Category Archives: Movie Review

“Dunkirk” film review

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Journalism meets cinematic visual storytelling. Christopher Nolan’s war epic Dunkirk provides audiences with a different kind of war movie experience. Different in that the narrative is nonlinear and highly experimental. From a technical perspective, the film is flawless. The cinematography, sound design, and score all work together to create an immersive experience in which that fourth wall is nearly removed. One of my friends that I saw the film with last night described it as being a fly on the wall within each timeline. With little dialog, the focus is on the various groups of the army, air force, and civilians. The stylistic film reminds me of photo/video journalism. Dunkirk demonstrates that an emotionally satisfying experience can be delivered without conventional storytelling. In many ways Norma Desmond would be proud of Nolan’s film because “[he] didn’t need dialog, [he] had faces.” Dunkirk invites audiences in for a rare glimpse into the reality of war, and the reality of not only the armed forces but the civilian assistance that truly made the difference and just why this particular war story is so remarkable. Be sure to brush up on your knowledge of the events of Dunkirk before watching the film. You’re definitely going to need to have a base of knowledge of the theatre before becoming the proverbial fly on the wall.

Instead of a plot synopsis, here is what Wikipedia has as a summary of the history of Dunkirk Evacuation. This is definitely going to be helpful prior to watching the film.

During the Second World War (1939–1945), in the May 1940 Battle of France, the British Expeditionary Force (BEF) in France aiding the French, was cut off from the rest of the French Army by the German advance. Encircled by the Germans they retreated to the area around the port of Dunkirk. For years, it was assumed that Adolf Hitler ordered the German Army to stop the attack, favouring bombardment by the Luftwaffe. However, according to the Official War Diary of Army Group A, its commander, Generaloberst Gerd von Rundstedt, ordered the halt. Hitler merely validated the order several hours after the fact. This lull in the action gave the British a few days to evacuate by sea and fortify defences. Winston Churchill, the British Prime Minister, ordered any ship or boat available, large or small, to collect the stranded soldiers. 338,226 men (including 123,000 French soldiers) were evacuated – the miracle of Dunkirk, as Churchill called it. It took over 900 vessels to evacuate the Allied forces and although over two-thirds of those rescued embarked via the harbour, almost 100,000 were taken off the beaches. More than 40,000 vehicles as well as massive amounts of other military equipment and supplies were left behind, their value being less than that of trained fighting men. The British evacuation of Dunkirk through the English Channel was codenamed Operation Dynamo. Forty thousand Allied soldiers (some who carried on fighting after the official evacuation) were captured or forced to make their own way home through a variety of routes including via neutral Spain.

If you are approaching Dunkirk from a desire to see a Saving Private Ryan, then you may want to rethink going to see this film. With little convention in the storytelling, this film puts you on the beach, in the air, or on the sea alongside the civilians, pilots, soldiers, and officers. The focus is not on the characters, special effects, or the bloody atrocities of war, but focussed on highlighting a significant event in WWII history that has largely gone unknown except for those in France and the UK. You are very much like a journalist who is capturing the imagery with your camera. It’s a snapshot of war, not necessarily the story of war. War history buffs, this IS a film for you!

“The Big Sick” movie review

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Organic and relatable. From Amazon Studios and Lionsgate comes Judd Apatow’s The Big Sick directed by Michael Showalter. Despite being billed as a romantic comedy (romcom), it is more like a family drama with comedic moments. What makes the plot of The Big Sick so incredibly relatable is its central focus on two star-cross’d lovers caught between two seemingly incompatible worlds. Beyond featuring two people who fall in love quickly, then realize how there is little chance of a future in which they are together, this story has little in common with Romeo & Juliet. No feuding families or riots here, just two 20-somethings who are trying to make it in this world, and by sheer happenstance fall for each other. However, much like the families from which Romeo and Juliet came, there are two opposing forces at work in this love story. It is clear from the screenplay and cast that all the elements are at work to generate a response from the audiences that would make this an endearing classic in the vein of Terms of Endearment. The relatability and organicness of this film comes from the fact that the entire cast–not just the lead characters–are every-day 21st century Americans who are facing the real mountains and pitfalls of romance, acceptance, honesty, and devotion.

