay peels back the curtain on religious perspectives and how far your ideology can take you. While the movie eventually trades in simplicity for convoluted ideas and rides a generic line in the third act, it still leaves a lasting impact... I haven't stopped thinking about it since I saw it. The film is darkly humorous with a masterful handle on tone and escalating tension even if it becomes too elaborate for its own good by the end.
Heretic had no right to be as good as it was. To be frank, I was blown away. A horror film that focuses on religion and the different ideologies behind it, it manages to grab onto you and never let go over 110 minutes, utilizing its one location to perfection. Sophie Thatcher and Chloe East prove once again why they deserve more roles, but the legendary Hugh Grant gives an Oscar-worthy performance and steals the show, taking all of his acting ticks and tricks that usually make him so charming, turning them on their ear, making him positively diabolical. His devilish charm has never been put to better use in what is easily one of his best performances. I was blown away by Hugh Grant here - he has so much fun with this dense, sadistic material. Writers/directors Beck and Woods killed it and genuinely deserve a Best Original Screenplay nomination! Heretic is easily the best horror film I've seen so far this year! It is a thrilling and surprisingly funny exploration of religion, control, and belief.
(I also have to mention I really appreciated the land recognition and "No Generative AI was used in the making of this film" statements included in the credits - love to support films that both respect the places they filmed at as well as were made by human artists!)
Venom: The Last Dance (2024)
Praying this is the last of these
"Well... it's better than Madame Web" is about the highest compliment I can give Venom: The Last Dance.
Why do I keep doing this to myself? Why do I hate myself enough to keep putting myself through these god-awful Sony Marvel movies that I know are going to be terrible? Venom 3 is horrid. I didn't like the first two all that much... but this is just so much worse. Why do they keep making these? The only thing that works is the casting of Tom Hardy as Eddie Brock, and yet here all he does is stumble around in various pairs of shoes.
This movie made me angry. It feels as if it was made by people who have never opened a comic book in their lives, who have never watched a comic book movie at all. They clearly don't know what makes these stories/characters work as here it just feels like they are jangling keys at the audience with various CGI action scenes or dumb attempts at comedy every 2 minutes, leaving no room for character, stakes, emotion, or story really. Don't even get me started on the pointless hippie family or the dance scene with Mrs. Chen. Venom himself barely had any screen time! I just don't know what was happening here. And I was bored to the point of nearly falling asleep too... It's just such poor filmmaking that it's not even entertaining. Genuinely, what an embarrassment of a film.
Truly praying this is the last of these.
Smile 2 (2024)
Ups the ante
It is rare for a sequel to be better than the first movie. It's even rarer for it to completely change its form and one-up itself. And that's exactly what this movie did! Not since the likes of Terminator 2 has there been this significant of a quality jump between the first and second films! I loved it
Smile 2 took everything I loved about the first film and amplified it, delivering more intense scares, bloodier gore, and enough anxiety to drive anyone insane. It's as if Smile 1 was the proof of concept, but this was the true vision all along. Writer/director Parker Finn showcases a lot more creative talent here, and clearly has a lot to say about fame and trauma. With these two films, Parker Finn has cemented himself as one of the top horror directors working today. His command over the pacing and dreadful atmosphere is truly impressive. I loved the creativity with the cinematography, editing, and sound design; all employed so well to build the tension, atmosphere, and feeling of dread - not to mention assist with some extremely effective jump scares. It also doesn't play into horror tropes/cliches too much which was nice, and has a strong script with such an excellent hook with so many satisfying payoffs. If he's willing to keep making these films and finding new ways to psychologically scar and thrill us, I'll be there, ready and with a sick smile on my face. Naomi Scott gives a truly committed, emotionally charged performance that will likely turn a few heads as she pushes herself to terrifying extremes. What an unrelenting, wild, and disturbing ride! Filled with effective jump scares - definitely not a film for the faint of heart.
Conclave (2024)
Succession in the Vatican
Lies. Deception. Manipulation. Strategy. A game of chess on a global scale. Every move calculated, every alliance scrutinized. A complex and riveting contest of strategy and influence. Edward Berger takes a process as intimate and holy as the conclave and turns it into something thrilling that echoes the scheming, backstabbing nature and intrigue of Game of Thrones and Succession while also feeling strikingly relevant. Conclave is a meticulously constructed behind-closed-doors thriller where religion and politics clash and the souls of petty men are tested for a chance at supreme power.
Conclave is a film about choosing the least objectionable candidate to prevent undoing decades of progress. Hmm... sounds familiar. Not to get too political, but there is a reason this film was released when it was, and the overall challenging messages presented in the film could not be more relevant to the current political climate in not only the US but many other countries in the world.
I'm seeing a lot of enjoyably quippy Letterboxd/social media reviews saying that this is a funny movie about priests gossiping ("What if an episode of Gossip Girl took place entirely at the Vatican????"), and that isn't untrue-but it also neglects to mention that it's a very earnest and profoundly soul-stirring picture about the tension of faith, the desperate search for certainty, and the true purpose of the church in the world. This is the kind of well-staged "men in rooms" drama that feels like it could've been made in the 1940s, or the 90s. Imagine an Aaron Sorkin film (The Social Network, Moneyball, A Few Good Men) in the Catholic Church. That is Conclave.
The ensemble is outstanding with Ralph Fiennes delivering a performance that is as nuanced as it is commandingly powerful. The taut atmosphere is amplified by a pulse-pounding score, and immersive sound design, though moments of over-the-top levity occasionally breaks the tension, adding an unexpected layer of entertainment to this riveting high-stakes election. It's one of the most riveting, immaculately crafted films of the year - a masterclass in classic Hollywood filmmaking brilliantly directed by Edward Berger who most recently made All Quiet on the Western Front.
