Category Archives: Year

1990s, 1992, Action, F, Fantasy, Grade, Horror, monster, Review, review-movie, Year

Film Review: Winterbeast – 1992

April 8, 2022 The Critic Leave a comment

Director(s)	Christopher Thies
Principal Cast	Tim Morgan as Whitman Mike Magri as Stillman Charles Majka as Charlie Bob Harlow as Mr. Sheldon
Release Date	1992
Language(s)	English
Running Time	77 minutes
Report Card	Click to go to Review TLDR/Summary

Whitman (Tim Morgan) stares at the disfigured man.

Sergeant Whitman gazes upon a person smiling on a chair. Despite being privy to the person’s face from the start of the scene, Whitman only reacts in aghast to the deformities on the person’s face when the film cuts to a face reveal for the audience. Out of nowhere, a stop-motion skeleton figure makes its appearance and we cut to Whitman reacting in an increased panic at the spectral entity; there is no effort made to incorporate both the live action and stop-motion visual into one scene and Whitman’s reaction is the only connective tissue letting the viewer know this is all taking place in the same environment. To add to the chaos, the deformed person starts to rip at his own flesh. This disturbing sequence is then revealed to be Whitman’s nightmare as he tosses and turns in bed.

However, instead of easing the viewer in to the story by showing the sleeping character, Whitman, waking up and confirming the vision before getting to their day-to-day, Winterbeast instead chooses to cut to another equally out-of-context nightmarish scene, this time of a skeletal creature coming out of another man’s stomach. Then, the story cuts to two completely different characters, Ranger Stillman (Mike Magri) and Dick (Bill MacLeod), providing the viewer no context by which to ground that which came previously. Whitman eventually shows up to the station and is informed by Stillman, who we learn works for the former, that Dick, an on-goer, found one of Whitman’s other rangers, Bradford (Lissa Breer), abandoned in the mountain and was unable to find another ranger, Tello (David Mica), accompanying her. The group makes plans to investigate the trail the next day.

Suddenly, the scene changes and we cut to a completely different woman. She gets undressed in her abode when another stop-motion creature, a large tree, enters the area she’s in. A slasher-styled P.O.V shot is used to show the creature approaching the woman. He reaches and grabs her from her room; the film opts to transform the woman into a stop-motion figure to keep visual consistency with the tree-monster. The monster then slams the woman’s body against the wall, seemingly killing her.

This haphazard cutting from and to scenes with whiplash-inducing changes in perspective are par for the course in Winterbeast, a fascinating movie that operates on pure kinetic momentum and nothing more. Continuity in narrative or within scenes matters less than entertaining at every stop along the way which is why the movie constantly meanders from point to point with a loose reverence for earlier narrative threads ; the focus is always getting to the next moment of violence, context be damned. The structure of the movie diverges very little from this opening structure: the characters gather information about, or seemingly about the disappearance and then a different stop-motion creature kills another character, usually unrelated to the story outside of their carnage candy role.

If there is a larger overarching plot, it’s about Whitman and company trying to circumvent a Jaws mayoral-like figure in the form of the town lodge’s owner, Mr. Sheldon (Bob Harlow), who refuses to close the lodge down despite the mystery surrounding the disappearance and the resulting supernatural phenomena. Unfortunately, while the plot synopsis seems like a springboard to jump off of, Winterbeast makes very little use of it. Nothing in the story is built up enough to generate an investment on the part of the viewer. The characters have very little to say to one another in the ways of motivation or traits, the different monsters/creatures that the story utilizes have no coherent overarching identity or relevant differentiable characteristics, and the acting is so far removed from the spectacle that it becomes impossible to care about what’s happening outside of sheer curiosity.

Whitman (Tim Morgan) and Charlie (Charles Majka) talk in a Natives decorated room.

There’s an attempt to couch the mystery within a Native Indian dressing that even goes so far as to suggest one of Whitman’s friend’s, Charlie (Charles Majka), is a stand-in for Natives within the context of the story, but then does nothing to explain or relate any of the violence or the mystery proper to the Natives outside of the most superficial sense of possible; they might as well not have been in the the movie at all which is a shame because the proximity to the Natives is one of the only consistent visuals in the mise-en-scène.

Without any genuine way to relate to the narrative, all the movie has going for it is the spectacle, and the quality of what it has to offer is inconsistent at best. Outside of the general incongruity resulting between treating the pure stop-motion scenes and the live action as part of the same environment, the sound design is severely disorienting. While the movie tries to use its soundtrack in the vein of Halloween to ratchet up the tension and create a feeling of the dread, it fails to evoke the slightest sense of unease ; because the track often noticeably cuts before looping back in on itself during longer scenes, any notion of tension immediately dissipates and the audio becomes farcical. This feeling is exacerbated by poor sound mixing; the score and/or background-noises like the wind or leaves become so loud as to obscure the dialogue or one another, culminating in scenes where the impact of any.

