Tag Archives: Oscar Isaac

THE KING OF KINGS animated film review

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Surprisingly good! Masterful storytelling, stunning hand-drawn sequences, and emotional depth are at the heart of King of Kings. Delivering a rich tapestry of contemporary CGI-derived imagery fused with hand-drawn animation, the visual storytelling creates a distinctive style that feels both modern and timeless. King of Kings is a star-studded animated feature that follows Charles Dickens as he regales his son with the “greatest story ever told.” The scale and scope of this story is not typically one that can effectively fit into a runtime of just over an hour and a half; but in the vein of the critically acclaimed Prince of Egypt, the film’s narrative is lean yet never sacrifices diegetic nuance or quality. The impact of the film is aided by a stellar voice cast and characters that are relatable, vulnerable, and ultimately human. This compelling feature film brings history to life for audiences in one of the strongest and most engaging cinematic adaptations of the gospel.

Renowned writer Charles Dickens shares the story of Jesus Christ with his son, Walter. As his father narrates the stirring tale, Walter becomes captivated with the events of Jesus’ life.

King of Kings strikes a tone and pacing that defied any expectations I had for this film. From beginning to end, the film remains engaging. The film’s opening sequences establish the setting and stakes with efficiency, drawing viewers into its world without overwhelming exposition. The narrative unfolds at a steady rhythm, alternating between introspective character moments and energetic action sequences. The excellence in screenwriting and direction is witnessed in the effective oscillation between the serious or reverent and brief moments of levity or comedy. By punctuating scenes and sequences with humorous emotional resets allows for emotional beats to resonate whilst keeping the momentum alive. Despite the film’s epic scope, the story never lingers too long in one place. Key moments in the gospel story are given the space they need to land with full impact, without feeling rushed or drawn out. The climax builds with a gripping intensity even though the story and history are well-known. The film’s showdown culminated in a resolution that is both satisfying and emotionally powerful.

Among the cinematic elements that surprised me the most when I watched this film was the star-studded cast that includes Kenneth Branagh, Uma Thurman, Oscar Isaac, Ben Kingsley, Mark Hamill, and James Bond himself Pierce Brosnan. Additionally, the film’s original song is recorded by Broadway royalty Kristen Chenoweth. The compelling performative dimension elevates the film beyond its breathtaking animation. Each actor brings a distinct energy to their respective role, seamlessly blending emotion, gravitas, and authenticity to create a truly immersive cinematic experience. Whether delivered by a leading or supporting actor, each line of dialogue is delivered with conviction, making even the quietest moments resonate with emotional power. The collective efforts by the cast and director breathe a discernible heart and soul into the film.

There are many layers to the visual storytelling in King of Kings. Ostensibly, we have a story within a story because the film opens with Charles Dickens delivering a dramatic reading of his titular novella A Christmas Carol, later he tells his son the story of Jesus from birth to resurrection. Within this story, there are sequences that dramatically depict the exodus and Adam and Eve’s expulsion from the Garden of Eden. Each layer of the film as a whole are delivered with their own distinctive aesthetic. And within this aesthetic, the characters feel like an extension of their respective worlds rather than merely an extension of the artists drawing and programming the movie. The character animations are fluid and expressive, capturing subtle facial movements and gestures that bring an incredible level of realism to the performances. Battle sequences explode with kinetic energy, yet remain clear and visually stunning, avoiding the chaotic clutter that plagues many action-heavy animated films. The combination of motion-capture technology with traditional animation techniques results in characters that move with breathtaking realism while retaining an artistic, almost mythic quality.