There's this "rule" in film editing: don't show the door closing; just cut to the other side. It's meant to be a reminder to avoid unnecessary or mundane sequences. Conclave ignores that entirely. Characters pause, and shuffle around between lines, as their sneakers squeak on Italian marble. They actually eat and swallow food without cuts, and stop in the middle of important dialogue just to make a Nespresso in real time. People are calling this a thriller (and I agree), but it's also a Vatican hangout movie. I couldn't care less about the subject matter, yet I haven't felt this engrossed in a film in a while. It's all the "fluff" that Berger includes that made everything really work for me. It has so much rich texture. One of the best of the year - and it's because you see the doors close.
This is the kind of awards season crowd pleaser that really hits all of the right buttons. Excellent performances across the board. Narrative twists that both make sense and completely subvert expectations for a film surrounding Catholicism. Visually stunning. It's a blast.
I also enjoyed it because it's a very (very very) progressive film dressed in the most conservative package imaginable. Very of this moment. I think Conclave has one of the most profoundly soul-stirring and theologically provocative endings of any movie I've seen in a while. It's no wonder that lots of people in the typical target audience for films like this are baffled by it. But I loved it so much.
Conclave is an incredibly entertaining thriller that peels back the many layers of selecting a new Pope and is anything but boring. A compelling, relevant watch about the state of leadership and elections in our modern world.
Succession is my favourite show, and here I got a whole movie of it just set in the Vatican! Brilliance.
We Live in Time (2024)
Beautiful
Soooo We Live in Time left me an emotional wreck.
We Live in Time is spectacular, it's magic, it's transcendental, and it's beautiful, beautiful, beautiful. One of the most authentic and honest love stories out there. It sends you through a transcending level of emotions as it flashes through the life of one couple. The film is relatable, emotional, funny, and awkward, but sincerely real - there is a nice embrace of naturalism and ordinariness. It's easy to guess how the film will go, but it doesn't make it any less effective. This beautifully simple drama is made all the more poignant thanks to Andrew Garfield and Florence Pugh's perfect performances. They are electric here. Their easy chemistry made every moment authentic and genuinely delightful. The movie is basically Florence Pugh and Andrew Garfield being in love and living a life together for nearly two hours and the results are everything I could have wanted - very sweet and emotional. Much funnier than expected, the charm of the two leads (and a moving score) elevates this nonlinear modern UK love story to become something utterly heartbreaking, though some may still take issue with its meandering and basic plot as much of it can feel like watching an elongated montage. The narrative bounces around in time in a non-linear fashion, but the collage of moments drives the emotion home without ever feeling manipulative.
It might be a stopwatch, or the timer on an iPhone. It could be an egg timer in the kitchen, or the countdown at an international cooking competition, though that's less likely for most of us. We're surrounded by the constant reminder that our stay here on Earth is limited-our lives are finite. We Live in Time is a contained, yet emotionally rich tour through the joys and sorrows of reality's obstacles amidst a textured take on life, love, and everything in between. A life worth living is one full of risks. Wonderful things don't happen by waiting. This film is a truly moving romance/tearjerker - I loved it.
Not to mention there is a scene in here that is probably simultaneously one of the funniest and most beautiful of the year.
Saturday Night (2024)
A total blast from beginning to end
Much like how Lorne Michaels captured lightning in a bottle decades ago, Jason Reitman did the same with this movie! Saturday Night is a frenetically chaotic ride, and one of Jason Reitman's best films. The film focuses on the 90 minutes that led up to the airing of the first ever SNL episode in 1975 with a "race against the clock" thriller angle. It perfectly captures the chaotic energy, camaraderie, and backstage shenanigans of putting together the first SNL in real time. There is only so much you can cram into such a short runtime, but this film tests that theory and shoves everything it possibly can in. The ticking clock throughout, a witty script, the stressful score, long takes, and breakneck editing make the final product absolutely chaotic in the most brilliant way. It genuinely plays like a cross between Birdman and Babylon, and if you know me that is a very high compliment.
The true highlight however is the incredible all-star cast that both embrace the chaotic characters they're playing and intensity of putting SNL itself together. The movie is not just any ensemble piece, it's the ensemble piece. I haven't seen actors bounce off of each other so well in ages.
Like Lorne Michaels, Gabriel LaBelle is the driving force. LaBelle is slowly climbing up to become one of the all-time greats. He has played Steven Spielberg, now Michaels, and holds his own opposite veterans. He is the glue that holds the cast together. I am shocked as to how many supporting players made a massive impression with so little screen time, and there's no way I can pick a favourite. Nicholas Braun with dual roles as Andy Kaufman and Jim Henson is comedic gold. Cooper Hoffman is stepping right into his father's shoes. Cory Michael Smith and Dylan O'Brien are perfectly compatible with Chevy Chase and Dan Aykroyd respectively. Andrew Barth Feldman, Matt Wood, Lamorne Morris, everyone is phenomenal. It's crazy that J. K. Simmons and Willem Dafoe, both amazing as well, are probably some of the less extraordinary of the bunch. I'm genuinely surprised how much of the cast are rising stars - and I thought that was an excellent decision made by casting considering the original SNL cast were also fairly unknown. They deliver on levels as someone who's been in the industry their entire lives.
Jason Reitman has given us the love letter of a lifetime with Saturday Night, recognizing those who work their asses off behind the scenes for our amusement. The rapid-fire script is wildly entertaining, the film is a total blast from beginning to end! Highly recommended by me!
Joker: Folie à Deux (2024)
Did I see a different movie than everyone else?
Did I see a different movie than everyone else?
Most people seem to be saying that Joker: Folie à Deux is a dumpster fire of a disaster that hates its own fans. It's not a stretch to say this might be the most disappointing comic book movie of all time for a lot of people.