In spite of that, where director Christopher Theis and producer Mark Frizzell’s Winterbeast succeeds is in its sheer dedication to presenting a cinematic “something. Just like Obayashi does in House, they impart such passion to presenting a vision, albeit a vision that seems incomprehensible by most measures, that one can’t help get caught up in at least appreciating the effort. For all its issues, if there’s one thing Winterbeast is not it’s lacking in passion. Where other teams might see the inability to properly incorporate their stop-motion creatures with the live action nature of their shooting and subsequently can the creatures in lieu of something more tame, this movie opts for the full vision, no holds barred. If the people and monsters can’t mingle directly, then P.O.V shots and stop-motion people will have to suffice; it’s better than fully compromising on the spectacle of what-could-be.

REPORT CARD

TLDR	Winterbeast is a movie of pure passion that’s put together with no other purpose than to stay consistently entertaining. It sacrifices narrative coherence, thematic resonance, character development, and even visual continuity to ensure that spectacle upon spectacle can be presented; the movie so fervently goes for broke in trying to do something that in spite of all its failures its not a miserable experience. Echoing the poster tagline, the movie “must be seen to be believed.”
Rating	1.5/10
Grade	F

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2020s, 2022, A+, Grade, Horror, Review, review-movie, slasher, Year

Film Review: X – 2022

April 5, 2022 The Critic Leave a comment

Director(s)	Ti West
Principal Cast	Mia Goth as Maxine / Pearl Jenna Ortega as Lorraine Martin Henderson as Wayne Gilroy Scott Mescudi as Jackson Owen Campbell as RJ Brittany Snow as Bobby-Lynne Stephen Ure as Howard
Release Date	2022
Language(s)	English
Running Time	106 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.

The camera starts positioned behind a doorway, framing the shot in a smaller boxier format reminiscent of old-school movies. The camera pushes through the door and the frame extends to a wide shot, revealing a bloody crime scene. This change in frame size sets the stage for what’s to come as the film proper finds itself switching between a boxy format and a wide format, the former used in depicting the pornographic film that the main characters of the story are shooting and the latter used to depict the story proper. As the camera crosses the door’s threshold from one “frame” to another, it becomes apparent that the liminal space between these two frames of reference – art and reality – is what X sets out to explore.

While police investigate the trail of violence at the scene, a television set on the premises blares the ramblings of a conservative Christian preacher talking about moral degradation – a clear contrast in values to both the violent setting and the story of the aspiring pornographers. With carnage guaranteed, the film cuts to 24 hours earlier.

One of the crew-members, Maxine (Mia Goth) sits in front of a mirror and gazes into her reflection. She adulates herself while snorting cocaine, affirming her identity as a “star”. Her boyfriend and the producer of her films, Wayne (Martin Henderson) retrieves her from the dressing room she occupies, frisking her and the rest of his crew to a rural property in Texas for their next project. On the way to the location, the crew enter a gas station; Maxine bemoans her lack of status but Wayne assuages her and reaffirms that her “X-factor” will propel her into the limelight; while the couple valorizes the star-making powers of pornography the voice of the Christian preacher from the film’s start comes into prominence from a television in the station, decrying the degenerate functions of sexual deviancy brought about by the culture of sexual liberation; once again a contrast in values is emphasized between conservative Christian values and the pleasures which the former decries as sin.

Even within the crew there’s a difference in orientation towards sex. The director of the pornographic film, RJ (Owen Campbell) believes that porn can be elevated to the level of “art” while the actors see it as nothing more than a good bit of fun; it’s just smut after all. Thus, sex is positioned as art, entertainment, impulse, and source of evil. Director Ti West takes these perspectives and also transposes them against the slasher genre, a mapping which works out given the similarities in domain; slashers not only feature healthy amounts of fanservice in the form of scantily-clad/nude women but the sub-genre’s focus on gore, violence, and methods of execution position it as a pornography of violence.

In this sense, the moralizing of the preacher doubles as the moralizing inherent to the slasher genre which often finds its most promiscuous characters dying in brutal fashion while the virginal characters, chaste and “uncorrupt”, escape from the clutches of the killer. This transformation of the sub-genre’s themes to literal character qua superego gives the film a distinctive flavor wherein the protagonists are less fighting an antagonist killer as much as they’re fighting the ethical template by which “slashers” are structured. As the film cuts between the pornography being shot and the story proper, the binaries present between slasher/porn, porn/art, art/reality become blurry and suggest that the difference is just a question of vantage point.

