Category Archives: B+

2020s, 2022, B+, Comedy, Current, Grade, Horror, Review, review-movie, Thriller, Year

Film Review: Bodies Bodies Bodies – 2022

March 24, 2024 The Critic Leave a comment

Director(s)	Halina Reijn
Principal Cast	Amandla Stenberg as Sophie Maria Bakalova as Bee Myha’la Herrold as Jordan Chase Sui Wonders as Emma Rachel Sennott as Alice
Release Date	2022
Language(s)	English
Running Time	94 minutes
Report Card	Click to go to Review TLDR/Summary

Closeup of Bee and Sophie making out. The focus is on the erotic element.

The soundscape is littered with the sounds of birds and bees, animalistic noises and the symbols of sexual euphemism come to life, as the camera focuses on a fitting image of a loving, lustful engagement – a gratuitous make-out session – whose noises enter into the cacophony. The frame’s first focus is the encounter, the experience and not the experiencers – an intentional choice that affirms a “living in the moment.”

Then, the camera pulls back to reveal the subjects of this amorous encounter, Sophie (Amandla Stenberg) and Bee (Maria Bakalova), who are caught in the throes of passion, their desire for their respective partner’s body overwhelming any other drive – humans rendered as their basest selves.

From this vantage point, the greenery surrounding the couple in the backdrop shot out-of-focus to render it into a hue of colors, an impressionistic embrace and framing by nature, calls back to the idyllic Eden, this time populated by two Eves.

This paradise continues for a while until Sophie declares her love to Bee, the latter of which smiles back without giving a verbal response.

The title card drops as the duo looks at their phones.

The enunciation is immediately interrupted by the harsh musical tunings of Slayyyter ‘s “Daddy AF” and we cut to the two characters, previously protected by the lush greens, now encased in a metallic husk, a car, with phones in their hands as opposed to on one another – technological transmutation, a counterpoint to the openings positioning of the human as pure animality freed from anthropocentric constraints.

With the shift to this “hi-tech” humanity, we see new concerns bleed into the environment, replacing the love from before with a sense of worry. Bee looks at her phone with concern, scrolling through it with a sense of dread. Sophie attempts to assuage her, claiming that her friends’ digital personas, profiles Bee is looking over are not as “nihilistic” as portrayed and are indicative of what said friends want others “to think” of them.

Thus, the phone is rendered as a barrier to unfettered love, a portal to false images by which persons can look at others in an artificial, distanced manner.

The camera cuts from the inside of the vehicle to wide shots of the vehicle traversing lush, green mountains before a nice aerial shot reveals a wide-spanning mansion, the location of the get-together that Sophie is taking Bee to, a party with the aforementioned friends that Bee feels the need to research before meeting in an attempt to not make a fool of herself. We’re a far ways from the idyllic Eden where love can find and cultivate itself without regards for the thoughts of outside observers.

Bee (Maria Bakalova) and Sophie (Amandla Stenberg) kiss in front of the greens.

The couple gets out and heads to the luxurious abode but Bee hesitates and claims she has to retrieve something from the vehicle. Sophie rushes over, tells her not to dally for too long, and kisses her partner once again. But this attempt to channel the Edenic opening fails. There’s a space here made all the more poignant by the greens around them which are now fully in focus: discreteness generates distance.

Bee goes back to the car and immediately checks her face in the rear-view mirror, touching up her image to ensure that her ensuing meeting with the persons she’s spent time researching will come to joyous fruition. The reflective surface serves as an analog to the phone from earlier, an interface by which the ego can render itself into its most pleasing form.

Satisfied by her appearance, she finally gets out and begins to walk into the abode. The shot frames her in the background with the car’s dashboard and mirror in the foreground. We watch her move towards the house and cut right as she disappears behind the mirror she’s just spent time consulting with: she’s entered the mirror world, the realm of appearances.

David (Pete Davidson) and Emma (Chase Sui Wonders) float.

Meanwhile, the mansion’s inhabitants peacefully float around in a pool, a man-made approximation of nature, of Eden, that can’t recreate the same idyllic peace but serves as a temporary reprieve, a metaphorical womb of sorts. This moment is interrupted by the presence of Sophie; she appears at the edge of the pool, her image distorted and shifting, and disrupts the reflection of those below. Confrontation looms at the boundary of the water qua mirror, a counterpoint of sorts to Bee’s earlier moment by herself.

The crew comes up and engages with Sophie. Alice (Rachel Sennot) eagerly greets her friend while the rest of the group slowly acclimates to the presence, treating their supposed comrade more like an intrusion, questioning her presence at their get-together. As all the characters pop out, Greg (Lee Pace) pops out of the water and reveals that the paradisal picture was merely a competition ground; the group had been testing the limits of their breathing capacities and he’s won the competition. The game of compare and contrast has already started.

Bee (Maria Bakalova) is framed alone in the house.

While this group converses, Bee enters the house, a moment which showcases the opulence of the manor in a wonderful tracking shot that starts on the ceiling and goes to Bee’s face as she gazes around entranced. A cut shows her framed by the doors of the house, a new entrant to the world of the bourgeoise who finds herself held in its purview. She enters the backyard pool environment and is initially cast alone, her outsider status re-affirmed.

Sophie quickly runs to her partner’s side, wraps her arms around her, and begins to introduce her to the rest of the crowd, stopping on Greg who is revealed to be Alice’s most recent beau, another new entrant to this social scene – seemingly obvious given his age gap compared to the rest of the group. The framing switches from Bee alone to Bee with Sophie to the couple now cast to one side of the frame against the already established group – two worlds primed to collide.

Greg’s immediate reaction to learning that this is THE Sophie immediately informs us of an undercurrent pervading this social scene, one that has been building since her cohorts first became aware of her appearance. There’s a palpable tension building as we wait to learn what Sophie’s done. Just like Bee, we’re outsiders to this group’s dynamic and must learn how to swim in its ebb and flow.

Quickly, thinly veiled barbs start materializing into larger concerns. The group calls out Sophie for being unresponsive in the group chat. She hasn’t been part of the group’s festivities in some time and her presence is a genuine surprise to everyone else. What exactly does she want?

Then, Alice goes to get champagne to celebrate the festivities. David (Pete Davidson), the party’s host, chastises her for taking his “dad’s shit”, revealing this abode and everything within as part of the generational wealth he’s been born into, but he ultimately doesn’t push the matter when she exclaims the presence of their seemingly unavailable friend warrants a toast. In perfect synergy with his partner, Greg then comes out into the fray with an antique sword and slices the bottle open in a wonderful show, a demonstration which upsets David even more than the retrieval of the bottle. He not only repeats his warning to not touch his father’s property but goes so far as to act and grab the weapon away from the only other male presence – class and gender become inextricably tied as masculinity becomes coded, albeit jokingly, as a threat.

The subtle interactions of the group reveal their individual relationships to one another and to wealth itself which help inform both us and Bee of the underlying dynamics at work, an interplay which has become more complex as an unseen member, Max (Conner O’Malley) is disclosed to be missing due to alluded antagonisms. Additionally, the group realizes that they too are unfamiliar with the new Sophie who surprises everyone with her announcement of sobriety. Suddenly, the reason for the toast itself, a gesture meant to include Sophie within the festivities with aplomb, is undermined and leaves the group searching for something new to celebrate.

In a sick joke, as if we needed any more proof of the group’s opulence, they choose to then dedicate their drinks to the impending hurricane; a devastating event for commoners becomes a time for celebration for those who are capable of sheltering away from such tragedy. But nature cares not for wealth, and the imposing presence of the hurricane makes good on its promise and forces the group to go inside even as David takes the time, with sword in hand, to challenge the natural phenomena before giving up and throwing the sword on the floor thereby confirming that his concerns over its damages at the hands of Greg were based in pride and antagonism: property is only valuable as an extension of one’s image – a succinct take on the purpose of class.

Back in the house, our initial couple attempts to engage in another make-out session, this time framed against the backdrop of the mansion, which is quickly interrupted by the party’s host who takes Sophie aside to learn for the latter’s reason for coming to the event. Class dictates new conventions and the show of nature, initially cast as serene at the film’s start, becomes interrupted and commented on by observers. Privacy no longer exists.

This is confirmed when Bee slowly explores the house, entranced by the images of family and grandeur all around her. She’s clearly alienated by this environment but is unable to even take the entirety of the locale in before Jordan (Myha’la Herrold) intercedes, informs Bee of Sophie’s wealth which is comparatively greater to even David’s, and issues a warning to the newest newcomer: “Just be careful, okay? With Sophie. Just… Be Careful.” As she delivers this cautionary comment, the camera slowly pivots and uses the framing of the wall to divide these two parties into separate partitions – new groupings are being formed.

Suddenly, the mysteries of Sophie are turned against Bee as she’s now thrown into the currents of a group-dynamic which she knows nothing about and is forced to accept that she may not know her partner as well as she previously thought. The previous exchanges amongst the group code this interaction in multiple fashions and transform it into a labyrinth to be navigated with caution.

Is this this an analog to David and Greg’s previous confrontation at the pool, a female antagonism opposed to male, wherein Jordan takes on David’s role, Sophie takes on Greg’s role, and Bee, the seemingly poorest of the bunch, comes to be a stand-in for the “sword”, a symbol of power, in this case companionship, which must be controlled as an extension of one’s image?

Or is this an example of class solidarity, an extension of Jordan’s concern with not dropping the incredibly expensive alcohol, a thought which seemingly crossed none of the other party members’ minds, wherein she is looking out for Bee as someone who is also alienated by the displays of affluence? It would certainly make sense of her earlier, unprompted provocation about the stature of Sophie’s wealth.

We’re left to ponder the intent as Jordan happily hops down the hallway, out of sight, leaving only her eerie words behind.

David (Pete Davidson) obsesses zooms onto his face.

As the interactions continue to proliferate, the film’s symbol par excellence, the cell-phone, continues to gain functions and becomes cemented as a pivotal tool in each character’s toolbox. It serves as mirror which can allow one to modify their appearance. It can allow for communication with parties not present within the immediate space, allowing for intimate connection. It can combine these functions and be used as a tool for social capital, capturing interactions meant for large-scale consumption vis-à-vis applications like Tik Tok. Director Halina Reijn imbues the object with nuance, an interface wherein all aspects of identity play around in relation to different socialized systems of power, but constantly demonstrates the way this nuance is discarded in favor of projects funded by the ego, affirmations of selfishness at the cost of everything else, a cost which will the film will explore with relish as its run-time continues.

Eventually, the group, including Bee, fall fully under the influence of their drugs and/or drinks of choice and are fully able to interact with one another, the substances operating as catalysts for interaction that previously was too shy to occur organically. It’s a ritual meant to summon the affects of Eden, nature at peace with itself, into a space that’s anything, the abode of capital and egotistical antagonisms that take priority over everything else.

Azelia Bank’s iconic “212” starts to play as the group begins to dance with aplomb while losing themselves in its frenetic energy, but as evidenced by the opening’s musical break, we know this is set to fail. The frenetic hand-held montage can’t sustain the same passion evinced by the opening as the constant-cutting showcases the power of the gaze and its violent powers.