But for me... while I am still not 100% sure how I feel about it, I definitely don't agree with the majority. I really appreciated this film.
Joker: Folie à Deux (or Joker 2 as I will refer to it) is bold, unafraid, and complex, delivering a commentary on the sensationalism of trauma and mental health over the actual care for it. This is a film that swings for the stars in its execution, and while it doesn't always work, this is a film that will be talked about for years to come. While the initial backlash to the film is strong now, I feel after some time, people will begin to revisit this movie and re-evaluate it with adjusted expectations. Because frankly, Todd Phillips took most people's expectations of a sequel to the first Joker film and absolutely threw those out the window, giving all of us the middle finger for wanting that in the first place. The film is completely disinterested, and is actively hostile towards fulfilling your expectations, and then seems to chastise you for wanting to see a film about the Joker.
And goddamn it, even if the end result is a mess, I love that he had the courage to do this. I can't think of another major studio film with a $200 million budget in the last 10 years that actually had the guts to make something that wasn't just pandering to the fans - instead this film offers a subversive deconstruction of the character and in a meta-sense, the first film, that challenges our preconceived notions of what this movie would be. From a business perspective, this was a terrible idea, as we can see the results - a failing box office, theatres are empty, there's a disappointed fan base, and the film will ultimately lose money. But from an artistic perspective, like it or hate it, we are so lucky to have a film like this. I so appreciate the boldness of this film - I would rather see movies like this that take risks and swing for the fences (even if they don't always connect) than 100 of the same movies I see again and again. It starts an interesting dialogue over what has become the norm for tentpole films. I just love that Todd Phillips went for it.
The Wild Robot (2024)
A very special movie - an instant classic
Every once in a very long while you watch a movie that's so wonderful and beautiful that you have no idea how the heck you can write a review that does it justice.
The Wild Robot is one of those special movies.
Before saying anything else, I'm so serious, just drop whatever you are doing and go see it - it exceeded my already high expectations!
The Wild Robot blew me away. This is a wonderful, wonderful movie that will become a profoundly cozy comfort watch in years to follow. It's an instant classic and already one of my favourite movies of the year. A perfect, gorgeous film that's propulsive, funny, incredibly exciting, hugely epic, and even more emotional. There simply aren't enough superlatives to describe it - it is simply outstanding. The Wild Robot is an astonishing film. It's a showcase for DreamWorks and Chris Sanders at their absolute best and the result is one of the most powerful and moving animated films I have ever seen. The film is often funny and cute (with some great dark humour), but by brilliantly blending harsh realities of nature with the tenderness of parenthood, there's a maturity to the story that we don't see much in family films these days.
Chris Sanders' direction here is really what makes the whole thing work. He takes what could've been some forgettable straight to streaming movie and brings in so much emotional maturity and weight, making it into one of the year's best films. A symphony of soul crescendos into the most poignant portrait of parenthood. Instinct vs improv, love and acceptance, this is a film about the heart and how it defines our connection to all things. It's why we're here. Gosh, this really is a breathtaking masterpiece.
Movies like this are why animation is so important. What a gorgeous, emotionally powerful piece of work enhanced by the animation on display.
This is some of the best computer animation that I've ever seen and I was in awe at the beauty on screen. Stunning animation across the board. Every single frame is vibrant and brimming with life. And the painterly animation style so well suits the story/source material. It looks like a brushstroke painting at times and the way they make this island feel so alive is brilliant. The texture of the animation is a heavy contributor to bringing you as close to Roz as possible and sparking the feeling that you're discovering right alongside her. There are some dazzling, vibrant sequences in this film that made me feel as if I was elevating above my seat, in terms of both story and visuals, complemented perfectly by a soaring, emotional musical score.
There are some movie scores where when you hear it alone or in the scene, you feel that rise in your chest and your breath taken away. Moments like Theodan's charge in Return of the King. Hiccup and Toothless' test drive in How to Train Your Dragon. Seeing the dinosaurs for the first time in Jurassic Park. Or when Simba sees his father in the stars in The Lion King. The Wild Robot has a score like that. Kris Bowers' sweeping and majestic score also brings so much emotional heft. The animation is stunning, but it's the score from Kris Bowers that soars. You will absolutely feel it in your chest, as it elevates every moment in the film beautifully.
The voice cast is outstanding. Lupita Nyong'o brings so much humanity, complexity, and warmth to Roz and I love hearing her become more "alive" as the story continues. Pedro Pascal is great as Fink as well, being both funny and sweet. You also get strong supporting performances from the likes of Kit Connor, Matt Berry, Mark Hamill, Catherine O'Hara, and more.
The Wild Robot lives alongside Wall-E and The Iron Giant in the pantheon of robots too good for us in a striking animated story about belonging. One that'll make us want to strive to be better than who we are. This represents the pinnacle of DreamWorks Animation. The Wild Robot is a wondrous tale of parenthood, survival, kindness, and coexistence in our natural living world. I also really appreciated the messaging about climate change and the environment, as well as humanity's and nature's relationship with technology. With big-hearted storytelling, plenty of laughs, phenomenal voice acting, and a beautifully epic score that captures the grandeur of Chris Sanders' vision, it's a crowd-pleasing and emotionally stirring story that not only deserves to win Best Animated Feature but also to be nominated for Best Picture.
The Wild Robot is an absolute heart-warming gem. It boasts stunning visuals and unique animation as well as a memorable score that is chill-inducing. A beautiful tale brought to life with passionate performances and amazing technicals, it's a touching tear-jerker. It's been a long time since a film's final moments reduced me to a blubbering mess. An absolute feast for the eyes, heart, and imagination - The Wild Robot is the most stunning animated film of the year.