The Big Sick tells the true-life story of the courtship between Pakistani-American Kumail (Kumail Nanjiani) and Chicago native Emily (Zoe Kazan). Kumail is a stand-up comic–or rather–he is desperately trying to be. He’s good enough for a small venue but he dreams of performing at the Montreal Comedy Festival. Emily is a graduate student at the University of Chicago studying psychology. Between family backgrounds and professional interests, the two of them could not be more different. When Kumail and Emily fall in love with each other, everything seems to be going so incredibly well over the next few months; but when Emily learns that Kumail cannot take the next step from dating to engagement because of his Pakistani family’s traditions regarding arranged marriage to a Pakistani girl, their relationship falls apart. As circumstance would have it, Emily must be placed under a medically-induced coma in order to stabilize after her health takes an acute turn downward. With Emily’s parents (Holly Hunter and Ray Romano) in town, Kumail must deal with his ex-girlfriend’s health condition and the fact that her her parents despise Kumail after he led their daughter on. Realizing that he cannot allow his family to determine his fate, Kumail is determined to win over Emilys parents and show Emily that he can be who she needs him to be.

What sets The Big Sick apart from a typical par-for-the-course romcom is the dimension and depth of the plot and characters. Ordinarily, a romcom contains a lighthearted story that requires little critical thinking and analysis because it is meant to be simply entertaining with a little heart along the way. Great for date nights and girls nights. Often times, in a traditionally structures romcom, the female character is the most interesting with the rest of the cast playing a lesser role. However, in this film, the most interesting character is the male love interest. Furthermore, the character chemistry and plot are greatly helped by Kumail and Emily being interesting respectively. The underdog trope is often applied to romcoms, and it certainly played a role in this film. In addition to the character and plot development on screen, the audience also goes through some soul-searching. Incidentally, the movie opens the door of discussion regarding the predisposition to how Pakistani and Americans view marriage and dating. Just like past films that commentated on marriage or dating between the black and white communities–which is what was needed in the not so distant past–this film raises awareness regarding marriage and dating as it relates to middle-eastern and American relationships. A timeless plot told through a contemporary setting.

 

“Baby Driver” movie review

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Exhilarating! Edgar Wright’s Baby Driver is an accelerated non-stop comedic action-thriller that will have you in high-gear the entire drive time. Wildly entertaining! It offers up the best car chases, excellent characters, and displays solid writing in this subgenre of action films. During the golden age of Hollywood cinema, grand getaways, robberies, and car chase movies were a staple. Sony/Tristar, et al, demonstrate that one of the foundational plot types that provided audiences with thrills back then can be effectively resurrected today to embody the engine that drove those motion pictures and install it into a new, sleek body design to mesmerize and impress audiences of today. Certainly, Baby drives to the beat of his own mixtape in this movie, but the film itself goes further and integrates the rhythm of action into the sound design of the motion picture. Not to be left behind on the 80s throwback movies and TV shows bandwagon featuring hipsters and mixtapes, Wright crafts a summer film that rises above the all too cliché CGI robots taking to the sky and pirates swashbuckling across the seas to remind us that little can compare to the squeal of the wheel, love, and the witty turning of phrase. In short, Baby Driver is a self-aware pop-culture film but has the soul of a James Dean motion picture.

Meet Baby (Elgort). Yes, that’s B-A-B-Y Baby. He’s the unparalleled talented getaway driver for Doc’s (Spacey) Atlanta crime ring. With earbuds in place, playing classic rock or his own mixtapes, Baby drives, speeds, and maneuvers to the beat of his tunes. No police force is a match for his ability to evade his would-be captors in order to return Doc’s henchman (and woman) to the secret lair. As chance would have it, Baby meets Debora (James), the girl of his dreams, at his usual diner. All that stands in his way is one more job for Doc, or so he thinks. With payment in full of his debt to Doc on the horizon, Baby sees this as his opportunity to make a clean break and to ditch his shady lifestyle of crime. But when Doc approaches Baby with yet another job, Baby must decide to whom his allegiances lie and protect those he loves.

Any veteran filmmaker will tell you that it’s vitally important to hook the audience within the first three to five minutes of a film. Fail to hook producers at the beginning of the screenplay, and it’s file-thirteen for those 120 pages. As a director, it’s encumbered upon him or her to grab hold of the audience’s attention, creating the urge to want more, to know more. The first scene of Baby Driver is an incredible display of excellence in writing, directing, and the technical elements of motion picture creation. The magic of this scene lies in the ability for Wright to wow the audience, without leaving anyone “out there in the dark” (Sunset Blvd) overly-stimulated or left with the feeling of utter exhaustion. The scene is perfectly stimulating. It sets the bar high for the film, and continues to keep it up there for the entire runtime. Just like the pace of Baby’s driving, the pacing of the film is exquisitely handled and couldn’t be better! The biggest difference between this robbery/getaway film and similar films such as The Fast and the Furious is substance. In addition to the incredible cinematography and sound design paired with out of the world car chases, the film provides heart, soul, and qualitative substance that forms the foundation upon which the more superficial elements are laid.