Intimate moments of potential connection are ripped apart as persons are repeatedly transformed into outsiders who project their own fears and concerns onto these new dalliances, transforming would-be encounters into battlegrounds where the excluded participants make themselves known and vie for total control of the situation.

Jordan stares with a fervor as Sophie and Bee dance, her warning looming in the distant background.

Alice immediately pushes Sophie aside when the latter dances with the only other outsider in the group, Greg – a move that immediately stops the establishment of solidarity.

Sophie is prodded by David to look at Bee and Jordan dancing and is clearly perturbed by this interaction. Her reaction marks the beginning of the end and she calls the affairs to a stand-still and proposes that the group play a game, the titular “Bodies Bodies Bodies.”

The rules of the game are explained as the group waits.

The game, a take on popular games like “Mafia” or “Werewolf”, designates one player as a killer and tasks the other players with figuring out their identity before the players are fully eliminated. The players must navigate the house in the dark with a light and the next session of the game can only start when someone finds a deceased member and calls out the game’s title: “Bodies Bodies Bodies.” Thus, the implicit arena of the dance-floor becomes explicit within a game that actively forces the players to ascertain one another’s true intentions and come to meaningful conclusions as violence looms around every corner.

However, this variant of the game starts off with a ritualized ceremony, a credo of sorts, that sees each player take a shot and then slap the player next to them. The symbolic violence and rush of the game is not enough for these people and they need to ramp up the stakes even more to feel something in their insulated, privileged lives.

The ritual goes along well until Bee, the female outsider, refuses to hit David as hard as she’s expected to, obviously taking the trappings of the game as a limiting factor to the violence, choosing to play within the realm of symbols instead of letting such desires sublimate into reality. But David takes her refusal as a window to showcase what should actually be done – the host enforcing the laws of the land – and viciously punches Greg, the male outsider, the party who already emasculated David unknowingly outside with the display of the sword, giving the audience a taste of what’s to come.

Alice quickly calms Greg down and the game begins. The lights are turned out and the players are told to hide amongst the house. Of course, Bee armed with her cell-phone, uses it to navigate the environment, an abode which already alienates her with its affluence, and determines her allegiances, choosing to try and form a companionship with Alice, who runs away from her, and avoid Jordan, who narrowly misses Bee as she hides.

Suddenly, the call is made. The group convenes. The lights turn on.

And as expected, the resulting conversation immediately devolves into personal slights, indictments based on knowledge that one would never know outside of the game, so called “meta-gaming” moments that reveal the antagonisms within the group that had been swirling up for so long up to this moment. We see the formation of in-groups and the way they determine outsiders and see the ruptures becoming to form, conflicts which break out into reality when the next round starts and a body is found again, this time genuinely dead and un-moving. Now, the game will truly begin as it becomes realized in the flesh.

As this violent investigation continues, conflicts which we had only seen parts of rear their ugly heads. Alliances are tested and at each critical juncture new information is revealed which makes ascertaining the assassin increasingly difficult. No one can be trusted and the character’s, stuck using their own knowledge of one another, information which has been coded by all parties to fit their own self-interests, find themselves trapped in a nightmarish environment where anything and everything threatens to take them out.

With the lights fully out due to the storm, this variant of the game, one enforced by the rules of nature proper, never has a moment of proper deliberation with every encounter taking place in absolute darkness, the state of ambiguity. The power saps the utility of the phones, turning them into pure symbols meant to light the way – a perfect tying of form to content.

The set-up lets Reijn ratchet up tension, shooting the majority of the rest of the film in a handheld manner that reinforces the horror tropes one would associate with such a milieu and leads into moments of genuine tension.

However, as the storm rages on, the tight, intricate brushstrokes the film paints itself with, namely the minute point and counter-points related to class and gender, wash away under the pressures of the narrative and become far less focused and poignant, drowning under the pressure.

Ideas on class and gender become far more overarching than they need be and the manner by which the film demonstrates the logic of alienation is cast aside.

The script’s wonderful Gen-Z slang, awash in the tropes and stylings of online vernacular, previously used to reinforce the shallow manners by which the characters’ code themselves as perpetual victims and as better than one another, eventually becomes superficial in end of itself, servicing the film with nothing more than punch-lines that elicit laughs but do very little in taking the aforementioned sub textual machinations to the next level, a move that would evaluate this horror-skinned murder mystery into the realm of a full-blooded classic.

While the broad splatters the film ultimately uses to finish populating its canvas tie together the plotlines in a formally competent and satisfying manner, neatly calling back to some of the larger overtures established at the film’s start, the ultimate reveal, the film’s punch-line so to speak, may alienate viewers looking for something grander underneath the veneer of it all. And while that particular message and related revelation may be the film’s biggest point, a perfect encapsulation of sorts of its characters and the manner by which it treats them, it’s a shame that it seemingly becomes the only fully developed statement delivered when so much groundwork had been laid down to present a more multi-faceted thesis.

Using the film’s pressing scenario as a metaphor, there’s a hurricane waiting to be unleashed on the viewer, but the film settles for a torrent of rain instead, foregoing the other elements that would augment such a phenomenon and generate a storm that would truly stand-out.

REPORT CARD

TLDR	Much like the party and game at the heart of it’s story, the film is filled with an abundance of jokes, kinetic scenes, and moments of grandeur that ultimately delivers goods that should satisfy those looking for a fun horror-skinned murder mystery and satire on the parlance of identity politics, but the vacuous nature of this delivery may disappoint those looking for something a bit more profound.
Rating	8.8/10
Grade	B+

Go to Page 2 for the for the spoiler discussion and more in-depth analysis.
Go to Page 3 to view this review’s progress report .

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2020s, 2022, B+, Black-Comedy, Grade, Past, Review, review-movie, S+, Science Fiction, Thriller, Year

Film Review: Dual – 2022

April 21, 2022 The Critic Leave a comment

Director(s)	Riley Stearns
Principal Cast	Karen Gillan as Sarah / Sarah’s Double Aaron Paul as Trent Beulah Koale as Peter Maija Paunio as Sarah’s Mother
Release Date	2022
Language(s)	English
Running Time	95 minutes
Report Card	Click to go to Review TLDR/Summary

NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.

A young man (Robert Michaels) rushes to a table stacked with weapons. He struggles to select one of them but during his moment of indecision an arrow flies past him. While he may be indecisive in picking his combat option, his opponent is not. A crowd cheers to the violence; this duel is a public spectacle.

The young man finally decides to act, evades the arrows that are fired at him, and moves towards his opponent before proceeding to butcher the latter with a knife. The camera moves to the corpse which is identical to the young man we’ve been cheering for; this has been a fight between doppelgangers. An announcer comes forward to congratulate the victor and asks him whether or not he’s the original or double. The young man responds that he’s the double and he is subsequently crowned the “true” Robert.

Thus, the stakes are set. In this world, doubles of persons exist and there are Battle Royale like duels between them to determine which one of them can stake their claim to being the “real” person in question. Identity, far from being a given, is a social marker that must be fought for. Furthermore, the doubles are well-defined, empathetic persons who seek to survive and not the pale imitations of an original one might expect. Dual intentionally opens from the perspective of the double instead of the original Robert to position the viewer behind them; we naturally cheer for the character we initially identify with and so when it’s revealed that they’re a “double” who has “stolen” their life from an original, our empathy is turned on its head. While it seems proper to cheer for someone fighting for their life, a double fighting their original in an attempt to subsume the latter’s life and identity along with it presents its own set of ethical issues. The same action becomes framed from two perspectives one of which is predicated on the idea of one owning their own identity and the other on the idea of one owning their own life; the schism between life and identity is what Dual seeks to explore.

The story cuts from the newly crowned Robert, to a young woman, Sarah (Karen Gillan), who seems to be living her worst life. Her apartment is saturated in depressing blues that make telling the time of day impossible. Her mom (Maija Paunio) constantly calls and messages her, interrupting any attempt at alone time. Her partner, Peter (Beulah Koale) is off at work and seems to be uninterested in conversing with her. Her only form of interaction with the world comes from the blue screens of her phone and laptop illuminating her face. It’s clear that Sarah is alienated; there’s no vitality to be found as she passively engages with a world that seems to ignore her angst.

But she soon learns that she’s contracted a terminal disease and is guaranteed by her doctor that the chances of surviving are 0%. Consequently, Sarah is offered an opportunity to replicate herself and create a double to live on in her place after her passing. The procedure is marketed a gift to be given by the soon-to-be deceased to their living friends and family as a way of taping over the grieving process; it’s fine that your special someone has died because you can live with a clone formed from their DNA.

Despite being unable to afford the procedure herself, Sarah signs on when she’s informed that her double, upon assuming the role of “Sarah” on passing, would then be responsible for the payment plan responsible for their genesis. Sarah has nothing to worry about because she’ll be dead. Sold on the idea, she signs on and meets her double, aptly named “Sarah’s Double” soon after.

While the latter questions her source on “their” shared interests and hobbies in an attempt to better emulate her, it becomes apparent Sarah and her double are not the peas in a pod promised by the advert. The double seems to have opposite tastes in food, entertainment, and aesthetic style. If she’s supposed to serve as a stand-in for Sarah’s friends and family, she seems to be a poor fit. Yet, Sarah’s mother and Peter seem more than okay with Sarah’s Double, reacting to her with a sense of warmth and energy that fly in direct contrast to the treatment Sarah had to deal with. She comes to realize that far from taking her place upon death, her double has decided to make the transition early and take over as fast as possible.

Thankfully, or so she thinks, Sarah learns that her incurable terminal illness has somehow gone into remission. As a result, she’s allowed to put in a request to decommission her double. However, her double appeals under a newfound amendment to the constitution to “stay” and continue living as “Sarah”. Consequently, the original Sarah is locked into a duel to the death for the privilege of existing as “Sarah”. The opening becomes reframed as a death knell; if doubles are capable of winning in brutal fashion and celebrated for doing so, then the outgoing and more energetic Sarah’s double seems more than certain of defeating the lethargic, unmotivated Sarah.

By channeling the essence of Yorgos Lanthimos’s (Dogtooth, The Lobster) brand of surreal humor – deadpan delivery of serious lines meant to call attention to the absurd nature of the situation with accompanying stoic reactions – director Riley Stearns forces the viewer to focus on the nature of the identity problem inherent to Dual instead of the logistics or theatrics of the situation. This is a story that’s more curious on the logic by which identity can be stripped and gifted by personal, social, and legal entities, revealing the contingencies upon which identity furnishes itself. As Sarah is forced to deal with her impending duel, she’s’ made to reckon with the dual nature of the lives her double and her live.

She starts as a woman sentenced to death who willfully accepts the same and decides to live by extension through a double. Her double does what she’s advertised to do and brings a love and warmth to Sarah’s loved ones that Sarah herself finds herself unable of producing. Upon realizing that she’ll survive, Sarah tries to kill via decommission her double and “take back” her life, a life which we know is in sharp contrast to the one she had lived up to the point. Once Sarah is challenged to the duel, she starts training to survive a battle to death for a life with people who want nothing to do with her as she is; in this vein, the identarian battle takes on a metaphysical character wherein Sarah’s double comes to stand-in as Sarah’s persona. Sarah is forced to tackle the source of her alienation – the disjunct between what she is and what she thinks she ought to be – in a literal battle.