Megalopolis (2024)
0/10 movie, 10/10 movie watching experience
Megalopolis: the greatest movie-watching experience I've ever had for such a terrible trainwreck of a film. I don't know what the heck I just watched, but my god did I ever feel connected to the rest of my audience as we all suffered and laughed through it together.
Megalopolis is a mess brimming with ambition but utterly devoid of direction and cohesion. It isn't just agonizing, it is an excruciating test of patience. At best, it's mind-numbing, at worst, a total trainwreck I painfully endured.
BUT! It gave me an experience I will never forget. I saw this at an IMAX pre-screening that included the live actor during the movie and a live-streamed pre-screening Q&A with Francis Ford Coppola, Robert DeNiro, and Spike Lee. The Q&A was bonkers and spiraled way out of control right after it began. It was insane to watch unfold in real-time and ended up being a great pre-game for how insane the experience to come was.
And wow was it ever so much fun - laughing along with a full audience of cinephiles at the absurdity of this movie. And before you ask, no this is not a comedy, we were laughing at the movie. And yes, I feel bad, this is the legendary Francis Ford Coppola's passion project with a heavy artistic, experimental vision to it, but it just was such a hot mess that I couldn't help it. Luckily, I wasn't alone. And while the movie was largely a failure, this was the most connected I've felt to an audience and film community since seeing Avengers: Endgame for the first time. So while I will probably NEVER see this movie again, I am so thankful to have had the experience I did seeing it.
I genuinely cannot believe this movie is real. Needs to be seen to be believed. I have never seen a movie quite like this before. Better or worse, Coppola made the movie he wanted to make, and it's as strange and bizarre and imaginative and insane as you expect, in every single department. Part of me thinks the movie knows how insane it is, and it just gives zero craps. But who knows? I just have no clue how to actually write about it. Frankly, I could barely explain the movie to you if I tried.
You can tell Francis Ford Coppola thinks a lot about the Roman Empire because its influence is all over the mega failure that is Megalopolis. Themes of time, history, legacy, civilization, technology, politics, the media, and economics are all touched upon in this golden sun-baked, grandiose, overstuffed, and overwritten piece of filmmaking but with little to zero cohesion between them. While Francis Ford Coppola may have made some of the greatest films of all time in the 70s, Megalopolis is not one of those movies. Every member of this cast feels lost as they deliver some of the funniest line readings you'll likely hear all year. (I think Aubrey Plaza was the only one who KNEW what kind of movie she was in.) Some will appreciate the scale and ambition of Megalopolis. I would've admired it more if any of it worked, but at least I'll never forget the incoherent, messy, WTF experience of it all. Feel like I just witnessed an important moment in film history.
Speak No Evil (2024)
Great tension and suspense
Speak No Evil may just be another shameless Hollywood remake of an acclaimed (and recent) Danish film, but it still makes for an insanely tense time at the movies! It's absolutely bonkers - the film is surprisingly funny while also being terrifying at the same time. It starts off as a comedy, slips into suspense, before finally becoming an all-out thriller. This is a psychological thriller that lies in wait for its audience, slowly building the skin-prickling sense that something is terribly amiss. I haven't seen the original Danish film from 2022 (it's top of my list to go watch next), but from what I have heard director James Watkins has effortlessly captured the dreadful seance of the original while maintaining his own spin on the material. The film is an incredible example of how to effectively build tension and suspense throughout an entire film, and because of this, it demands to be seen with a crowd! All four lead performances are aces but for me, this is easily one of James McAvoy's best performances. A physically intimidating combustion of charm and rage that you can't take your eyes off of. It's a ferocious performance reminiscent of his role in Split. Harnessing sick suspense from the glimmer in James McAvoy's eye, Speak No Evil is the rare remake that hushes up concerns of "been there, done that." For those who don't already know, this is not a jump scare horror film but its commentary on human behaviour and how far we'll go to maintain politeness is just as uncomfortably disturbing. Speak No Evil eventually goes full-on with the familiar horror movie blood-spattering, but the social satire in that well-executed build-up is the real strength of the film.
Beetlejuice Beetlejuice (2024)
Chaotic and amusing
As someone who doesn't have nostalgia for the original (I like the musical better), Beetlejuice Beetlejuice is still a fun time! It's a chaotic and amusing sequel that is far better than many recent Tim Burton films but doesn't come near to the quality of any of his classics. It's just as weird and off-the-wall as you'd expect, and manages to be just as hilarious at times too! But more than anything, it's a reminder of the pure vision of Tim Burton. While I've never been a huge Burton fan, I've truly missed the feeling of witnessing his wacky filmmaking sensibilities that no one except him could pull off. Everything about the film feels lovingly crafted, with perfectly twisted art direction. The visuals are the best part of the movie. Keaton hasn't lost a step either, clearly having a blast back in the striped suit, but it is Winona Ryder, Catherine O'Hara, and Jenna Ortega who are the true stars here. Ryder and O'Hara slide right back into their roles, while Ortega fits right into the universe of Beetlejuice. (Willem Dafoe was the surprise standout for me - I couldn't get enough of his character.) Unfortunately, the film has a little too much going on and does not balance it out well. The editing and pacing feel awkward, with the film feeling like it takes way too long to get going, and then rushes through the second half. Not everything pays off and some ideas just go nowhere - there were just too many subplots for its own good. It left me feeling like I was watching a random mishmash of events rather than a narrative, it all blurs together. I had fun, but just wanted a bit more from nearly every set piece. That being said, it's been a minute since Tim Burton got to be this weird and I really appreciate getting to see him play in this sandbox again! We're all the better for it. I loved the practical effects and 80s/90s Burton feel to the whole thing - all the insane, messy, zany things you'd expect. Plus, hearing Danny Elfman's original score make its return was a real treat. Beetlejuice Beetlejuice is an imbalanced yet amusing legacy sequel - if you're a fan of the original or just Tim Burton's filmmaking style you'll have a great time! Honestly, I can't believe we actually got this movie in 2024 - that alone must be celebrated!