Just in time for Easter, King of Kings reminds us that we, in the words of Chenoweth’s song, want to “live like that.” In a world that often feels so cynical and self-centered, comes an adaptation that challenges us to examine our lives and grow in how we impact the community and world around us. Jesus challenged the pious, bureaucratic leaders that built religious empires and He also made a difference in the lives of the discarded and ignored individuals in His community. Whether you go into this film a Believer or not or whether you emerge a Believer or not, there is little doubt that the actions of Jesus will challenge you to be a better person to friends, neighbors, colleagues, and members of your community.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

DUNE (2021) Review

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Audacious sci-fi scale, but a vapid adaptation. Dune is a stunning sci-fi/action visual spectacle that delivers rich imagery and epic fight choreography; but falls short in translating the thoughtful, complex themes and mythology of the source material, which get buried in heavy handed exposition or are entirely cut. Dune (part one) is the first part of the of an epic sci-fi tale about Paul Atreides, son of Duke Leto of house Atreides and Lady Jessica, a sister of the Bene Gesserit who are sent by the Padisha Emperor from their home world Caladan to govern the Planet Arrakis after the Departure of House Harkonnen. If you haven’t read the book and this sentence sounds overly expositional and convoluted to you this is how you’re going to feel throughout 80% of the films dialogues. However, I’m sure you’re not going to see Dune for the dialogue and it has plenty to offer aside from that.

Director Denis Villeneuve wanted to make this a “Star Wars for adults” and with that he succeeded. Dune boasts impressive visuals and epic conflict but in a more mature manner than the Star Wars films. Instead of using colorful light sabers people are stabbing each other with actual knives. Still not much blood is seen, thanks to the film’s PG 13 rating, but that seems to be unavoidable in today’s industry. The Designs are kept very close to the book, especially the Ornithopters which actually have flapping wings unlike in previous adaptation by David Lynch. Some of it may be because of the improved technology after nearly 40 years but I believe the production designers were definitely trying to stay faithful to the source material. All in all the depictions of technology, lifeforms and other things will satisfy fans of the book, although the production design was a bit too monochromatic for my personal taste. The visual direction is similar to other works by Villeneuve: simple and effective. The camera itself is not here to show off. That’s what the Sandworms, spaceships and battles are for. The cinematography by Greig Fraser is dark and moody, which fits the more adult tone this film is going for.

Continuing with its mission to be an adult Star Wars, it’s also more complex editing wise with mystic visions by the protagonist Paul sprinkled throughout the film by Villeneuve’s frequent collaborator editor Joe Walker. The visual effects shots are done in similar manner to the rest of the camerawork. They are impressive but only there to move the story along and not at all show-offy. The hand to hand combat sequences, of which there are quite a few, most of which look very practical are impressive as well. One can clearly see the effort the actors put into making them appear so effortless. That also includes the main cast, no stunt doubles here! There is one early fight or rather training scene between Chalamet (Paul Atreides) and Brolin (Gurney Halleck) where their skills are put on full display.

Now the actors of which this film has many and many famous ones also did very well, even despite the fact that most of their job consists of spouting exposition and fighting. Rebecca Ferguson as Paul’s mother Lady Jessica being the clear standout and stealing every scene she’s in. Timothée Chalamet has his edgy teenager moment, which in this case fits the character who is still coming to terms with his new place in the complicated conflicts and power structures of Dune but doesn’t really have any other stand out moments. Zendaya, the other perhaps controversial star of this film, also doesn’t stand out much, neither in a negative nor positive way. Her character only really appears in the film towards the end so there’s not really enough to see for a final verdict.

Now on to the not so good aspects of the film. Although the conflict in Dune is still very complex and probably closer to Game of Thrones than Star Wars it’s still very simplified if not dumbed down compared to the complex political intrigues and power plays of the novel to fit the limited runtime of the film format. The complex world of the Dune universe also has to be explained to viewer somehow, which here is mostly done through expositional dialogue. The exposition is well integrated to the story as Paul, the protagonist is also learning about most of these things but it can become a bit overbearing as said before. This can leave viewers who are not familiar with the source material overwhelmed and confused about the particularities of the story and story world. Nevertheless the film should still be enjoyable as an epic sci fi tale about family, power and mysticism, even if it takes some time to understand surrounding lore. Hopefully this film will also motivate a new generation of Dune fans to dive into the world that Frank Herbert created in his books.