However, while the film excels at demonstrating how Sarah navigates the contours of her personal life, it falters when it comes to connecting those aspects of her identity to the overarching bureaucratic forces that she’s forced to navigate. One of the running themes of the film is how Sarah’s day-to-day existence is structured around capitalistic institutions: the treatment she pays for is expensive and relies on a perverted extended payment plan, a lawyer to represent her, monthly fees to her double until the time of the duel, monthly payments to her trainer Trent (Aaron Paul), on top of everyday bills. Yet, the film never opts to show how she makes money, opting to tell the viewer about her financial struggles instead of showing or embellishing them. These moments would have not only given context to her struggles but would have also helped tie the larger thematic movements of the film with Sarah’s personal journey. This lack of cohesion between the minor and major aspects of Sarah’s life make the subversive gestures Dual tends towards less poignant. Instead of appreciating the way the narrative unfolds, this lack of an obvious “bigger” point might frustrate viewers who don’t want to grapple with the sardonic presentation the film opts for.

REPORT CARD

TLDR	Riley Stearns’s Dual might miss the mark for viewers looking for a clear, hefty film with messages to gleam through, as its exploration of a battle between original persons fighting their clones for the former’s identity takes on a cerebral, sardonic tone that operates via subversion and suggestion, but it should satisfy those viewers attuned to the absurdist comedic leanings of Yorgos Lanthimos’s works.
Rating	8.6/10
Grade	B+

Go to Page 2 for the spoiler discussion and more in-depth analysis.
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2000s, 2001, Adventure, B+, Family, Fantasy, Grade, Harry Potter, Past, Review, review-movie, Year

Film Review: Harry Potter and the Chamber of Secrets – 2002

January 22, 2022 The Critic Leave a comment

Director(s)	Chris Columbus
Principal Cast	Daniel Radcliffe as Harry Potter Rupert Grint as Ron Weasley Emma Watson as Hermione Granger Robbie Coltrane as Rubeus Hagrid Richard Harris as Albus Dumbledore Kenneth Branagh as Gilderoy Lockhart Tom Felton plays Draco Malfoy Jason Isaacs as Lucius Malfoy
Release Date	2002
Language(s)	English
Running Time	161 minutes
Report Card	Click to go to Review TLDR/Summary

Harry looks at a picture of Lily (Geraldine Somerville) , James (Adrian Rawlins) , and himself.

Harry (Daniel Radcliffe) looks down at a photograph from his past of his parents holding his younger, infant self. Even though he can’t remember the moment, the magical image conveys a liveliness that he yearns for; the “lost” memory reflects off his glasses emphasizing its power on him. Then he flips the page. An image of him with his best friends, Ron (Rupert Grint) and Hermione (Emma Watson), takes center page. But unlike his previous reaction, there seems to be less of a longing here; the image isn’t reflected off his glasses and his reaction is more muted. Why the distance towards his friends? Given the adventures the trio shared during their first year at Hogwarts, the difference in temperament is even more pronounced.

Suddenly, Hedwig, Harry’s owl, starts to fidget in its cage, causing quite a ruckus. Harry tries to calm her down and explains that her entrapment is his extended family’s decision and not his. Harry may not be stuck in a cup-board any longer, but his connection to the magical world which sustains him is limited and constrained; the Dursley’s might not have been able to stop him from going to Hogwarts but they certainly won’t let him mention it or anything related to it.

Hedwig’s outburst doesn’t go unnoticed and Vernon (Richard Griffiths) calls Harry downstairs regarding it. He goes downstairs where Vernon, Petunia (Fiona Shaw), and Dudley (Harry Melling) await. Vernon reminds Harry that the night is crucial to Vernon’s success; he’s hosting his boss for dinner and requires that Harry to remain completely silent – out of sight and out of mind – until said company has left. Outbursts like Hedgwig’s are unacceptable. Harry attempts to barter; if Hedgwig only had some time to fly free, she would be less agitated and noisy. But the Dursley’s push back and claim that Harry would such opportunity to reach out to his friends. Harry sadly notes that he has received no messages from any of his friends so sending anything back to them shouldn’t be a concern. His detachment when viewing the earlier photograph becomes clearer; he feels isolated and forgotten.

He trudges back up to his room, condemned to a night of silence but comes upon a creature on his bed; the creature introduces himself as Dobby, a house-elf assigned to a wizard family to serve as their magical servant. Dobby warns Harry that nefarious events will take place at Hogwarts for the upcoming year and urges the young wizard to take the year off and stay home. But Harry pushes back; he mentions that his home is no home at all and that he needs to see his friends.

Dobby retorts that Harry’s friends are no friends at all if they don’t even write the young wizard. Alas, the information gives the house-elf away. Harry questions how Dobby would know such information; Harry had only explained as much to his extended family a few moments earlier. Sheepishly, Dobby reveals a host of letters from Ron and Hermione and explains that he intercepted and hid the letters in hopes that isolation would cause Harry to lose interest in Hogwarts. Understandably, Harry gets irritated and makes a grab for the letters.

Harry( Daniel Radcliffe) exchange words.

But Dobby escapes and runs downstairs to where Vernon and company sit. Harry freezes. Dobby realizes the stakes and offers Harry a deal: stay at home and agree to not go to Hogwarts or watch as the desert Petunia made for the evening drops on one of the guest’s heads. Harry pleads but Dobby doesn’t relent and casts a spell with a snap of his fingers; the cake starts to float up and moves towards the guests. Harry tries to catch the cake before it falls but instead ends up getting incriminated for the incident as the desert falls right as his hands get around it.

Unsparingly, Vernon does not take the debacle well and places additional bars around Harry’s room. Forget going to Hogwarts. Harry is no longer even allowed outside and is kept prisoner in the Dursley household; his room is little more than a jail-cell.

Ron (Rupert Grint) comes to break Harry out of his prison-styled room.

Thankfully, Ron and his brothers make their appearance to break Harry out in their flying car. They latch the bars onto the enchanted vehicle and rip them off. The disturbance wakes the Dursleys who burst in and try and stop Harry; Vernon grabs his nephew’s legs as the latter gets into the car, but he’s unable to maintain his grasp and falls onto some shrubbery as the car flies away. Harry and company make way to the Weasley household where the former is completely entranced by the difference between Wizard and non-Wizard life. Pots and pans clean themselves while needles knit clothes without any help. It’s a house of utter magic. Finally, Harry feels at home.

Harry (Daniel Radcliffe) uses Floo Powder.

He gets acquainted with the rest of the Weasley’s and sets out to Diagon Alley with the group. However, as a wizarding family, the Weasley’s travel to the location not by normal means of transport but by Floo Powder, a substance which when used in a fireplace can transport a user to a fireplace at a named location. Ron demonstrates the method of transportation before Harry is told to have a go at it. But a mispronunciation on Harry’s part has him landing in a different location, Knockturn Alley, an environment which exudes a dark malevolence in contrast to Diagon Alley’s warmth. As Harry is accosted by dodgy folks looking to take advantage of a young, lost wizard, Hagrid (Robbie Coltrane) shows up and helps him out.

Harry is led to Diagon Alley where he meets Hermione. Just like she did in The Sorcerer’s Stone, Hermione casts a spell to fix Harry’s glasses before taking him to the bookstore where the Weasley’s wait. However, Harry’s fame has only grown since his first foray into the wizarding world and he’s recognized by Gilderoy Lockhart (Kenneth Branagh), an up-and-coming author, who capitalizes on the opportunity to do a photo-op with the young wizard. Suddenly, Harry is rushed forward and forced to become part of a publicity stunt he wants no part in.

Lucius (Jason Isaacs) confronts Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) as they leave the store.

As Harry tries to exit the store, he’s accosted by Draco (Tom Felton) and Draco’s father, Lucius (Jason Isaacs), who both notice him due to the unwanted attention from earlier. Once again, Harry is rendered an object of interest as the elder Malfoy exhibits a great curiosity in Harry given the latter’s role in exterminating the Dark Lord; Lucius lurches forward and examines Harry’s scar – the proof of the aforementioned exchange. The camera tilts as Lucius leans inward; the fascination with the mark of darkness is a sign of dark things to come. The confrontation dissipates and the parties make their respective ways.

Unfortunately, Harry’s trials and tribulations are only starting, and he finds himself caught in a web of deceit and mystery from the moment he makes his way back to school. As history starts to repeat at Hogwarts, Harry finds himself tasked with not only getting to the bottom of the school’s past but his own as well, all while dealing with a maze of ever-shifting allegiances that will have him questioning who’s really friend or foe. Just from it’s opening, it’s clear that this second installment in the Harry Potter franchise is darker, richer, and more thoroughly consistent than what came before.

In many ways the start of the film mirrors the way The Sorcerer’s Stone picks up. In both films, Harry is locked away by the Dursleys, he’s saved by a magical ally from his past, he’s taken to Diagon Alley where his past is commented on, and he even gets his glasses fixed by Hermione. But far from being emulation, The Chamber of Secrets embellishes each of these moments with a connective tissue that enriches the piece as a whole; the mystery driving the story rarely takes a backseat which gives the narrative a cohesive feeling. This is why the film can adopt the same slice-of-life approach as its predecessor, chronicling different sections of Harry and his peers’ lives over the school-year, without feeling as disjointed. The threads behind the mystery are set up from the very start of the story, so there’s a throughline to hang onto even when the pace it feels like its lagging.

Fluffy looms over Ron (Rupert Grind), Hermione (Emma Watson), and Harry (Daniel Radcliffe).

Director Chris Columbus also improves upon the overall look of Hogwarts with much improved CGI that makes the magical encounters feel far more authentic. If Dobby wasn’t enough proof, there are multiple CGI creatures that interact with the cast in believable fashion. This impact can be felt most prominently in the third act when all the different elements come together in thunderous fashion.

This is exactly what a sequel should do: build upon what came before without undermining it. If The Sorcerer’s Stone established that a world of magic could exist hidden under the world we know, then The Chamber of Secrets explores just what such a division would engender. If the Dursley’s are Muggles ^[1] The in-universe term for non-magic persons. who abhor wizards, then their magical opposites must also exist: wizards who detest Muggles. With parties on both sides aware of the other, the mechanisms governing the worlds, both in relation to one another and internally within themselves, are intricate, and Harry is just starting to scrape the surface of what lies beneath.

REPORT CARD

TLDR	Harry Potter and the Chamber of Secrets expands on the magical world of Harry Potter in great fashion, delving into the backgrounds and darker underpinnings of Hogwarts as an institution. Director Chris Columbus improves on the original film’s formula with a tighter ,darker script and much better CGI/practical effect incorporation. It’s a more engrossing journey from start to finish.
Rating	8.6/10
Grade	B+

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2020s, 2021, Action, Adventure, B+, Fantasy, Grade, Marvel, Past, Review, review-movie, Science Fiction, Superhero, Year

Film Review: Spider-Man: No Way Home – 2021

December 19, 2021 The Critic Leave a comment

Director(s)	Jon Watts
Principal Cast	Tom Holland as Peter Parker / Spider-Man Zendaya as MJ Benedict Cumberbatch as Dr. Stephen Strange Jacob Batalon as Ned Marisa Tomei as May Parker
Release Date	2021
Language(s)	English
Running Time	148 minutes
Report Card	Click to go to Review TLDR/Summary

Note: This review contains spoilers for: Spider-Man: Far From Home .

NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.

While the title credits start, Quentin Beck/Mysterio’s message from the end of Spider-Man: Far From Home begins to play. Spider-Man is framed as Beck’s murderer and the hero’s identity is revealed to be none other than Peter Parker (Tom Holland). This is where the credits stop and the film proper begins.

Peter takes MJ (Zendaya) on a journey through the city in an attempt to escape the citizens of New York who assail him as he web-slings around. Helicopters follow the couple, capturing footage which is broadcasted on news channels. He’s the new hot topic, and try as he may, he finds himself unable to lose the throng of people following him.

The effects of Beck’s message leave an lingering impact on Peter’s life. Far from just being the target of public scrutiny and distrust, Peter’s family and friends get similarly targeted – guilt by association. MJ and Ned (Jacob Batalon) suffer the biggest impact as colleges show no interest in accepting cohorts of Spider-Man, especially with public backlash against the hero at an all time-high.

Consequently, Peter goes to Dr.Strange (Benedict Cumberbatch) in the hopes that a magical solution to his identity problem is possible. Strange mentions that a such a spell exists and can work, but while he casts it, Peter constantly interrupts and tries to carve out exceptions to it. His inability to make prudent decisions causes the spell to explode; far from containing the problem, Peter’s indecisiveness causes a ripple effect that spreads far wider than the duo could have ever imagined. Now the very threads of the universe threaten to unravel lest Peter figures out a way to resolve the effects of the botched spell, learning what it means to truly be “Spider-Man.”

If Spider-Man: Into the Spider-Verse is a love letter to Spider-Man as a franchise then this third entry in the Marvel’s Spider-Man trilogy is a love letter to the Spider-Man cinematic legacy, touching on themes, motifs, and even characters that have come before the M.C.U(Marvel Cinematic Universe) came into play. In this sense, the film should please ardent fans of the cinematic web-slinging hero, as Tom Holland’s Peter Parker is finally pushed to the darker, more foreboding places that his forbearers were made to handle. Far from just casual references to the previous Spider-Man franchises, No Way Home relishes in the mythos established in the two former incarnations of Spider-Man world and finds a way to incorporate elements of both worlds seamlessly into the world and logic of the already established M.C.U.

Unfortunately, the strong reliance on elements from other films undermines the strength of No Way Home’s personal identity. Unlike Spider-Man: Into the Spider-Verse, No Way Home uses homage as a way to drive the plot as opposed to using it to accentuate the decisions the plot ventures towards. As a result, those not familiar with or not as invested in the cinematic lore of Spider-Man will find many of the emotional moments lacking because the set-up for them happens in another film.

These issues bleed into the pacing and emotional structure of the narrative. On one hand, the film wants to be serious and morose, pushing Peter closer to adulthood by having him face serious, daunting challenges. On the other hand, the film wants to relish and celebrate its cinematic references. At times these threads support one another. At many other times they end up undermining one another; in particular, the comedic nature and timing of some of the references makes potential emotional gut-punches far less meaningful than they need to be. This is not to say the story is ineffective or unenjoyable. Peter’s journey is well-earned and his progression from start to finish is satisfying, especially in the context of the MCU’s Spider-Man trilogy. It’s just that the journey doesn’t feel like its greater than the sum of its parts.

This is probably the biggest issue with the film as a whole. While multiple scenes and moments are entertaining, there’s never an constant energy that sustains itself for more than a scene or two. This means that while the film never lags, it also never feels completely consistent within itself. There are moments of utter brilliance; Peter’s spider-sense starts to tingle and the sound fades out akin to a horror movie as he tries to determine what’s setting it off. It’s a fantastic use of sound that plays with audience expectations while adding to the story. However, there are also moments of straight-forward tedium, like the final battle which is chock-full of CGI, some great and some not-so-great, and decent, but not memorable action choreography.

The result is a film that should satisfy fans of the character and of the franchise, producing a greater sense of catharsis based on how much one is invested in the same. Those fans who have enjoyed previous incarnations of Spider-Man will absolutely enjoy the plethora of references and the way this incarnation of Spider-Man is made to tackle the same. However, those viewers that don’t enjoy the previous incarnations of the M.C.U Spider-Man films and don’t particularly care for the mythos of the character will find very little here to distinguish the film from others.

REPORT CARD

TLDR	Spider-Man: No Way Home is a movie where your mileage will vary based on your investment in not only in the MCU’s incarnation of Spider-Man but also in the mythos of the Spider-Man cinematic franchises; the movie takes homage to the point of narrative and uses the trials and tribulations of what came before to push its incarnation of Spider-Man to becoming a more mature, adult hero. Because so much of the movie is contingent on the above, those who aren’t as invested in the same will find very little here to latch onto. However, fans of the above will find themselves in completely rapture at the levels of integrated fan-service on display.
Rating	8.1/10
Grade	B

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2010s, 2018, Action, Adventure, Animation, Anime, B+, Fantasy, Grade, Past, Review, review-movie, Science Fiction, Superhero, Year

Film Review: My Hero Academia: Two Heroes – 2018

December 5, 2021 The Critic Leave a comment

Director(s)	Kenji Nagasaki
Principal Cast	Daiki Yamashita as Izuku/Deku Kenta Miyake as Toshio/All Might Katsuhisa Namase as David Shield Mirai Shida as Melissa Shield
Release Date	2018
Language(s)	Japanese
Running Time	97 minutes
Report Card	Click to go to Review TLDR/Summary

A bald eagle soars through the skies in majestic fashion as a triumphant score plays in the background. The camera latches onto the winged creature which darts throughout the clouds; it’s revealed that in the shadows of eagle lay another. The two boards soar upwards to the bright, shining sun.

We cut to a establishing shot of a sign for “Casino King”. The bright lights and colors of the sign hearken back to the sun, but this peace is quickly interrupted by an explosion; the rising score dissipates as two villains make their way out of the casino. They rampage through the streets and cause havoc at every turn. A family cowers in their car as the villainous duo jumps above the vehicle and threatens to crush it. But the blinding rays of the sun peer through the corner and the evildoers are blown away by a punch from a young, confident man who assures the family that there’s nothing to fear. This man, Toshio, is the superhero All-Might and he’s here to protect the day with a smile on his face.

Suddenly, the ominous score becomes amped and rock-and-roll styled as All-Might addresses the villains; he’s taken charge of the situation. The villains refuse to give up and shoot missiles at the hero in an effort to incapacitate him, but their efforts are doomed to failure. All-Might generates bursts of wind from his punches which knock the missiles away. However, the missiles turn out to be nothing more than a distraction to let the villains escape.

Thankfully, a high-tech, red sports-car enters the scene. Like the two eagles there are two heroes, one lying in the “wings” of the other waiting to be let loose. The driver, All-Might’s accomplice Dave, calls out to All-Might who then joins him in the vehicle to chase down the dastardly duo. All Might leaps from the car and soars towards the duo, flying through the sky in his newly adorned super-hero outfit complete with cape. While he bashes the criminals, Dave looks up and smiles. It’s clear that he sees a bright, future where justice is possible when he looks at All-Might high in the sky illuminated by the sun.

This heroic vision is revealed to be a dream, a memory of the past that the present emaciated All-Might is thinking about fondly. He’s woken from his daydream by Izuku, his protégé, who excitedly calls attention to I-Island, a floating mechanical island in the ocean. The island is world-renowned for being impenetrable by villains due to its security system which rivals even the most famous prisons. It’s revealed that All-Might has been invited to the island for a special event: a surprise visit to Dave set-up by the latter’s daughter, Melissa.

It’s at this point that Izuku gives a quick run-down of the status quo, providing newcomers to the franchise a context by which to evaluate the story to come^[1]While I wouldn’t personally do the same, the nature of the film makes it a fine introduction to show to those persons nervous about investing in the more expansive series proper. This … Continue reading Many humans are now born with “quirks”, supernatural abilities which allow them to perform a variety of extraordinary tasks. Some use their quirks for the sake of the public good like All Might; they are heroes. Others use their quirks for the sake of their selfish desires; they are villains. Although All-Might has been able to serve as symbol of peace for decades in Japan, reducing the crime statistics by many-folds, an injury inflicted on him by his arch-rival has rendered him capable of only using his power for a few hours a day. Unable to achieve the same effect as he was able to do at his prime, All-Might chooses to transfer his quirk, “One For All”, to Izuku, selecting the young man as the flag-bearer of hope for a new generation.

All Might is surrounded by the people of I-Island who cheer and applaud him.

With the introduction finished, the teacher-student pair finally make it down to the island. All-Might activates the remnants of his quirk left over post-transfer so as to preserve his appearance as symbol of peace and heads out to face the public who quickly crowds and celebrates the world-renowned hero. Once the crowd disperses, All-Might takes his student aside and warns the latter that Dave knows nothing of his condition or the transfer. He asks Izuku to keep such discussion under wraps so as to not compromise Dave; those armed with the knowledge of All-Might’s actual condition are at risk for being targeted by nefarious forces who seek to gain leverage on the hero. Unfortunately, the peaceful visit is compromised as a group is revealed to be overlooking the island from the cover of the shadows. Far from being impenetrable, it seems that evil-doers have found a way to infiltrate the safe haven.

For fans of the franchise, the set-up feels familiar. Our heroes are placed in a seemingly safe location, but trouble waits for them at unsuspecting corners. However, conventional does not mean boring, and the film never cheapens out when it comes to telling its tale. Director Kenji Nagasaki, who is also in charge of directing the animated series proper, treats the film with the same respect as he does with the anime itself, giving what would otherwise be nothing more than generic fan-fare an identity which helps it feel like a natural part of the franchise as opposed to cash grab like so many other “non-canon”^[2] By non-canon, I mean non-canonical story material that is not based on the original manga by Kōhei Horikoshi. anime-offshoot movies.

The new characters, primarily Melissa and Dave, along with the background of I-Island blend in naturally with My Hero Academia’s established milieu. Ideas from the canonical story, like the role of hero-assistance technology, get expanded in ways that the franchise has not explored previously without feeling discordant with what came before. Consequently, even though the film’s story beats are predictable, the manner in which they’re presented keeps them compelling for viewers. You can feel the difference in the film’s budget versus an episode of the anime during the action sequences which are rendered with such astounding detail that even simplistic punches feel heavy with impact.

Where the movie falters is in its primary antagonist who definitely fits the villain-of-the-week archetype. While the antagonist’s role in the narrative checks the requisite boxes, their background and characterization feel like a miss given the themes the film seeks to explore. From the introduction, it’s apparent that All-Might’s status as the symbol of peace is necessary to keep crime at bay. His inability to do the same is the reason he’s passed on his quirk to Deku. The latter must play the same role as symbol and as deterrent. However, until Deku is capable of harnessing “One For All ” as well as All Might, the latter must maintain his appearance. If the symbol of peace was to disappear, criminals would rein.