Trap (2024)
Concept makes for a better trailer than the movie
Unlike most M. Night Shyamalan films, Trap left no impression on me. Not good, or bad. Very "mid", as they say. I have genuinely put off writing anything about this movie because I don't know what to say. Trap is a really goofy and messy film, filled with everything you've come to expect from a Shyamalan film (good and bad). And yet, this might be his most Hitchcokian thriller in a way. It is also possibly his most personal film, tapping into his worst fear: being a bad dad. Making a concert film for his real-life daughter that doubles as a noose around his protagonist's neck? Work-life balance ratcheting so tight it explodes? Too bad this movie is M. Night coming up with a great idea, but having no idea how to execute it, especially into a feature-length film. Maybe that's why it made a better trailer than a movie, as there is really only enough material here for a very short film. M. Night stretches the concept past its breaking point, and by the end, you are left wondering how the movie is still going. The first 30 minutes are actually decent, but everything after goes all off the rails. M. Night is no stranger to making bad movies, but this one is just dumb. However, Josh Hartnett is at his peak and maybe the best actor to embrace M. Night dialogue since Bruce Willis. He gives an all-timer goofball performance but wow was I not expecting this to be Shyamalan's most cynical, "did my career make me a bad father?" movie. I think that was the most compelling to me, as I never could get into the rest of the story, as M. Night would constantly write himself into a corner and then introduce some lucky plot convenience to save our characters over and over again. The film does look good and sounds good too. It may be a fun, goofy watch for some but it didn't really work all too well for me. But gotta give the best dad award to M. Night Shyamalan this year for the way he has supported his daughter's careers (producing one's directorial debut with The Watchers, and the other's music/acting career with Trap)
Alien: Romulus (2024)
Not what I was expecting, but everything I wanted!
Alien: Romulus is a non-stop thrill ride! I genuinely really enjoyed it - it manages to really capture the tone, feel, tension, and atmosphere of the original Alien so well, while also honouring the rest of the films in the franchise - even Prometheus - which made me (a fan of that movie) super happy!
Romulus leans heavily into its horror origins to craft a relentless, visceral thrill ride that starts off slowly and increases in intensity until you're left gasping for breath by the end. Devoid of any thematic depth, it incorporates so many winks, nods, and moments of fan service it often feels more like a greatest hits entry than trying to provide anything new or profound. It felt to the Alien franchise like what The Force Awakens or Jurassic World were to their respective franchises. (Note: I love those movies) Still, the grounded performances from Cailee Spaeny and David Jonsson provide just enough emotional weight to keep audiences invested during the slaughter. It's definitely the most straightforward of the franchise.
But that doesn't mean the film doesn't have its own merits. Fede Alvarez has outdone himself with this thrilling, suspenseful, gnarly, and most importantly cinematic film! His direction is smart and efficient with some very clever setpieces that put a spin on what we know, the practical creature effects are off-the-hook, and the world-building, or expansion thereof is superb - exquisite and of a piece with Alien and Aliens. It fires on all cylinders, masterfully using the familiar in unfamiliar ways. The film prioritizes thrills over depth, but it works surprisingly well. Romulus' technically deft exterior more than makes up for its slight thematic nature and everything else in between. The film looks visually beautiful (especially in the expanded IMAX ratio), with terrific cinematography and lighting and detailed practical sets. Don't even get me started on the incredible, bone-crushing, machine-like sound design! And those last 20 minutes... wow Alvarez and his team really swung for the fences with an insane 3rd act that I was so pleasantly surprised with! It took a bold risk that won't work for everyone, but I loved the heck out of it. (Prometheus fans will get me) There was one aspect of Romulus that I undoubtedly had issues with (a certain character - you'll know it when you see it), but luckily it didn't detract from my overall enjoyment of the film.
Alien: Romulus is a thrilling flex of visceral storytelling with the kind of frights that rattle you to your core. Fede Alvarez combines elements of what made the '79 + '86 films flourish, from eerie stillness to fun twists. I never knew where this film was headed! Not what I was expecting, but everything I wanted! A claustrophobic, chaotic ride, as all Alien films should be! This one rules!
Despicable Me 4 (2024)
NO! It's just DUMB
I finally broke down and stopped putting off seeing Despicable Me 4. And let me tell you, I wish I hadn't. Despicable Me 4 is abysmal. I hoped after Migration was so good that maybe Illumination was turning around, but Despicable Me 4 proves that wasn't the case. This movie is exclusively for kids, it's no Pixar or Dreamworks movie that anyone could enjoy. Heck, it doesn't even have a story to it - most of the plot comes off as filler until the very end, and even then nothing ever really seems to happen. The jokes are exactly what you'd expect, and honestly the animation made me think the film was rapidly thrown together. I know this movie isn't made for me, but as someone who did like the original and the first sequel, I gotta say this franchise is a hollow shell of what it once was. Not to mention, they literally added aspects to the film just for marketing - the Mega Minions for instance have no consequence to the plot/story of the film aside from one isolated scene. There is no substance to this film at all... it's just so, so dumb. The popcorn was good though!
Young Woman and the Sea (2024)
Wish they still made more of these
Terrible title aside - I'm really happy to see Disney making this type of movie again! Young Woman and the Sea could have been made at basically any point in the last 50-60 years exactly as is, and that's a compliment. The kind of well-made, heartfelt "family entertainment" that studios used to release regularly but not so much anymore. While I wish it got a wide theatrical release (it deserves to), I'm still happy I got to enjoy this wonderful and inspirational film! Quite shocked by how much I was pulled in by Young Woman and the Sea. Daisy Ridley's endearing performance as Trudy Ederle, the first woman to swim across the English Channel, is a constant delight. Possibly my favorite performance from her yet. But the real star is Amelia Warner's stirring score that gives this cliched but inspiring true sports story its heart and vigor. There's nothing revelatory here but as far as swimming biopics go, I at least found it to be an enjoyable watch!