Written by German correspondent Leon Zitz.
Be sure to check out his Instagram to see what he’s working on!

“The Addams Family” Animated Movie Review

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Not creepy, mysterious, or spooky, but it’s certainly kooky and fun. Duh duh duh dum, snap snap. Just in time for Halloween is The Addams Family! I went into this movie not expecting much. A friend of mine loves all things Addams Family (even his drag persona is Katrina Von Addams), so he wanted to see it together. And to be perfectly honest, I enjoyed the movie. Is it predictable? Yes. Is the screenwriting weak? Yes. But is it a fun way to just kick back with a movie that entertains sufficiently enough? Yes. The voice cast is great and the character designs feel inspired by the earliest drawing in The New Yorker magazine. For me, the characters feel like the Addams Family that we have known for over 75 years. And just like the family themselves, the plot defies all logic. But that doesn’t take away from the good time I had watching it. It provided me with precisely what I needed, about an hour and a half of turning off my brain to have fun with endearing characters that have had a home on the small and big screen alike over the years. During the opening credit sequence, I saw that Bette Midler was in it! I literally yelled Bette Midler in the auditorium because that elated me. No surprise, she plays the role of grandma–a witch. The Divine Miss M returned to her witchy roots. In addition to Midler, you will enjoy the voice talents of Oscar Isaac, Charlize Thereon, Allison Janney, Chloe Grace Moretz, and other familiar names. The theme of the story is acceptance and individuality, which bodes well for this movie. Although we never dive deep into this topic, the B and C stories parallel one another in theme, but approach the topic from different perspectives that touch on immediate family, extended family, and friends/neighbors. Even though the characters are not as dark as I was hoping they’d be, you do get some trademark Addams Family macabre humor at the mansion. While the movie does not open up with the iconic theme song, the end of the movie includes a tribute to the original TV series opening that will leave you with a smile. If you’re searching for a great animated movie, then this is not it; but if you are looking for a fun way to spend 1.5hrs with your kids or friends, then this movie works very well.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Annihilation” film review

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Outstanding craftsmanship that provides a trippy, surrealist experience! It’s been a long time since I’ve seen a horror science-fiction film like this one–one that harkens back to the manner in which Stanley Kubrick terrified audiences with his cinematic masterpieces. The brilliance of this film is the visually disturbing storytelling that’s built upon metaphysical and philosophical queries as well as Freud’s uncanny. Written and directed by Alex Garland (Ex Machina) and based upon the Southern Reach book series by Jeff VanderMeer, Annihilation boasts an all-female lead cast that takes the audience on a gripping, nail-biting adventure into the unknown that is frocked with wonder and tragedy. Falling in line with extraterrestrial films, this one exists somewhere between Alien and Arrival with influences from Kubrick and even Salvador Dali. Don’t wait for it to be released on Netflix internationally to avoid watching it at your local cinema; this IS a film best viewed, experienced, and enjoyed on the BIG screen–and not the 65in in your living room. For those who look for and appreciate science-fiction and/or horror films that explore psycho-social and institutional themes, then this is truly a film for you. Cognitively engaging and physiologically disturbing, Annihilation is a turbulent, horrific adventure.

After a mysterious meteor-like object strikes a lighthouse in Area X (most likely the swamplands of northwestern Florida), an increasingly growing membrane-like phenomenon is slowly swallowing up the land around it. When several paramilitary and scientific expeditions do not return from exploring the anomaly, biology professor Lena Kane (Natalie Portman) is aggressively recruited to work on the next team of scientists to track, report, analyze and potentially rescue former teams from what’s being called “the shimmer.” Professor Kane and her team have no idea that they will be facing their worst nightmares inside the shimmer as they explore this unknown world filled with dangerous opposition from the creatures that live within and the psychosis-like tension between the team members themselves.