The beauty of X stems from its ability to engage in such posturing without forcing the audience to forgo the slasher proper. West constantly cuts from shots of the porno to shots of the film proper begging the question on where artifice and art begin and end in relation to one another. In addition, he consistently utilizes a triple cross-cut between seemingly disparate events to suggest a hidden connection. None of these cuts interrupt the flow of the action or the momentum of the story, so an audience uninterested in the why can enjoy the bloodshed unabashedly without having to worry about thinking through a potential payoff while viewers more focused on cerebral elements of the filmmaking and themes can analyze the flow of the editing – it’s the perfect balance between engaging with the audience while entertaining them in the manner they hope.

REPORT CARD

TLDR	X is one of the best slashers to come out this side of Wes Craven’s Scream, deconstructing the slasher sub-genre in a fresh new way while relishing in its gory fun. The film’s navigation into the intersections of art, sexuality, reality along with the clever nods to the horror genre at large make it a must-watch for genre fans looking for a great time while providing enough heady material for viewers wanting to do a deeper-dive on the material.
Rating	10/10
Grade	A+

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2010s, 2017, C+, Drama, Fantasy, Grade, Past, Review, review-movie, romance, Year

Film Review: Twilight – 2008

February 6, 2022 The Critic 1 Comment

Director(s)	Catherine Hardwicke
Principal Cast	Kristen Stewart as Bella Swan Robert Pattinson as Edward Cullen Billy Burke as Charlie Swan Taylor Lautner as Jacob Black
Release Date	2008
Language(s)	English
Running Time	121 minutes
Report Card	Click to go to Review TLDR/Summary

The film opens on two stories that intertwine, that of a young woman and that of a doe. While the doe drinks from a stream, the young woman, Bella (Kristen Stewart), notes that while she’s never given death much of a thought, dying in the place of a loved one wouldn’t be a bad way to go. Suddenly, the doe notices that its peaceful drinking area is no longer safe. We cut to a point-of-view shot – a a human-shaped hunter has appeared and death is staring the woodland creature down. Though it tries to run, the incredibly fast hunter catches it. Death has come.

The connection between the two tales is apparent: both feature a creature facing an inevitable end. If the doe is a stand-in for Bella, which loved one is it dying in the place of? If Bella is fated to be like the doe, then what exactly is hunting her? This deadly juxtaposition sets the tone for what’s to come. Bright light fills the screen and we’re transported from the woods to the deserts of Phoenix.

Bella begins to narrate again, describing the journey leading up to her confrontation with death. She explains that her mother is planning on going on the road with a new partner. As a result, Bella’s moving from sunny Phoenix, Arizona to cloudy, rainy Forks, Washington to stay with her father, Charlie (Billy Burke), the police chief of the town.

However, just because her new environment is cold and unappealing doesn’t mean that the people inhabiting it are; Bella finds herself immediately accepted by the townsfolk. Her father’s peers fondly remember her from childhood visits and her fellow classmates at school, especially the young men, are desperate to make acquaintances with a newfound person; Forks is a small town with a sparse population so new faces are rare.

The Cullens from left to right: Jasper (Jackson Rathbone), Alice (Ashley Greene), Emmett (Kellan Lutz), Rosalie (Nikki Reed), Edward( Robert Pattinson).

But the Cullens, a family of five adopted siblings, each with immaculate good looks and pale skin, ignores Bella, giving her a cold shoulder. The lack of attention provokes an interest; Bella is immediately entranced by the one member of the family, Edward (Robert Pattinson), who seems equally interested in her.

The fan blows Bella’s (Kristen Stewart) scent towards Edward.

Yet, it appears that his interest is one rooted in antagonism. As Bella makes her way into biology, the fan at the front of the room blows against her. Edward visibly grabs his face, gagging in response to Bella’s scent. The tension becomes worse after the teacher has Bella sit next to Edward to serve as his lab partner. His disgusted facial reactions prompt Bella to check her own body odor. Far from wanting to be her friend, Edward seems offended by her very presence.

After class he leaves to go to the front office in an attempt to get switched out of Bella’s class but is informed that there are no other vacancies. The severe rejection boggles Bella; she can’t fathom why Edward seems so desperate to avoid her. Her suspicions only grow after Edward skips school for a few days. Would he really skip out just to avoid having to deal with her in any capacity?