Fly Me to the Moon (2024)
It's enjoyable
Fly Me to the Moon is a perfectly fine film. It's enjoyable, but overall fairly typical and straightforward, relying heavily on the star power of its cast. It's got an interesting enough premise, though I think it stretches it out a bit too much as the over 2-hour run time felt quite unnecessary. It's got all the rom-com elements one would expect but doesn't do much to elevate it past that. Really, it just feels like a streaming film, and I hate to say it. A movie like this would have done well in the 90s though! Despite some of the amateur filmmaking on display (lack of mise-en-scene, poor sound design, a modern visual aesthetic that clashes with the '60s setting), I still enjoyed the film - it's an easy watch provided you don't think too hard about the absurdity of its plot. Also, Scarlett Johansson exudes confidence and charm in both her comedic and dramatic moments, and Channing Tatum made for a wonderful co-star. The Apollo 11/moon landing stuff at Kennedy Space Center was cool - who wouldn't want a rom-com set to that backdrop? It's a mediocre yet charming little film - I would recommend watching it whenever it hits Apple TV+!
Deadpool & Wolverine (2024)
LFG!!
Deadpool & Wolverine is freaking UNREAL! I have never laughed harder in an MCU film before; this was an exhilarating, extremely fun time at the movies! It's the shot in the arm the MCU so desperately needed. Vulgar, violent, scathing, and at times, even touching, this R-rated romp holds nothing back delivering everything its fans want with maximum effort. It even manages to pay respect to the Fox era's legacy while ushering in a new one for Marvel Studios!
The hype truly paid off beautifully - I left the theatre with the biggest smile on my face! Did I just see the best film of 2024? Definitely not. With that being said, this might actually be the most entertaining movie I've seen all year! Two things can be true simultaneously: a film can be a great theatrical experience full of cheering, whooping, and excitement and still be structurally and narratively deficient. They're not mutually exclusive, and both perceptions deserve acknowledgment. But honestly, I don't even care about the issues this film has. Yes, it has flaws, it's messy, and it has a meandering plot filled with indulgent cameos and a paper-thin villain. And yet, I loved it. It brought me so much joy, I enjoyed the hell out of it and don't want to stop rewatching it (I've already seen it twice)! So yeah... 5 stars. I had the best time watching this movie.
This feels like a comic book come to life for better and worse. It feels damn great to see Hugh Jackman back as Wolverine and his hilarious banter with the pitch-perfect Ryan Reynolds is the heart of what makes this entertaining film work over its convoluted multiverse plot. Reynolds and Jackman truly are a perfect pairing - and getting to see Deadpool and Wolverine on screen together after so many years is just pure magic! Their dynamic onscreen is reminiscent of films like Planes, Trains & Automobiles, Midnight Run, and 48 Hours - I loved this film for not trying to be anything except a buddy road trip movie with a lot of laughs and heart.
Those who show up for the dynamic between our heroes will get an insane amount of payoff; numerous moments between Deadpool and Wolverine that will leave you smiling long after the movie ends! Not to mention the insane surprises along the way. I'm actually quite shocked at how much they were able to keep secret. A lot of these moments are way too spoilery to talk about in detail - but I loved the way that the cameos (which are moreso strong yet small supporting roles across the story) all served a strong narrative purpose, contributing to the overall themes of the film as well as serving as a poignant farewell and celebration of the Fox era of films! Truly one of my favourite things about Deadpool & Wolverine is its veneration of the Fox universe. I walked in expecting "Deadpool and friends move to the MCU, screw everything else lol" but the whole movie is a love letter to a messier but very important time for these kinds of movies, celebrating the value in the fun, weird, uneven films, and occasionally flawed films and rejected ideas that paved the way before and outside of the MCU. Most importantly, this film respects what has come before and doesn't just disregard it.
What else did I love? The action is bloody, brutal and so much fun, the opening credits might be my favourite in the entire MCU, it has sky-high energy and is constantly hilarious with some awesome meta-humour that pokes fun at the MCU, Disney, Kevin Feige, filmmaking, as well as the film industry, all complemented by a plethora of epic needle drops, camera work, and some top-notch editing. I thought Shawn Levy did a fantastic job in the director's chair and handled the tone beautifully, crafting and weaving together such memorable comedic moments, fun action scenes, and a true sense of emotional insight and focus on the characters. This movie has a surprising amount of heart and a strong emotional core - balancing the humour and emotion so well.
Does this reinvent the wheel? No. Did it need to? Absolutely not. What it does is reinvigorate the franchise and inject the glorious madness of Deadpool in the best (and most self-aware) way. It is entirely aware of the type of insane story that it is telling, and that is occasionally messy, yet there are still plenty of heartfelt moments with Jackman especially. It has its fair share of narrative flaws, but it delivered everything I needed and left me energized once it ended. Deadpool & Wolverine really is a blast like no other! It delivers a phenomenal theatrical experience - it's so much fun to see with an audience! I laughed so hard I almost cried and can't wait to see this again right away! To me, it's perfect, no notes. It gets better and better each time I see it - I adore this movie and just have so much fun with it! Ryan Reynolds, Hugh Jackman, and Shawn Levy delivered truly everything I could have asked for!
Twisters (2024)
The perfect summer blockbuster!
If there's one movie you see this summer, make it Twisters! Twisters is simply just a damn good time at the movies; it's the perfect summer blockbuster! A movie with a little bit of everything. It's scary, thrilling, funny, entertaining, and even life-affirming. The sequel no one saw coming delivers pure, unadulterated summertime escapist fare.