Definitely not a film for the general masses. And you know what??? That is perfectly fine. In fact, that’s why this film works so incredibly well as an avant-garde-like science-fiction horror film. Had it directed for the masses, the film would not be nearly as stimulating psychologically and physiologically. Much like Garland did with the Oscar-winning Ex Machina, he crafts a world based on the best-selling series that takes the audience on a disturbing journey into the macabre, which juxtaposes the physical and metaphysical dimensions. Garland’s Annihilation is a masterful cinematic work that combines excellent writing with exceptional imagery and stunning practical effects. If Dali were alive today, this is the kind of film that he would have wanted to work on because there is such a heavy surrealist approach to the production design and visual effects. But this film is so much more than just the cinematic beauty of the motion picture. There are philosophical questions that one may ask oneself that create an added dimension of engagement that further immerses the audience into the world of the film.

Much like with Ex Machina, Garland shows an obsession with the need to see and see through when observing an unknown entity that may or may not be sentient. Paralleling how he set up the glass wall between Caleb and Ava (the AI) in the compound/lab designed by Nathan (Oscar Isaac, who is also in Annihilation), Garland sets up the interrogation room in which we are first introduced to Lena while she is being interviewed by the team in hazmat suits. I love the play on perspectives, vantage points if you will in both movies. That fluctuation between a filtered and unfiltered view of the phenomenon under observation offers much depth to the storytelling. In Annihilation, we are initially introduced to the shimmer, and world within, through sensors, readouts, and other “filters” but then we are thrust into the horrifying flora, fauna, and animal life without any type of protective boundary. Freud refers to the revealing of that which should remain hidden or the return of the repressed (which we literally get to witness in this film) as that which is uncanny (click for article). Just as our characters are constantly searching for clarity, you will find yourself paying close attention to the unknown to gain an unhindered understanding of what you are witnessing.

Not your average science-fiction horror film, this one will truly get under your skin–much like The Shimmer invades the bodies of those who choose to enter the dark twisted, refracted world of that which lies beyond our senses. Truly terrifying, this film is one for those who love a sci-fi horror that will prompt you to contemplate the themes and subtext of the movie. One of the quandaries that face the characters, and by extension, the audience is the idea of self-destruction versus suicide–the physiological versus the psychological components. For those who may worry that the film is “too intellectual,” the story is told in such a way that it not only appeals to film critics, academics, or horror aficionados but can be enjoyed by those who like a good, disturbing scare. The fact that there is the “intellectual” dimension to the film adds to the experience for those who appreciate that element in visual storytelling.

“X-Men: Apocalypse” movie review

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XMenApocalypseEpic! It isn’t often that one word can sum up the screening experience of a movie, especially when going into the film, one had lots of hesitations that stemmed from the questionable trailers. Prepare yourself for the heaviest of the X-Men movies future or past. Probably the best feeling to take away from this one is the storytelling quality of the cartoon paired with Bryan Singer’s unparalleled handling of what is arguably the most successful Marvel franchise over the decades (that may be changing with the unprecedented popularity of The Avengers). While some may describe this movie as a failed attempt at reliving the glory days of the X-Men, I venture to say that there is enough evidence to support this being a strong third movie. As much as I enjoyed the movie–and do not mistake me, I did–there was a LOT going on in this movie and it came close to failing to effectively and successfully tell A complete three-act story. Just like in Batman v Superman, where Warner Bros bit off more than they could chew, 20th Century Fox came close to making the same mistake. Thankfully, the story was just strong enough to drive excitement and thrill through the minds and bodies of the audience.