At a certain level, the film demonstrates that fidelity to such an idea, noble as it seems, places the onus for justice exclusively on the backs of one entity. If only one point in a system offers security, then that point being compromised can jeopardize the entire system. In this sense, I-Island’s status analogous to All-Might’s; it’s a beacon of security that provides a sense of stability. But as we know, that sense of security is nothing more than a façade; while the island’s inhabitants walk around jubilantly, villains lurk in the background waiting to wreak havoc. Just like All-Might’s power, the island can only handle so many issues and reaches a breaking point when its impenetrability is penetrated. Thus, the source of peace becomes the point at which it can break down. The question then becomes how one can establish a sustaining peace.

Unfortunately, while the film initially explores the way such ideas can become perverted and turned on their heads, it throws away said discussion in favor of a generic final antagonist who is evil because. Instead of using the final confrontation as a clash of ideologies, the film awkwardly sidesteps the discourse it sets up for a temporary battle and then lightly touches on those ideas in the aftermath . If 5-10 minutes spent on some of the smaller action set-pieces was alternatively utilized to prop up the antagonists’ ideological viewpoints, the final battle would have an emotional heft capable of matching the grandiose spectacle it sets out to present.

That being said, Two Heroes should offer more than enough for fans of the franchise. It may not push the boundaries as much as its premise allows, but it efficiently and adequately explores its ideas enough to give it a unique texture in relation to the franchise it’s based on. Other anime “original” movies based on globally popular franchises should take notes because this is how these films should be; they should offer vantage points to explore the franchise in manners the original source material can’t or doesn’t have the time to while retaining its own pace.

REPORT CARD

TLDR	My Hero Academia: Two Heroes breaks the mold for non-canonical anime films by taking itself as seriously as its source material. Every new idea explored in the film expands on threads from the franchise proper, making the transition from the series to the film seamless. While the film doesn’t explore its deconstruction of what heroism as much as I’d want, it should provide more than enough for fans of the series to digest.
Rating	B+
Grade	8.6/10

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2000s, 2001, Adventure, B+, Family, Fantasy, Grade, Harry Potter, Past, Review, review-movie, Year

Film Review: Harry Potter and the Sorcerer’s Stone – 2001

November 22, 2021 The Critic 1 Comment

Director(s)	Chris Columbus
Principal Cast	Daniel Radcliffe as Harry Potter Rupert Grint as Ron Weasley Emma Watson as Hermione Granger Robbie Coltrane as Rubeus Hagrid Richard Harris as Albus Dumbledore
Release Date	2001
Language(s)	English
Running Time	152 minutes
Report Card	Click to go to Review TLDR/Summary

An owl lands on a street sign for “Privet Drive”.

John William’s otherworldly score, the first track of many, introduces us to the magical world of Harry Potter right at the film’s start. The use of a celesta on top of traditional orchestral elements engenders a light mystical ambiance that informs us that we’re entering a world of intrigue and mystery, possibilities fully abound. While the score enchants, an owl, a creature whose flight is as feathery as the score playing, lands on a sign for Privet Drive. The camera turns from this creature to a man, Dumbledore (Richard Harris), who wanders towards the street.

He makes his way to the street proper and takes out a device from his robes which he promptly uses to capture the literal light from the street-lamps illuminating the area. With the veil of darkness now concealing affairs, Dumbledore turns towards a cat whom he refers to as Professor McGonagall (Maggie Smith). In response, the camera pivots to the cat which transforms into a woman adorned in robe and hat much like Dumbledore. Already the viewer is warned that appearances do not correspond to an expected truth; everything is not what it seems.

As McGonagall and Dumbledore discuss the present affairs, a large bearded man, Hagrid (Robbie Coltrane), appears in a flying motorcycle and descends towards the duo. He hands Dumbledore a newborn infant, Harry. McGonagall implores with Dumbledore to reconsider his decision to leave Harry here at Privet Drive with the baby’s extended family, the Dursley’s, citing that said family, the Dursley’s, are awful “muggles” who would only make Harry’s life miserable. If the child was raised in the world of magic where the present adult trio came from, he would be treated as a celebrity of the highest order due to what he’s done. However, Dumbledore pushes back and indicates that Harry would be better off growing away from that level of fame until he’s ready; living with the only family he has left, even if they are terrible, is necessary.

The trio leaves Harry on the Dursley’s front door along with a letter made out to them explaining the nature of this new “delivery.” Dumbledore wishes the infant “Good Luck” as the camera begins in to push into the latter’s face; a lighting shaped scar on the child’s forehead begins to burst into a flash of light from which the title card appears. Suddenly, the title card disappears in another intense burst of light and the camera begins to pull out from a much older Harry’s(Daniel Radcliffe) scar.

Sharp knocking from his aunt Petunia (Fiona Shaw) along with an order to wake up interrupts his slumber, a slumber which is taking place in a cupboard underneath the staircases. It becomes quickly apparent that McGonagall’s assessment of the Dursley’s were correct as the location of Harry’s bedroom is far from the worst thing about his life. He tries to get out from the cupboard but is then shoved back in by his cousin, Dudley (Harry Melling) who seems to relish in bullying Harry.

Finally, Harry manages to make it to the kitchen where he’s immediately made to cook breakfast while his cousin is coddled by Petunia and her husband, Vernon (Richard Griffits). It’s Dudley’s birthday and celebrations are afoot; the family is set to go to the zoo as a result. But before they leave, Vernon pulls Harry aside and warns the latter to not engage in any “funny business” under threat of punishment. The nature of this business isn’t clarified. What exactly could Harry have done in the past to warrant such treatment?

Harry (Daniel Radcliffe) talks to a snake.

The answer becomes clear once the Dursley’s make it to the zoo with Harry in tow. The family stands in front of a snake who refuses to engage with them. Everyone sans Harry leaves. The young boy begins to speak to the snake before realizing the snake comprehends him. Cheerfully, Harry begins to question the snake before Dudley notices the now active serpent and rushes towards its enclosure, pushing Harry out of the way and to the floor. In rage-fueled retaliation, Harry stares at his cousin and suddenly the glass separating the latter from the snake disappears; Dudley falls into the snake’s enclosure and the snake escapes after thanking Harry. Petunia and Vernon rush over in obvious disbelief at the situation but notice Harry smiling at his cousin’s misfortune. Vernon stares back and it becomes apparent that “funny business” is nothing more than euphemism for “magic.” He punishes Harry for violating his orders and the days pass.

However, in spite of Vernon’s’ actions, it seems that “funny business” is here to stay. An owl drops a letter off for Harry with the same typescript as the one Dumbledore initially left at the film’s start. The letter is explicitly addressed to his abode: the cupboard underneath the staircase. Something magical is afoot.

Unfortunately, the letter is quickly grabbed from Harry by Vernon and company. They see the seal on the back and the front of the letter and deny Harry access to the same. But the letters don’t stop. Owls continue to flood Privet Drive as letters begin to appear at the household en masse, before eventually busting out of every seam and corner after enough time.

Vernon moves the family to a hut in the ocean.

Yet, Vernon persists. Instead of acquiescing and allowing Harry to read the letter and end the barrage, the head of the Dursley household upends the entire family to a remote island in the middle of nowhere. The new abode is so small and unkempt that Dudley doesn’t’ even have a proper and is made to sleep on the couch. Harry fares ever worse, being treated to nights on the sandy floor. He draws an outline of a birthday cake in the sand and wishes himself a “Happy Birthday”; Given what we know of the Dursley’s, it’s clear why his celebration is solitary.

As he blows out the candles of his sand cake, the door to the abode bursts open and Hagrid, the person responsible for bringing Harry to the Dursley’s to begin with, enters. He asks for Harry and hands the young boy not only a cake, the first birthday cake of his life, but also a copy of the letter that Vernon and Petunia upended their lives to stop him from receiving. From the letter, Harry learns he’s a wizard who has been accepted to Hogwarts, a school for witchcraft and wizardry whose headmaster is none other than Dumbledore. More importantly, Harry finally learns the truth about his lineage. Hagrid informs the young wizard-to-be that the latter’s parents were murdered, a sharp contrast to the Dursley’s version of the story which explained away Harry’s parents’ deaths as a result of a large car crash.

Quirrell (Ian Hart) greets Harry (Daniel Radcliffe) in the Leaky Cauldron.

Why Dumbledore would leave Harry in such an area where his identity and lineage are disrespected so heavily is still up to question, but thankfully the abuse is made to stop. Hagrid forcefully informs the Dursley’s that Harry will be going to Hogwarts with or without their permission and ferries the young boy away from the area. The duo makes their way to a pub filled with witches and wizards. It’s here that McGonagall’s words from earlier become realizes. The crowd within the bar looks at awe upon Harry upon learning of his presence. Hosts of peoples come to him, praising and congratulating him for something, the nature of which is unknown. It’s clear that he’s a hero to them even if he doesn’t know why.

Once the crowd dissipates, Hagrid leads Harry to an unsuspecting brick wall which the former promptly taps with his umbrella qua wand. In response, the bricks start to magically re-arrange themselves, opening a pathway to a whole new world hiding behind the seemingly normal façade: Diagon Alley. With a new domain open to them, the duo proceeds into the wizarding world to get Harry his respective school-materials before the semester at Hogwarts starts. Once there, Harry is able to earnestly find out not only about himself but also the mysterious circumstances surrounding his parents’ deaths.

It’s at Hogwarts, where the rest of the film takes place, that director Chris Columbus is able to showcase the magical world of Harry Potter and the Sorcerer’s Stone in all its glory. Portraits which move and talk to students, spells which levitate objects, ghosts which pass from tables, and wonderous feast that appear from nowhere are only a few of the normal occurrences which fill the halls of the wizarding school. A standout sequence involves Quidditch, a sport played in the Wizarding world with the use of flying brooms and magical balls which plays like a mix of rugby and football/soccer. The camera dips, dives, ducks, and swings around the field as two teams try and score points on another, conveying a sense of flight and freedom that makes the games played as intense, if not more intense than any such equivalent we’re privy to. Though some of the CGI used to bring these wonders to life has aged poorly, the depiction of the otherworldly events of the film manages to capture the vitality and intrigue described in the novel by J.K. Rowling which serves as the film’s source material.

Unfortunately, the film’s dedication to Rowling’s novel renders its narrative as contrived as its source material’s. Like the book, the film adopts a fragmented approach towards telling Harry’s day-to-day life at Hogwarts. We see him attending a few classes, going to a Quidditch game, and hanging out with his friends, but in spite of this, it’s unclear what a week-to-week, let alone a day-to-day schedule looks like for him or other students. Consequently, it’s difficult to evaluate what Harry or his companions, Ron (Rupert Grint) and Hermione (Emma Watson), have learned and to what effect they’ve mastered the same; when they proceed to resolve obstacles in the latter portion of the film, the gravity of what they’re doing is lost because there’s a discord between the stated severity of their trials and the seeming ease of the solutions they employ to solve them.

Thankfully, just like the book, the film’s heart and warm spirit makes up for narrative misgivings; after all, the story isn’t renowned for it’s narrative intricacy but rather for its commitment to telling a passionate and humane story capable of engendering a renewed sense of wonder. In this sense, the film excels no small part due to the acting efforts of the adult cast who are firing on all cylinders here; each of them knows precisely how far they can take it without going so far as to be a caricature. They also enable the younger set of child actors, many of whom are still finding their footing on the big screen, to rise to the occasion during heftier moments such as to achieve a nice emotional resonance as the film reaches its fantastical climax.