A stand-alone sequel to the second-biggest summer blockbuster of 1996, Lee Isaac Chung's Twisters might belong to a different millennium than Jan de Bont's original, and it only shares a single character with that cow-flying classic of early Hollywood CGI (a data machine named Dorothy), but each of these spectacles is swept along by the same creative ethos. To quote a character who's racing to save as many civilians as he can from the massive tornado that rips through an Oklahoma town during the climax of Chung's film: "We've gotta get everyone into the movie theater!"
Much like its predecessor, this rousing and surprisingly romantic gust of multiplex fun spins a strange combination of genres into a conventionally satisfying ride. Where Twister spun a vintage screwball comedy into the shape of a cutting-edge disaster movie, Twisters effectively flips that script by launching a (very) breezy modern rom-com into the vortex of an old-school Amblin adventure. This is the rare kind of legacy sequel that genuinely understands why the original worked in the first place and captures that same sensation again. It also manages to avoid shoehorning in all the tropes that tend to come with franchise reboots, and very much feels like its own movie! It's the kind of sequel I yearn for; a bigger, better movie with neat effects, an engaging story, and a star-studded cast that can do no wrong.
A favorite thing about the 96 original? How the entire storm-chasing cast is memorable. The same is true here too. The ensemble is loaded with aces, including Daisy Edgar-Jones who makes a stellar anchor for the film. Anthony Ramos and Brandon Perea are really fantastic as well, but it is Glen Powell who truly steals the film with loads of charisma and charm! If you haven't been convinced already, he really is that guy! Every second he's on screen is a treat and he oozes star power. His chemistry with Edgar-Jones is also wonderful and together they serve as a wonderful replacement for the Bill Paxton/Helen Hunt dynamic of the original!
Lee Isaac Chung somehow made a 90's disaster movie for the modern era. He infuses a lot of Spielbergian heart and emotional character work into the high-stakes set pieces and spectacle, nailing one gripping setpiece after the next - the entire third act is especially spectacular - balancing it with so many great character beats to make you invested within the chaos of the tornadoes. I never thought we'd get another Twister movie, let alone one this good. Super charming and exhilarating from top to bottom. Twisters has no business being as good as it is. I'm gonna say it - it's better than the first film. The soundtrack, sound design, and visual and special effects are on point and I loved the choice to shoot on 35mm film. It heavily contributes to giving the film a grounded quality and making the action much more visceral. Lee Isaac Chung's direction is impressive, handling the breathtakingly tense set pieces perfectly. The film is big, bold, tense, and thrilling, with an engaging story and a cast that can do no wrong - the perfect summer blockbuster!
The pure blockbuster filmmaking magic that is Twisters. This is why we go to the movies... to see Glen Powell in a wet t-shirt wrangle some freaking tornadoes. This is cinema. It brought me back to the days of the adrenaline-fueled, unapologetically over-the-top motion pictures that made me fall in love with film. This was something wildly entertaining. Just good, old-fashioned, fun. Non-stop awesome. This was special to me and I really liked it. Quite possibly the BEST movie theatre experience one could have since Top Gun: Maverick!
If you'll excuse the pun: Twisters will blow you away! (especially in IMAX or 4DX)
MaXXXine (2024)
A let down
MaXXXine is honestly a bit of a let down. The conclusion to Ti West's X trilogy is easily the weakest installment; it's all style and no substance. West is trying so hard to emulate the numerous Hollywood-set exploitation films of the 70s and 80s that he forgot to give the film a compelling story. MaXXXine is stuffed with genre nods and well-crafted retro aesthetics, (and a great 80s soundtrack) but it doesn't deliver interesting thrills or twists. Worst of all, there is nothing to the character of Maxine this time around. And honestly, not many slasher elements either. The themes from X and Pearl do carry over nicely and are expanded upon, but other than that the film left me feeling a little bored. Maybe that's just me. Overall this trilogy and the way it came about is fascinating, but ultimately it will end up being more forgettable than anything. Mia Goth wasn't even that great this time around after fantastic performances in X and Pearl. I just expected better after those, especially with an expanded budget and cast. But hey, seeing the Psycho house on screen again was pretty cool!
Longlegs (2024)
Gets under your skin!
Longlegs is bloody brilliant; delivering on the promise of being a genuinely terrifying and emotionally gripping horror experience. With a gripping story that captivates you from the first frame, the film holds you tightly and doesn't let go. It's the closest we've come to Zodiac, Se7en, or The Silence of the Lambs in terms of absolute creep factor. Not since the likes of these films has a serial killer film disturbed me the way Oz Perkins' Longlegs did. The confidence Oz Perkins displays in his framing, atmosphere, and pacing reaches its full potential in this psychologically scarring police procedural that steadily evolves into something even more sinister and otherworldly. His masterful direction and storytelling immerse the audience in a world of dread and unease, enhanced by exceptional performances. Maika Monroe and Nicolas Cage are phenomenal, with the former barely keeping it together under intense emotional distress, while the latter delivers a disturbing but controlled performance that stays consistent with Perkins' chilling tone. I was sitting in the film trying to think of more terrifying movie characters than Nicolas Cage's performance, and there aren't very many. I was truly left in fear while watching Cage's unhinged character. The movie carries a tension and unease all the way through that never lets up. If you're looking for cheap scares you'll be disappointed, but the combination of disturbing imagery, mounting dread, and other atmospheric horror was exactly what I was looking for - this film got under my skin in ways that few horror movies do. It's not one I am going to forget soon - this is a horror classic in the making. 2 hours of constant flinching and a high heart rate throughout. This is a very well-done, and very unsettling, psychological horror/thriller film that we will be talking about for years! Oz Perkins has crafted a gripping immersive story that engulfs you in its atmosphere through eerie visual storytelling and a haunting score. It's a methodical/gripping mystery that gets more disturbing with each passing moment. Longlegs is intense. There is an overwhelming sense of unease and dread that just overtakes the entire film, that I can't even seem to shake hours after watching. It is not what I was expecting and I love what we ended up getting; a meticulously crafted and unnerving descent into hell that will haunt your mind and soul.