The cast couldn’t have been more brilliantly selected. One of the hallmarks of an Edgar Wright film is the charismatic leads that display solid chemistry on screen. Just who are our heroes in this film? You’ll just have to watch it and decide for yourself. I love it when films take the more conventional concept of heroes and villains and turns it on its head. For whomever you decide are the heroes, you’ll certainly find yourself actively rooting for their survival and rooting for the villains to meet their demise in shockingly creative ways. When Kevin Spacey isn’t busy being the President of the United States, or more recently, an ex-President, he is the king pin of an Atlanta-based crime syndicate that stages fantastically wild robberies. And Baby is indebted to him and must reluctantly aid and abet as the best getaway driver ever to hit the screens in recent years–think a modern-day James Dean. Jaime Foxx plays the veteran head henchman extremely well and adds his own repulsive, yet comedic charm to his role. It would have been far too easy to play off Spacey and Foxx’s conventional talents to steel focus away from the central plot, but Wright strikes a perfect balance between his leads and the story. Elgort and Spacey’s on-screen chemistry was crafted with strategic precision in order to quickly solidify the frenemy relationship between the two characters. With Elgot increasing in popularity, Wright could have deflated to playing up the attractive bad boy tropes but instead allows Elgot’s Baby to develop organically throughout the film.

If you are seeking a summer film that clearly demonstrates a movie in which all the creative elements work seamlessly together in the manner in which they were respectively intended, then don’t miss Baby Driver while it’s in theatres. The energy you will feel in this film is nearly unparalleled by any in recent times, and that’s because both the major and minor components work together like a well-oiled machine. You will be at full throttle as you are instantly transported from your auditorium seat to the passenger seat in Baby’s car.

Written by R.L. Terry

Edited by J.M. Wead

“It Comes at Night” movie review

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The Doore of Red Death. A24’s highly anticipated horror film It Comes at Night by writer-director Trey Edward Shults looks beautiful and beckons for attention, but fails to live up to the storytelling and payoff of A24’s The Green Room. Another A24 film in the vein of It Comes at Night is 2016’s The Witch, which was ultimately a failed attempt to capture the magic of a horror/mystery film and leave audiences with too many unanswered questions. The only “terrifying ambiguity” (to quote The Huffington Post), in this film, is just how terrifying it is to realize you just dropped money on a film that works better for Netflix, and the ambiguity comes from the plethora of underdeveloped plot elements. Essentially, It Comes at Night reminds me of a bad M. Night Shyamalan film (before he made his outstanding comeback with The Visit and Split) and after the successes of The Sixth Sense and Lady in the Water. Like the aforementioned era of ehh Shyamalan films, the wind up is excellent but the delivery lacks any emotional impact and you’re left with realizing that you never truly cared about any one of the characters. Character development is lacking, and the third act is incredibly weak. However, there is something in particular that I find very interesting; and after reading other reviews, it seems to be something that has escaped most (if not all) the critics at this point. That is the striking similarities between this film and the timeless classic short story The Masque of Red Death by the brilliant Edgar Allan Poe. From the painting on the walls of the house depicting the bubonic plague to the ominous red door, there are quite a few parallels between It Comes at Night and The Masque of Red Death.

Nestled deep in the woods is a secluded boarded up house belonging to a family of three seeking refuge from an unknown threat. Whatever has caused this family to live off the grid and fend for their very survival is tasteless and odorless. Forced to wear gas masks whenever venturing out into the woods and even around their own home, the family is forced to take drastic measures to ensure there ability to avoid coming into direct contact with the disease. With only now way in or out of the house guarded by a red door, the family has stopped at nothing to protect themselves. One night, the family’s house is broken into and they must decide what to do with the man and his family. Having dispensed with courteousness and generosity in order to guard against any and all possible threats, the family must decide whether to listen to the man or kill him right then and there. Their decision will spark a fire that spreads into their deepest fears.

*spoiler alert* But, the analysis is fascinating.