REPORT CARD

TLDR	Chris Columbus’s direction, Rowling’s novel, and John Williams’s iconic score combine in fantastic fashion in Harry Potter and the Sorcerer’s Stone, a tale about a boy who finds out he’s a wizard and seeks to uncover the murky tales regarding his lineage and past. Even though some of the CGI doesn’t hold up in the status quo, the commitment towards maintaining the book’s vision is present from start to finish. This is a hefty story and it manages to captivate the audience in the world it presents in spite of its occasional narrative stumbles.
Rating	8.3/10
Grade	B+

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2020s, 2021, Action, Adventure, B+, Drama, Epic, Fantasy, Grade, Marvel, Past, Review, review-movie, romance, Science Fiction, Superhero, Year

Film Review: Eternals – 2021

November 10, 2021 The Critic Leave a comment

Director(s)	Chloé Zhao
Principal Cast	Gemma Chan as Sersi Richard Madden as Ikaris Salma Hayek as Ajak Lia McHugh as Sprite Kumail Nanjiani as Kingo Barry Keoghan as Druig Lauren Ridloff as Makkari Don Lee as Gilgamesh Angelina Jolie as Thena Brian Tyree Henry as Phastos
Release Date	2021
Language(s)	English
Running Time	157 minutes
Report Card	Click to go to Review TLDR/Summary

A text crawl informs us that a Celestial, a deity like figure, named Arishem, has created 10 Eternals – Ajak(Salma Hayek), Ikaris (Richard Madden), Sersi(Gemma Chan), Sprite(Lia McHugh), Kingo (Kumail Nanjiani), Druig (Barry Keoghan), Makkari (Lauren Ridloff), Gilgamesh (Don Lee), Thena (Angelina Jolie), and Phastos (Brian Tyree Henry) – for the purpose of eradicating Deviants, malevolent creatures which seek to eradicate intelligent life in the universe. While the Eternals are tasked with protecting sentient beings from Deviant devastation, they are prohibited from intervening in those beings’ affairs in any other manner. Doing otherwise would be tantamount to sacrilege, a violation against the will of Arishem.

This will is interpreted by the group’s leader, Ajak, who serves as the liason between the Eternals and Arishem. An orb embedded within her body functions as both a transportation and communication mechanism with the Celestial. The device flies from her chest and opens a cosmic portal which seamlessly transports her to wherever Arishem resides, bridging space and time between the two figures. Her frame is dwarfed by the red giant which exudes power and exemplifies a scale the Marvel Universe hasn’t seen on the big screens since Dr.Strange. This bridging sequence is repeated as Arishem continues to deliver orders at key intervals throughout time.

Being the group’s intermediary with Arishem, the others come to Ajak for guidance, treating her as both a stand-in for the Celestial himself and a mother-figure. However, in spite of her guarantee that the group’s actions are in line with their given purpose, many of the Eternals begins to lose faith in what they’re doing, especially once the messages from Arishem stop coming in. With no explanations or timeline for absolution, the group finds the task of protecting the humans becoming more emotionally taxing. Because they’re forced to take care of and nurture humanity, many of the Eternals come to love their wards. Consequently, they experience great existential confusion when they’re forced to wait on the side and watch the species tear itself apart at one moment and then save it at the next.

Eventually, the toll becomes too much and Druig, an Eternal with the ability to control minds, questions Ajak on why he can use his powers to save humans from untimely demise by Deviants but can’t use his powers to stop needless infighting between groups of humans, whether it be in the form of genocides or wars. Instead of ascertaining and soothing his sense of dread and sorrow, Ajak reiterates that the will of Arishem deems non-interference for all non-Deviant related matters and is the guiding principle behind the group’s purpose for being. Clearly unsatisfied with the answer, Druig sets off which prompts Ajak to break the group apart momentarily. With all visible Deviant threats apparently gone, she tells the family of immortal, ageless beings to find a purpose to their lives, a meaning to supplant the gap induced by the disjunction between Arishem’s command and the reality they live in. It’s at this point the group splits up, going forth in their own unique ways to determine what exactly their orientation towards humanity should be.

Flash forward and the film cuts to present time. Sprite, Sersi, and the latter’s human boyfriend, Dane (Kit Harrington), find themselves under attack by a newfound Deviant. Unlike the creatures they fought in the past, this one seems particularly clever and doesn’t fall for the Eternal duo’s usual battle tactics. Thankfully, Ikaris, the strongest fighter in the group, shows up at the nick of time and chases the chimera-like monster off after finding himself unable to thwart it in combat. With a newfound threat found, Sersi and co. team up to go and gather the crew back together to fulfill their purported reason for creation.

Given it’s set-up, it’s easy to forgot that Eternals is the 26th entry in the Marvel Cinematic Universe (M.C.U). The text crawl, on top of being the franchise’s first, makes no over mention to previous ideas or entities in the franchise, and by and large, outside of a few references to the Avengers and Thanos, the movie operates similarly, presenting itself in such a fashion that even those unfamiliar with the franchise can jump into this movie. In this way, the film’s status as a Genesis story of kinds gives it a markedly new starting point to jump off and explore from.

Unfortunately, the M.C.U doesn’t want to let Eternals forget where it came from and it’s in this disjunction the problem lies. On one hand, the story wants to be a moody, existential cosmic drama in the vein of Cloud Atlas that explores the nuance of how relationships and sense of identity permeate and inform one another over space and time. On the other hand, the story is forced to fit into the patented Marvel formula, complete with hollow, formulaic one-liners that elicit momentary laughs while adding nothing to character or narrative and action set-pieces that feel tired and uninspired. The result is a decent, yet disappointing film that has individually great moments which don’t congeal in the way one would want.

This lack of inspiration is apparent in the the film’s structure which proceeds to become increasingly mundane as its patterns bear little of the creativity that the visual design of the film otherwise implies. Sersi’s road trip to finding the other Eternals follows a tired formula where the characters drive in present day towards a member of the group, and then the story cuts to a flashback of a previous historical epoch where everyone was together. There’s no thematic or narrative throughline connecting these moments together; their presentation order could change and the emotional beats of the film wouldn’t be altered all that much.

Decisions like these are a shame, because the content of the flashbacks and the story proper have more than enough in them to elicit emotional responses from the audience. Director Chloé Zhao, if anything, brings her sense of lighting and color to the film, creating fully immersive time periods that feel lived in and distinct from another. However, the creativity seen in the sets and world-building are completely absent from the way those worlds intermingle and bleed into another. By the time the third flashback cuts in, you start to question why the film wasn’t just told chronologically to begin with. The jump to the present so early on does very little when so most of the story and the emotional heft driving it lies in the past.

On that note, when the film jumps from the past to the present the first time, it uses the image of a knife to match the cuts. An ornate dagger that Sersi gave humanity centuries ago becomes a picture of the same object on her phone. It’s apparent that she’s taken the picture to document her connection and love of humanity; it persists just as strongly as the dagger exists. Her documenting obsession is even called out by Sprite, indicating that this is typical behavior for her.

In spite of this, no such cuts are ever utilized again. Instead of utilizing Sersi’s intimate connection with humanity and her desire to “snapshot” those moments via photographs as a way of delving into her and ,by association, the Eternals’ multifaceted relationship with people, the movie mentions the detail, shows it to us once, and then never broaches the subject again. Imagine if this picture-taking was extended as a motif to connect the flashbacks through the drive. Sersi sees or thinks about a connection to the past, pulls it up on her phone, and then the movie could cut to that time and place where the connection was first made. This would help demonstrate the way emotions carry over and change over time while explaining what exactly Sersi sees and envisions in people. Such details would do little to change the larger beats of the story, but they’re the kind of touches that help elevate pieces to the next level. W treats Sersi as its de-facto protagonist while absolutely squandering her ability to frame the story given her connection to the past.

While this explicit criticism sounds pedantic, the sentiment behind it is endemic of the movie. Because moments in the film are strung to one another without a gravitas befitting the subject matter, larger thematic movements and emotional beats lose the cathartic potential their existential narrative set-ups would entail. This means, while many of the individual components of the film are up to par, especially the visual design of the world and the characters proper, they don’t add up to something spectacular.

It’s a frustrating issue because the content of the film and its visual style are elements. Even though I would have preferred a mini-series to explore the characters and their respective relationships with one another, their mannerisms and interactions with one another are clear enough to get invested in their ultimate struggles. The cast is clearly enjoying themselves, bouncing off one another in a fashion that feels close and familial, even if the story’s structure doesn’t give them the time needed to give off the ranges their characters’ deserve.

Consequently, even though the last third of the film is highly derivative of previous Marvel movies, there’s more than enough to keep one invested in the impact of what’s going on. There are enough distinctive narrative choices leading up to the final confrontation that make it interesting to think about it thematically and, surprisingly, the action is some of the most cohesive and well-thought out in the franchise, both in terms of visual clarity and in regards to the characters’ powers and respective skill-sets. Even though some of the story threads are treated a bit too on the nose, the final way even thing wraps up is more than satisfying.

If Eternals is proof of anything, it’s that more experimentation is necessary, as the final script definitely feels like Zhao was forced to make choices she would not have otherwise. Nothing else would explain the discord in the film’s identity between trying to be a meditative art-house adjacent film and a superhero blockbuster meant to please the masses. The end result definitely leans towards the latter, but enough of the former shines through to give the movie a unique identity, that tantalizes the audience with a vision of what could’ve been while delivering good enough.

REPORT CARD

TLDR	Though its story beats don’t subvert expectations as expected, Eternals’ technical execution and presentation makes it well worth watching, especially for those fans looking for a bit more metaphysical heft in their superhero film. While the film definitely feels like studio executives took a few too many corrective measures, destroying the possibility for the film to truly push boundaries in a meaningful sense, director Chloé Zhao still manages to instill a humanity and photographic beauty that helps the movie stay fresh in the sea of its peers. If nothing else, the depiction of Celestials is something that any fans of the franchise should be excited about.
Rating	8.3/10
Grade	B+

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2010, 2010s, B+, Grade, Horror, mystery, Past, Review, review-movie, supernatural, Thriller, Year

Film Review: Insidious: Chapter 2 – 2013

October 9, 2021 The Critic Leave a comment

Director(s)	James Wan
Principal Cast	Patrick Wilson as Josh Lambert Rose Byrne as Renai Lambert Lin Shaye as Elise Rainier Ty Simpkins as Dalton Lambert Andrew Astor as Foster Lambert
Release Date	2013
Language(s)	English
Running Time	106 minutes
Report Card	Click to go Review TLDR/Summary

Note: This review contains spoilers for: Insidious.

Director James Wan’s sequel to Insidious opens in the past. A young Elise (Lindsay Seim) makes her initial visit to Lorraine (Jocelin Donahue) and Josh (Garrett Ryan) after being called as an additional line of help by her friend and fellow-psychic, Carl (Hank Harris ), who finds himself unable to deal with old woman spirit (Tom Fitzpatrick) haunting Josh. Elise hypnotizes Dalton to make him more suggestible and asks him to reveal information on the old woman. She searches the house in order to confront the malevolent entity. As the events of the night continue, Josh gets up and starts speaking to an entity who no one else can see, psychic gifts or otherwise. Josh leads the entity to a location in the house and points to the location at which point, due to his inexplicable behavior and the nature of the spirit, Elise recommends “sealing” his astral projection gifts away.