X-Men: Apocalypse is the third movie in the Bryan Singer reboot (fourth installment if you count the original X-Men movie from 2000). The world of Ancient Egypt was once the center of the universe; and in that great empire, there lived the original mutant [Apocalypse] (Oscar Isaac). He grew in strength and power to the point that he ruled the world. After several of his fellow Egyptians betrayed him in attempt to bury him alive, he was cast into a deep sleep hundreds of feel beneath the surface. Due to a dedicated group of followers thousands of years later, Apocalypse was awaken and he has set out to reclaim the planet as his own and raise his children. Determined to build his mutant army, he begins to recruit the most powerful X-Men including Storm (Alexandra Shipp). When Professor Xavier (James McAvoy) encounters Apocalypse while in Cerebro and is captured, the still-fractured X-Men must go to great and nearly impossible lengths to rescue him and save the world. Teaming up with new student Scott (Tye Sheridan), Jean Grey (Game of Thrones’ Sophie Turner), and Nightcrawler (Kodi Smit-McPhee), Quicksilver (American Horror Story’s Evan Peters), Mystique (Jennifer Lawrence), Beast (Nicholas Hoult), and Havoc (Lucas Till) will battle Apocalypse and his four horsemen including Storm, Angel (Ben Hardy), Psylocke (Olivia Munn), and Magneto (Michael Fassbender).

What a cast! The quality of talent in and of itself is an outstanding accomplishment and is responsible for a great deal of the success of the film. Writers create characters and directors craft them, but it is the actor who ultimately brings the characters to life for the silver screen. Each and every actor is an excellent match to their respective characters. In addition to the actors we have been introduced to in past films, the newcomers quickly cement themselves in this and future movies. With so much material and less than three hours to deliver a movie that could be on par with the previous two and The Avengers films, it was vitally important to have an impressive cast that could win you over instantly. There simply wasn’t time for an actor to grow on you or to decide how you felt about a particular character. Each actor needed to his a homerun as soon as they stepped out of the dugout. I paid close attention to Sophie Turner because I was only familiar with her from Game of Thrones, and I just wasn’t sure how I would feel about her as one of the omega class X-Men (Jean Grey). Oh, I knew she looked the part, but could she pull it off??? And the answer to that is a resounding yes.

Much like Captain America: Civil War, X-Men: Apocalypse is nothing short of a superhero extravaganza. And although they are similar in many respects, there are two completely different tones in the respective movies. Are they both serious? Yes, but the former also includes comedic relief sequences and dialog (and yes, if you read my review, I found those to be poorly handled but I am not going to revisit that tarmac scene or the annoying Spider-Man in this article) while the latter retains the serious tone throughout the movie. However, it is successful in not becoming a parody of itself as was the case with Batman v Superman. I will state this: Civil War does boast a dynamic plot that flows smoothly the whole time, whereas Apocalypse flows smoothly most of the time, but at others, it does feel a mite bumpy. We could discuss symptoms of the problems all day, but the root of the problem is simply trying to tell too much story in one movie. To be honest, I have a felling that I am going to decide that I like X-Men more but that is likely because, in all fairness, I grew up with the cartoon. What works for X-Men, much like Captain America, is the fact that the audience does not need to be familiar with the comics in order to enjoy the movie. Singer makes sure that anyone who enjoys high concept comic book superhero action movies will enjoy this film. Well, that is, unless you happen to be a diehard comic book aficionado. This movie is simply exciting and visceral.

Memorial Day weekend will either be dominated by powerful mutants or charicatures from the other side of the mirror. Although X-Men will probably not perform as well as Civil War, I don’t think Alice has a chance of topping this quintessential summer blockbuster on the unofficial start to the summer. Unless you live here in Florida where summer started in March. Haha. Speaking of Florida, and in particular Orlando where MegaCon 2016 is being held, knowing that most of the theaters would be filled with cosplayers and enthusiastic fans, I had the challenge of finding a theatre in the area at which to watch the movie and not face cols out auditoriums and nose-bleed seats. I was successful in finding a small privately owned theatre in the vicinity and has the whole thing practically to myself. Running camera for a medical convention, so I am writing from the Rosen Shingle Creek instead of my condo in Tampa. It’s been quite nice to stay on site versus driving an hour here for the event each day. Happy Memorial Day!