Okay, now I know that the preceding paragraph describes what should be a brilliant horror film, but the problem lies in the greatly flawed poor storytelling, development, and realization. Lack of connection to any one of the characters is also partly responsible for the lackluster experience of watching this horror-thriller with a hint of mystery and dystopia. The only saving grace the film has is the connection to elements of Poe’s Masque of Red Death. For starters, the camera draws the audience’s (and diegetic POV) attention to a painting of a depiction of the bubonic plague (or black death). At first, I was puzzled as to why this painting. Then as I go through the movie, I realize why. Between the constant reference to and runtime spent on talking about and showing the red door, it hit me that this film reimagined Poe’s short story and set it in a dystopian or post-apocalyptic time and place. If you are unfamiliar with The Masque of Red Death, then I encourage you to read it or watch it on YouTube. It is allegory on the inevitability of death no matter how  hard you protect yourself, how much money you have, or how powerful you are. It also contains allusions to the seven deadly sins and the fate of those who party in the wake of mass death among a lower class of people. Although I find the short short to be a stronger narrative than Shults’ variation on this reimagination of the classic tale.

Both the short story and this film contain people hiding out in a fortress. Whereas The Masque of Red Death‘s Prince Prospero is held up ins abbey with his wealthy and noble friends while the red death is killing off the rest of the kingdom, A24’s It Comes at Night features a typical American family living off the land and secured in their rather tutor-looking mountain lodge. Like in Red Death, the family in It Comes receives an uninvited guest one night. Here’s where we see some difference. In Poe’s story, the guest is dressed to attend the masquerade ball and in this film, the guest attempts to break into the home. Although both stories take different approaches to the second act, once thing is in common. And that is the taking in of an outsider. All through the second act, there are hints at something not being right–a constant uneasiness. That apprehension and anxiety regarding the unknown works in the respective stories favors. The emotional impact and psychological payoff differs between the short story and film. Yes, the endings are very similar but feel incredibly different. You’ll just have to read The Masque of Red Death and watch It Comes at Night to know for yourself.

If you’re searching for a thriller to watch this weekend, as it is rain in many parts of the country, then perhaps you should watch Universal Pictures’ The Mummy instead. However, if you are curious about how well It Comes at Night parallels Poe’s short story, this definitely check it out. Not entirely sure why it’s rated R, but in case that’s important to you. To quote Dr. Ian Malcolm, “well, there it is.”

“Wonder Woman (2017)” film review

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WONDERful! No seriously, this is an excellent film! And I’m just not talking about the superhero genre. DC finally hit a homer with this one. This film also serves as evidence that Zack Snyder can TELL/produce a great story but should probably stay out of the director’s chair. Warner Bros. and Ratpac Dune’s Wonder Woman is the superhero film we needed. Trailing so far behind the Marvel brand and film quality, DC needed to produce a film that would make up for Batman v Superman and Suicide Squad AND catch up to Marvel. Seemingly setting out to accomplish the impossible, this film exceeded all measurable expectations and provided a comprehensive cinematic experience. With many themes, this film hits on many topics and does so with incredible precision and elegance. It’s almost as if this film is an extension of Diana Prince herself. Never addressed or referenced as Wonder Woman actually, Diana Prince’s origin story is powerful and ever so apropos in today’s socio-political climate. If only we could all have the courage, compassion, and determination that Wonder Woman embodies and represents. There are certainly elements of this film that are directly aimed at the female audience members, but this is a film for everyone to enjoy and appreciate. Again, not just a great superhero film, but a great film period. One that’s inspirational, evocative, and without need for qualifiers.

After receiving a mysterious package from Wayne Enterprises, Diana Prince (Gal Gadot) opens it to find an old photograph of a Greco-Roman female warrior standing with British military in war-ridden Belgium. Bruce Wayne wants the story. Long before she was Wonder Woman, Diana, daughter of the queen of the Amazons, was a spirited young lady growing up on a beautiful and mysterious island inhabited by a super race of warrior women placed on the planet to watch out over those who seek to corrupt it. Being the only child on the island, she wanted to be trained alongside the other women. When her mother expresses a lack of interest in her daughter training, Diana meets secretly with her aunt. Through the years, Diana grows in strength, agility, courage, and cunning. After she rescues Captain Trevor (Chris Pine) from a downed plane that pierced the invisibility shield that hid the island from the rest of the world, she learns of the Great War happening just outside of their borders and makes the decision to leave her home and help man defeat the enemy combatants who she believes are being led by Ares, the Greek god of war. Fighting alongside men, Diana is able to realize her true destiny and powers as she stops at nothing to end the war that is killing so many innocent people and destroying the planet.