The bright red title card drops in as a sea of violent noises come to a crescendo. However, the malevolent color is displaced by a spectral blue that comes from the reveal of the “Chapter 2” in the title. A lantern similar to the ones used in the “further” goes across the title card, letting the viewer know that unlike the first film which had to tease the metaphysical, this film is more than ready to dive into supernatural hijinks.

Drawing to a close, the title sequence ends on a red door, and the camera glides through it and the dark void it opens to towards a faraway light in the distance. Eventually, the camera gets to the light, which turns out to be a lamp lighting a room where Renai (Rose Byrne) is being interrogated by a police officer over the death of Elise (Lin Shaye), an action which is revealed to the viewer at the end of Insidious as having been committed by a recently possessed Josh. Renai recalls finding Elise’s limp body and then finding the photograph of the old woman before running into an emotionally off Josh at the scene of the crime; her doubts were set then and have only continued to fester, but without definitive proof of her husband being possessed or just off, she has to learn to work with him . She confirms to the detective that she doesn’t think her husband is responsible for Elise’s death before going back home to continue dealing with the supernatural mess still wreaking havoc in the Lambert’s lives.

Chapter 2, as such, is split between telling two tales: the first follows the way the ‘Further’ intermingles and intervenes in the Lamberts life and the second explores the background of the spirit possessing Josh. While both stories inform and effect one another, the former is markedly more original and ambitious and gives the mechanics of the Insidious franchise a put-togetherness that other supernatural outings wish they could achieve. Comparatively, the latter story is contrived, not as tight, and plays like a series of lost opportunities, often settling for horror in the moment as opposed to building to larger moments of intense panic. While the nature of what’s revealed in this second narrative thread is “shocking” at a surface level, it does nothing to develop either the film’s themes or the themes of its prequel in nearly as effective a manner as the first narrative thread.

This first story takes the building blocks established in the first movie and expands on the metaphysical makeup of its supernatural domain: the ‘Further’, a place where circuits of desire are repeated while specters engage in the same acts over and over again in loop. This time the narrative focus is less on the domain itself and more on the the effects it has on the living world. It’s not the mechanics of the ‘Further’ which are explored as much as the way the domain intervenes in the world of the living, tying seemingly disparate moments together. Consequently, the film revels in building up scenes from one vantage point and then exploring them again from the other domain; the interplay between these jumps from the “real” world to the ‘Further’ and back again gives Wan an and scriptwriter Leigh Whannell more than enough space to explore creative spectral interplays.

Unfortunately, these mechanics are barely utilized to their fullest and are leveraged in service of the second story, which, while not being incompetently constructed, lacks the nuance or creativity of the first film. While the first story feels like an extension of the Lambert’s conflicts from the first film, the second story feels largely separated. The struggles depicted in the former have a texture and feeling because there’s a sense of empathy in the helplessness and nature of what’s going on, but the tribulations in the latter feel overly theatric and break the sense of immersion generated by the former. Realism takes a seat back to spectacle, and the themes get lost in translation, as the viewer focuses on terror for terrors sake as opposed to terror in serve of a larger thematic movement. As a result, visceral moments in the film shock when presented but don’t have the same staying power as the scenes from the initial Insidious which linger in the viewer’s memory long after.

This is a shame because the first story could have served as the basis for the investigation the second story ventured on if better attention was given to the nature of Josh’s possession. As a location, the ‘Further’ gives fertile ground to explore the way trauma unfurls. Like the first film demonstrates, spirits are trapped into cycles of repetition and are made to re-enact their trauma ad-infinitum. Seemingly unable to find peace, it seems that being a trapped within the ‘Further’ is a horrific fate that any entity would seek to escape, but the furthest the film goes towards exploring that idea, a great source of motivation which could have served as the basis of the second story’s mystery, is having a character mention the idea off-hand a few times. Instead of just saying it, the film could have built on this idea visually and tied it to the Lambert’s struggle to find a locus of healing and stability. Wan and his production team do a great job at evoking ethereal and inexplicable horror, but it feels like they barely scratched the surface of demonstrating the brutality of the material they’re working with, choosing instead to go for familiar and easy-to-explain over ambitious and potentially more confusing. For example, there’s a great set piece involving a host of covered bodies but by the end of the film the scene says very little besides “evil exists”. It’s just unsettling imagery that disturbs momentarily before being cast aside.

Thankfully, lack of memorable scares does not entail lack of memorable moments and Wan and Whannell still manage to leverage the better parts of the story to great effect, satisfyingly bringing the prequel’s story to a resolute close. There are a few hiccups getting to this ending, but eventually, when Chapter 2’s two story threads come together, the narrative proper is allowed to go full throttle towards an emotionally satisfying finish line that concludes (almost) all the relevant story threads on a nice ending point. While this sequel entry isn’t as strong a stand-alone as Wan’s initial foray in to the supernatural genre, it’s certainly a good enough follow-up that fans of the original should check it out. It does what all good sequels should attempt to do: extend the interesting ideas of the first movie without re-hashing them in boring fashion. Just because the film doesn’t elevate all the interesting ideas to their potential, it does more than enough to distinguish itself from and progress its prequel.

REPORT CARD

TLDR	Insidious: Chapter 2 is a film that serves up many of the same thrills of its prequel in terms of ambiance and technical construction, while bringing many plot threads to a neat and resolute end-point. While it settles for cheaper scares than its worldbuilding allows, thus squandering some of its potential, it delivers more than enough intrigue to keep fans of the original and those interested more broadly in supernatural horror and its related mechanics intrigued from start to finish. It may not nail all it’s beats, but it’s certainly a good deal more fun than many of its peers.
Rating	7.9/10
Grade	B

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2000s, 2008, Action, Adventure, B+, Grade, Marvel, Past, Review, review-movie, Science Fiction, Superhero, Year

Film Review: Iron Man – 2008

August 8, 2021 The Critic 1 Comment

Director(s)	Jon Favreau
Principal Cast	Robert Downey Jr.as Tony Stark Terrence Howard as James “Rhodey” Rhodes Gwyneth Paltrow as Virginia “Pepper” Potts Jeff Bridges as Obadiah Stane Shaun Toubas as Yinsen
Release Date	2008
Language(s)	English
Running Time	126 minutes
Report Card	Click to go to Review TLDR/Summary

We start in media res as Tony Stark( Robert Downey Jr.) , a billionaire inventor and weapons manufacturer, tries to ease the tension in a tank full nervous soldiers. His jovial and comedic décor feels as out of place in the vehicle as the presence of AC/DC’s “Back in Black” does playing in the soundscape of a barren wasteland (from a diegetic source at that: Tony’s personal radio); a rock and roll persona and sound trying to make their impact felt in a war-torn environment seems the perfect analogy for the story to come.

Tony’s presence breaks through to the soldiers who finally feel at ease with his celebrity behavior. A soldier asks to take a picture and puts up a peace sign to which Tony comments that it’s because of peace that he’s still in business; weapons in war are needed for eventual tranquility. The soldier puts up the peace sign for the picture at which point the convoy is ambushed, the soldiers are killed, and Tony experiences firsthand the devastation of his own weapons as one of his missiles lands near him, explodes, and sends shrapnel straight into his chest. A peace achieved through war imploding as peace breaks to war. Poetic.

The screen dissolves from the blinding hot sun Tony stares at while bleeding out to a lighting fixture. We cut to Tony being held hostage in a cave by terrorist figures. The title card drops and we go back in time 36 hours to when Tony was living the life we’d expect of a “genius, billionaire, playboy, philanthropist”. He misses a conference in his honor in lieu of gambling with groupies. He deflects criticism of his war profiteering with quips and flirtatious machinations. Any serious matter meets him and turns into something fun-filled and fantastic instead, but we know how his story will eventually go.

While the structure of the opening isn’t as ambitious as something like Nolan’s Batman Begins (which also starts in media res), but extends the layering of different timelines to more effectively demonstrate its protagonists core traits and paths forward for growth, it does a good enough job of keeping the audience enthused and invested in Tony’s journey. We know how Tony’s character traits have led him to where he is and as such can better appreciate and focus on his development through the film. It’s at this point we return to Tony in his current situation, trapped by a terrorist group who demands he make them the same weapons that he sells the United States.

Tony (Robert Downey Jr.) poses with a solider who puts up a peace sign.

With the help of another trapped scientist, Yinsen (Shaun Toubas), Tony manages to create and escape in an armored suit attached with a variety of weapons. It’s in this “iron man” suit that he escapes from the compound after setting it to flames. After an trek in the desert, he is found by the military. He puts up the peace sign again – the first time since he put it up jokingly with the soldier earlier- with a real understanding of the dark side of the price paid to achieve it and newfound mission : removing his companies weapons from the hands of criminals and terrorists.

Even though the story’s beats feels well-trodden now, they still manage to remain unique and captivating in an sea of Iron Man copy-cats (many of which are done by Marvel themselves). In some part, this is due to Iron Man’s successful lifting story elements from – and I don’t mean to beat a dead horse here – Batman Begins, which is in many ways the archetypal super-hero origin story. Executing the flashback start, a protagonist struggling to maintain a balance between their sense of duty and their humanity, and an antagonist set-up that operates on multiple layers in a way that’s compelling would already make Iron Man a fantastic mimicry with an interesting enough set of themes (namely the duplicity of the military industrial complex), but what pushes and sets it apart from both Batman Begins is its absolute commitment to making the human part of the story real. No character, from Tony’s friends to the man himself, comes off overly serious (Batman Begins) or overly campy (Batman & Robin). Instead each of them feels grounded and genuine, both in the way they carry themselves and the way they deal with Tony’s subsequent decisions.

It’s surprising then, to learn that the movie followed a very bare-bones script and required the actors and director Jon Favreau to improvise many scenes on the day of ^[1] Woerner, M. (2015, December 16). Jeff bridges Admits Iron Man movie had no script. Gizmodo. https://gizmodo.com/jeff-bridges-admits-iron-man-movie-had-no-script-5417310. You wouldn’t be able to infer based on the fluidity and cohesiveness that the actors are interacting with little planning which is a mark of praise for everyone involved. The end result is a movie where all the characters interact and come off of one another in a smooth non-manufactured way. The quips we’re used to now in Marvel movies feel far more authentic here because they naturally arise from the situation as opposed to feeling like an attempt at controlling our emotional response to the situation. It helps that in comparison to Tony almost every other character is quip-less which makes Tony’s zingers more prominent and distinct in comparison to the dialogue happening around him. The result is a movie where almost every character is one we can believe if not get behind allowing us to suspend our disbelief at the comic-book extremities and sip the superhero smoothie with ease.