Kinds of Kindness (2024)
My new favourite Lanthimos film!
Kinds of Kindness is an intoxicating film that left me genuinely surprised with how much I loved it! I was locked in for every delicious minute of this film, it's absolutely wild! It's certainly divisive, but still a highly enjoyable film that is more reminiscent of Lanthimos' earlier work. The bizaro Yorgos from his early films is back! If you were unaware, Kinds of Kindness is an anthology film, (three separate stories featuring the same actors, each narrative sharing specific thematic similarities) about the lengths and limits of people's devotion to one another. I was completely riveted by all three stories, the first was front to back phenomenal, the second intriguing to a point, and the third was good with some more uneven moments. The overall film is darkly humorous, bizarre, sexy, and intriguing - drawing you in with its enigmatic and seductive storytelling. It is a little long for an anthology film, but with each story getting nearly an hour devoted to it, it felt like we were treated to 3 mini-movies packed with wild stuff from Lanthimos! I loved spending time in these stories! Emma Stone and Jesse Plemons deliver standout performances across all three stories but everyone is bringing their game to match Lanthimos's creative mind. I had a blast with it but I could see it trying the patience of those who are more fond of his recent work (I for one hated Poor Things... so I loved this!) Stylistically this is a little more grounded than some of his recent work as well, but I preferred this! It does kinda feel like a more messed up version of a Wes Anderson film at times too, which I liked! Ultimately this film was a huge surprise for me. It's not for everyone, but I loved it. Kinds of Kindness is a wonderfully acted, enjoyably chaotic absurdist drama that made me look away at times and laugh out loud at others. My new favourite Yorgos film!
The Bikeriders (2023)
Doesn't reinvent the wheel
Jeff Nichols' The Bikeriders effectively deconstructs the rise and fall of a biker gang from one built on brotherhood to one of violence, with a compelling story and characters, as well as solid performances and cinematography across the board. When you cut through the heavy accents and burly attitudes, the film calmly reveals itself as a tender drama about a group of aimless men stuck in stasis, unable to forge a meaningful path. The film can be meandering, but also tragically endearing. The Bikeriders is a career-defining moment for Tom Hardy. His eyes are magic. And Austin Butler, well this is his equivalent of Ryan Gosling's performance in Drive. But unfortunately, the film is a little unfocused and the character writing is so thin that while it was compelling, I didn't ever emotionally connect to the film, and therefore did not care about the characters or story, leaving me a little disappointed. No one is going to accuse director Jeff Nichols of reinventing the wheel with this film. It's a straightforward, down-the-barrel existential drama about a Midwestern biker gang's last attempt at maintaining its way of life. It is a throwback film that could have come out in the 90s, mixing in a little bit of Goodfellas with Easy Rider. An all-around solid movie that I liked, but didn't love.
Beverly Hills Cop: Axel F (2024)
Fun- but should've been in theatres
Can someone please tell me why this movie isn't playing in theatres?!?! This could have been so much fun to watch with an audience on the big screen. I don't understand how Paramount let Netflix get ahold of the rights, but with a proper advertising campaign, this could have done really well in theatres. Beverly Hills Cop: Axel F is how you do a legacy sequel right! It's enjoyable and has some good action, great comedic moments, a great nostalgic soundtrack, the OG cast, and a fun, albeit lacklustre plot. It's just like the original films, just brought into the modern age. It feels like a Beverly Hills Cop film should, and Eddie Murphy truly is BACK in his iconic role of Axel Foley. While this sequel struggles to tell a compelling overall story, there is plenty present that will pull fans into this world once more, including a nice emotional touch with Taylour Paige's Jane. The action is solid, the score is full of retro goodness, and there are plenty of charming and funny Murphy moments that I have been missing as of late. It lacks originality but holds plenty of charm - it's a fun watch that lives up to the spirit of the original film!
Horizon: An American Saga - Chapter 1 (2024)
"This meeting could have been an email"
Horizon: An American Saga - Chapter 1 is the cinematic equivalent of "this meeting could have been an email". What is indeed an interesting and ambitious experiment from Kevin Costner turned out to be a part one that is 3 hours of pure setup. A tedious one to get through. It's an impressive effort, but it naturally feels incomplete, serving as an extended introduction to many characters and storylines, much like the initial episodes of a miniseries. It feels like a 3 hour compilation of the first acts of 5 different movies - and not one plot thread is approaching a payoff or even a cliffhanger by the movie's end. I expect a certain lack of resolution with a part one but I can't even say I fully grasp the story I'm 3 hours into. Perhaps it will work better when taken as a whole with the other upcoming parts, but as of right now, I feel like I wasted my time. I want to live in a world where a filmmaker of Costner's caliber can make this massive epic for theaters. I just can't say I'm invested in the journey for anything other than borrowed trust in Costner as a filmmaker and high-fiving him for pursuing his passion. Maybe part 2 will lock me in? This first chapter is undeniably grand, with a sprawling, romantic depiction of the Old West, high production values, solid performances, and an epic score by John Debney. However, the writing feels archaic, often meandering with disconnected threads. It's hard to judge since it's not a complete story, but I'm reserving my full opinion until I see the rest of what Costner has created. I love that Costner bet on himself and delivered his love letter to a dying form of movie-making with no concern for the money, but I think this may have become a project that is too ambitious to pull off. Very conflicting and frustrating as a movie fan who loves ambitious, grand filmmaking, but can't stand the overindulgence of this filmmaker who essentially made a vanity project.