Ever since her creation in 1941 by psychologist William Marston, Wonder Woman has always been treated the best when all pre-existing inhibitions typically added to a female character in a “man’s” role are removed, allowing the feminist ethos at her core to shine and erupt with unbridled passion and strength. Among other traits, the chief characteristic that separates her from other superheroes in both the Marvel and DC universes respectively is–no, not her gender–it is her ability to integrate truth, justice, compassion, and courage in everything she does to protect the planet entrusted to her people by the Greek gods. The key to understanding Wonder Woman is not through her brute strength or supernatural powers, but through her love and compassion for innocent people and her own integrity. Rarely has any film truly given women (or anyone, for the matter) a strong female protagonist who does not pander but exhibits excellence in well-developed strength of character and a complete eruption of the fantasies of many women to rise up to serve and protect. It would have been far too easy to sell Diana Prince as a vengeful women out to destroy men or seek revenge for the destruction that has befallen the planet; but no, that is not the Diana we see. We see a heroine of others–a completely unselfish hero who is of earth. Being of the earth is truly what separates her from someone like Super Man. Sure, some strong female characters from with the world of comics, literature, theatre, TV, or film have demonstrated strong characteristics and have been leaders; but Wonder Woman sands alone as a film that provides audiences with a female protagonist who is not merely a leader, but the engineer–the author–of her own destiny and story.

Why does this film work so well??? After all, that is the question you are likely asking yourself after so many DC flops (note: that does not count the Burton or Nolan films). The short answer is that Snyder was NOT in the driver’s seat on this ride; however, there is more to it than that. Snyder’s touch is certainly evident in many scenes (especially the action sequences); furthermore, he was greatly instrumental in the overall structure, but he took a backseat to the driver of this vehicle. His approach was important in the design of the car, and even building it, but when it came time to take it for a spin, he turned the steering wheel over to Director Patty Jenkins. Films featuring strong female protagonists most often seem to fair better when there is a women at the helm. And Wonder Woman is a testament to that observation. Whereas a male director would have likely spent some time sexualizing Diana, Jenkins spends the time on her courage and compassion. Instead of focusing on the terrain of Diana’s mystical home beautifully appointed with white cliffs and sapphire water or spending time on her sleek blade or even her trademark lasso of truth, Jenkins spends a significant amount of screen time on the terrain of Diana’s face. A face that communicates the heart, mind, and soul of Diana. Instead of a face displaying anger or disgust at the world of men, her face is often bright, hopeful, containing a winning smile with eyes overflowing with optimism. In terms of the production design itself, it only bares hints of Snyder’s penchant for beautiful music videos; the production design is one that takes itself seriously, but in the perfect amounts. Although the film is quite dark, there are sufficient moments of levity.

Perhaps you’re a stereotypical dude who does not care for films that feature female protagonists and feministic themes. No fear. Wonder Woman is actually a World War I film disguised as a superhero movie. As much as Wonder Woman works as an exceptional superhero movie, it is equally an impressive World War I film. Taking place in the days leading up to Armistice Day, this film displays the atrocities of war and the determination of both sides to win. You will find yourself in the trenches in France and Belgium with the Allied forces who, against all odds, are determined to defeat the enemy in order to stop genocide and widespread devastation. Placing Wonder Woman amidst the warriors of earth, connects her to humanity in ways that most superheroes cannot. Fighting for what you believe in is a major theme in this film. Some of the best war movies are those that “show don’t tell.” And Wonder Woman certainly shows what war really looks like instead of talking about it as some abstract concept or spending time in diplomacy. In fact, diplomacy is thrown out the window, and Diana lays the need to fight on the hearts of the bureaucratic leaders and soldiers alike. Pick up your sword and fight. Don’t just sit idly by while humanity is destroyed. There is a particular scene midway through the film that nearly brought me to tears because of the strong emotion and courage displayed by Diana.

Go see it! Wonder Woman is an exceptional film that will blow your mind. I had high expectations going into the film last night after the early reviews were released, but I was not prepared for the degree to which I would thoroughly enjoy the entire experience. It’s not only a film for women, it’s sincerely a film or everyone. Next time you are faced with great opposition, when it feels that the world is caving in around you, be a Diana Prince.

Written by R.L. Terry

Edited by J.M. Wead