In particular, the relationship between Tony and his secretary/love-interest, Pepper (Gwyneth Paltrow) propels the movie in a way that previous entries in the super-hero genre have felt lacking. The friendship between the two is established in the first flashback and lets us know that they have a long and storied history with each other and are aware of each others mannerisms. It’s clear there might be something there, but we know it won’t work because of Tony’s traits; he’s egoistical, unable to remember basic things (like Pepper’s birthday), and is focused on fully enjoying and embracing his status as billionaire playboy. The subtle nuances in their interactions are a result of both Downey Jr.’s and Paltrow’s fantastic ability to play off another – their chemistry feels palpable. The sense of progression he works on pursuing his new goals and begins to change, Pepper (and us the audience) and his relationship serves as a kind of barometer on his character growth.

Additionally, Tony’s growth is characterized by his suit in a literal sense. At the start of the movie, he is impaled by shards from a stolen missile of his. The weapon he made to stand for peace thus threatens to take that very peace away from him in every way. These shards are held at bay with an arc reactor he makes with Yinsen. This shining bright circle in the middle of Tony’s chest is the heart of his suit, powering the machine, is necessary in keeping his literal heart beating, and is the start of his first real human interaction in the form of Yinsen thereby representing a more metaphorical heart. He goes through a few reactor changes; each scene involving them is matched with a similar movement in his character – the fact that Pepper is so intimately involved with this motif in particular adds to Tony’s humanity as well, ultimately giving the movie it’s staying power in a sea of superhero movies.

Unfortunately, the thing holding the movie back from the highest echelon of the genre is how safe the movie plays with some of the unique elements it introduces. The start of the movie primes us to get ready for a rock infused score that coincides with Tony’s aura at the moment. I kept hoping that the music would continue as a motif; something like a different style of rock for different moods and progressions would have been interesting. Instead, the rock music is used sporadically and we hear a generic feeling score in the background ^[2]This shocked me given the composer is Ramin Djawadi whose Game of Thrones score I absolutely adore. I wish he could have captured more of the badass, independent, rocker vibe we get from the actual … Continue reading Likewise, the propulsive energy and clever plot development that defines the majority of the movie comes to a bit of a hiccup near the climax when the story decides to capitulate to cliché that it had no need to give in to. It’s not that the final clash is horrible or unsatisfying; there are clever callbacks littered through this sequence and the way it concludes is neat in the context of certain motifs. It just feels like it betrays possible clever ways out in favor of an option that’s totally unnecessary.

It’s a testament to the cast and crew that even over a decade into the Marvel franchise, Iron Man stands up as one of the better movies responsible for laying down an effective formula that the studio has been using in it’s movies ever since. The action scenes and many of the more “quiet”^[3] By quiet, I mean the slower suit transformation sequences that feature less action but still look awesome. digital effects scene still have that same wonderous (and now as time has passed, endearing) effect years later because their aim is to create the same propulsive feeling found in comic books proper. While it may no longer be as “shiny” as it once was, Iron Man is still a movie you can put on and have a great time with.

REPORT CARD

TLDR	Iron Man is proof that some gambles are worth taking. Though the movie started as an un-scripted grab-bag of ideas, the end result is anything but – feeling as slick as the Iron Man suit Tony Stark adorns. By focusing on creating an immersive and lived-in world from the geopolitical discussions to the nuanced way characters work off one another, Favreau and his team managed to create one of the most “humane” super movies. It may not be as flashy as some of the best in the genre, but it’s staying power stems from the heart feeling it generates. It’s simply a great time.
Rating	8.6/10
Grade	B+

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2010s, 2017, B+, found footage, Grade, Horror, psychological, Review, review-movie, Thriller, Year

Review: Creep 2

November 4, 2020 The Critic 1 Comment

Director(s)	Patrick Brice
Principal Cast	Mark Duplass as Aaron Desiree Akhavan as Sara Karan Soni as Dave Patrick Brice as Old Aaron
Release Date	2017
Language(s)	English
Running Time	80 minutes

Creep 2 starts after the events of Creep, with Mark Duplass’s character, now going by Aaron comforting his soon to be killed newly-made friend, Dave after the latter receives a baby Peachfuzz doll with a camera inside of it. After playing with his food for a short bit, Aaron kills Dave , but his face reflects a genuine state of sadness instead of elation at the completion of the bloody task. After the title card shows up , the movie cuts to Sara, an aspiring YouTuber, who meets with strangers on Craigslist and similar sites in an attempt to capture some interesting footage of potential weirdos. Clips from her episodes are shown and demonstrate that she’s interacted with a slew of lonely, alienated, and strange persons who all seem to convince her that strangers are harmless by and large. One of her early “clients” even shows her his baby Jaws shark figure with such elation that you’d think it was Aaron talking about Peachfuzz, setting up her future calm discussion with Aaron quite well.

One of the Sara’s (Desiree Akhavan) initial subjects on her web series Encounters talks about his Jaws 2 shark figure with the same fondness that Aaron gives to Peachfuzz.

With her online show, Encounters, not doing so well with the viewers (a point I think any content creator can relate to, myself included), she decides to respond to an strange and spooky request by Aaron against her better judgement in an attempt to give her channel the boost it needs. Once she gets to his place to inquire into the nature of the new job, she’s met with pure honesty from Aaron who describes himself as a serial killer. He slowly goes through his craft and the way it brought him joy before revealing that he’s recently run into a creative strut and wants to create a new and moving work. He takes inspiration from Francis Ford Coppola who he claims said, “I have not made an original film since The Conversation in 1974. I’m not sure I am capable of it, but I really wanna keep trying.” This statement by his cinematic hero breathes a new life into his creativity and like Coppola, he seeks to create something distinctly him in spite of his imaginative decline- a documentary.

In a lot of ways the movie reminds me of Behind the Mask: The Rise of Leslie Vernon, another movie that involves a serial killer getting a documentary made about his activities. But unlike that movie where every member of the documentary crew is aware of what the titular serial killer, Leslie, is capable of, Sara doesn’t take Aaron’s statements seriously. Sara and Aaron’s initial conversation is played 100% straight on the part of Aaron whose candid discussion of the macabre is 1 part funny and 2 parts terrifying. He discusses finding victims and ripping open their bodies as though its a task analogous to praying- it’s a normalized experience for him that used to give him a spiritual catharsis. Meanwhile, Sara responds calmly and normally, unperturbed by the absurdity of what her new client tells her. Her previous encounters have jaded her to the possibility that any of these conversations could be real, so she takes them as part of a delusion of sorts and just rolls with whatever Aaron says, eventually accepting Aaron’s request to film a documentary on his life to capture the essence of a true serial killer.

It’s a clever set up that solves a lot of the issues from the first movie – namely that Old Aaron had very little character depth by himself and only shined when interacting with Aaron (formerly Josef). Sara is a character that serves as a great foil to Aaron- both are creators, both are struggling to find meaning in their work, and both are hiding the real intentions behind what they’re asking of the other. The movie recognizes this and spends a decent amount of time on just Sara, giving the audience a reason to care about her and her deliberation process to understand her increasingly dangerous decisions. Meanwhile, the movie constantly plays with Aaron’s personality and history, giving him ample opportunity to provide a series of facts that may or may not be true. The name of the movie becomes trying to figure out who Aaron really is. What is his backstory actually about? Why does he do what he does? What is his actual end goal?

This characterization is where the movie shines because the presence of an equally strong agent in the form of Sara means Aaron has to change up his behavior and reveal more about himself. He doesn’t get to dictate every step of the plan because she pushes back and refuses to play his game the way he wants. Akhavan matches Duplass’s energy, move for move, never letting any of his eccentric movements or facial expressions unnerve her. She is a an absolute unit – stoic and unwilling to budge, exhibiting her desire to get the footage with facial expressions that exhibit a calmness to her body language which exudes control. Likewise Duplass turns up his manic energy from the original movie and acts like an absolute madlad , doubling down on his attempts at random jump scares and going so far as to scream maniacally at birds that threaten his frame composition.

Aaron (Mark Duplass) trying to get the perfect composition for his backstory reveal with the water meant to symbolize a Christ like connection. His arms are up to where he wishes the water would be and his frustration only increases as malicious bird screeches interrupt his every word.

Watching the two of them adapt to one another to gain an upper hand is enthralling, but the specter of disaster constantly looms in the background , because we as an audience do know what Aaron is capable of. We know he’s a murderer who’s can slit a throat at the ready. The movie reminds us of as much at the very start of it and then reminds us again with his eerie description of the joys he found in murdering. As a result watching Sara delve deeper into the game provides genuine tension – one, because we don’t know what Aaron is actually after and when he’s going to go for a kill and two, because Sara’s attempts to prod Aaron’s character further for her web show do irritate him and bring out genuine bursts of anger that make you think he’s going to off her on the spot.

In light of what we know about Aaron from the first movie, this second movie does a good job at fleshing out possible motivations and his profile overall. It’s a continuation of his character study and the amount of clues the movie gives about his motivations is present in every single detail. From the way he renames himself to his past victim, to the way he his initial victim in the movie reminds us of his victim in the first movie, to his obsession with framing shots in the documentary to reflect certain themes, the movie constantly gives the audience a treasure trove of clues to flesh out Aaron’s profile. One of my favorite moments happens in his initial job pitch to Sara, where he implies that the two of them need to see each other in the nude to do away with any strange power imbalances between them. As he strips down and she films him, you can see everything (genitals included). However, when she calls his bluff, strips down, and gives him the camera to film, he focuses on moving the camera and zooming in on just her face. It’s a small subtle moment that highlights what he may actually be after, but the movie is packed with moments like these so it’s definitely a fun one to think about.

On the left *Sara’s (Desiree Akhavan)* framing keeps Aaron’s (Mark Duplass) full body in view. When he drops the towel his entire frame is shown, genitals included. On the right is Aaron’s framing of Sara’s nude body. He zooms in and focuses on her face center frame, highlighting the difference in his motivations and desires. What those are is up to the audience to figure out.

Unfortunately, the upgrades to the character dynamics and exploration of their relationship comes at the cost of an ending that feels rushed and unsatisfying. One of the biggest strengths of the first movie is how the ending wrapped everything up succinctly and got under the skin by implying that the whole film had been filmed by Aaron, while confirming that he’s done the same many times. This ending does not feel nearly as neat and leaves the audience with a lot more questions than answers. The last few minutes make it certain that there is going to be a sequel, so I can only hope that a future Creep 3 makes well on the character study done here, but as someone who thinks movies should be as self contained as possible (sequel baiting annoys me on balance) the ending definitely feels like a let down. Does it mar my enjoyment of the amazing character interaction work done for the majority of the movie’s running time? No. But it does feel like a let down given how great everything before it was.

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TLDR	Creep 2 solves most of the issues from the previous installment by giving the titular serial killer a powerful partner to play off against, who simultaneously serves as a foil to him while being a potential victim. The story of a serial killer actively exposing himself to create a documentary to relocate a creative drive sounds funny (and it is), but the movie constantly interrupts these comedic moments with a genuine sense of dread. Though the ending doesn’t quite land as well as I want it too, everything that came before it is exemplary. There’s a lot to chew on here as the movie invites the audience to really try and figure out what makes Aaron tick, without ever revealing its full hand. Taken in consideration with the original movie, this is a great character study into an enigma turned serial killer. I can only hope the next installment in the franchise gives us more to think about and hopefully some actual answers.
Rating	8.9/10
Grade	B+

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