Bella (Kristen Stewart) can’t stop thinking about…

In spite of this, Edward comes to occupy Bella’s thoughts. She can’t get him out of his head and his increasingly erratic decisions only causes her to become more obsessed with what’s provoking such a strong response from him. Instead of hanging out with newfound friends who seem genuinely interested in her, Bella becomes determined to figure out the mystery behind Edward, a mystery that only becomes more confusing as Edward decides to randomly warm up to her after the cold introduction.

Her search and the implications behind what she discovers bifurcates the film into two neat halves; the first half follows Bella as she unravels Edward’s secrets and grows to fall in love with him, and the second half follows her as she deals with the consequences of her discoveries, both of Edward and of her feelings.

Bella’s journey is presented primarily from her point-of-view; she’s constantly narrating her inner thoughts and the film often cuts to her dreams and subjective visions. This helps ground the more melodramatic moments of her journey; the rush to die for love is a sentiment that exists as extremity but in the context of a young woman’s first romantic encounter, the melodramatic intensity of every related moment is understandable. The story’s supernatural backdrop only accentuates these moments, giving the emotional intensity Bella’s going through a fitting real-world analog to deal with.

Unfortunately, the film doesn’t meld these layers cohesively against one another during the visceral moments. Inconsistent and comic visual effects undercut the severity of the supernatural forces encroaching Bella’s life. It’s hard to take threats seriously when the effects render what should be a threatening situation into a comedic one. Consequently, the melodramatic nature of the young couple’s feelings for one another feels more absurd than it does heightened.

Furthermore, the acting by the leads often feels discordant with the emotions that their characters are trying to hint at. This is partially a problem that stems from the script which adapts most of the book’s dialogue, dialogue which very few actors could possibly render in cohesive let alone great fashion, but it definitely would have helped if some of the facial expressions matched up with the intention behind the dialogue.

In spite of this, Twilight never feels like its settling or meandering. Even when the film swings and misses in stellar fashion, the attempt can be appreciated. The fantasy the movie provides and takes Bella through can be comprehended even though it’s not nearly as appealing as Bella makes it out to be.

REPORT CARD

TLDR	Twilight’s tale of intense passions and supernatural romance may be overbearing at times, but the enthusiasm by which it approaches its subject matter makes it more than endearing. Though some of the visual and acting choices don’t land, the intent behind the fantasy of the story is comprehensible and fans of it will be more than satisfied with the offering.
Rating	7.2/10
Grade	C+

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2010s, 2017, Action, Comedy, Crime, D, Grade, Past, Review, review-movie, Year

Film Review: The Hitman’s Bodyguard – 2017

February 2, 2022 The Critic Leave a comment

Director(s)	Patrick Hughes
Principal Cast	Ryan Reynolds as Michael Bryce Samuel L. Jackson as Darius Kincaid Élodie Yung as Amelia Roussel Gary Oldman as Vladislav Dukhovich Salma Hayek as Sonia Kincaid
Release Date	2017
Language(s)	English
Running Time	118 minutes
Report Card	Click to go to Review TLDR/Summary

A photo of Amelia (Élodie Yung) and suits.

The film opens with a series of split-screen shots depicting the routine of Michael (Ryan Reynolds), a private bodyguard for the wealthy and powerful. He puts on his watch, picks out a suit from his collection, drinks some coffee, gets his weapons, and kisses his partner, Amelia (Élodie Yung) on the cheek before departing his scenic abode. The split-screen shots demonstrate the rigid order he lives his life by; every moment is part of an elaborately planned sequence.

He picks up his client, Takashi (Tsuwayuki Saotome) and proceeds on pace for a secure delivery. Takashi gets on his plane and Michael waves him off with a smile. But right as the plane is about to depart, Takashi is shot and murdered.

Despite all precautions, Michael finds himself with a client down; he’s in shock. While his men run around him to take hold of the situation, Michael stares dumbfounded, unable to come to terms with his failure. Two years pass and his expression remains the same – the weight of his past remains. He escorts an drug-addled client in dejected fashion; clearly he’s still good at his job, but the loss of a client has certainly hurt his reputation as security detail, so he’s forced to take on much worse clientele.

Michael (Ryan Gosling) agrees to Amelia’s (Élodie Yung) deal to protect Kincaid (Samuel L. Jackson).

While Michael tends to his mundane everyday life, his ex-girlfriend and current Interpol agent, Amelia, is tasked with escorting a notorious hitman, Darius Kincaid (Samuel L. Jackson), to the International Criminal Court to give witness testimony against Vladislav Dukhovich (Gary Oldman), the dictator of Belarus charged with counts of genocide and ethnic cleansing. But on their way to the court, Amelia’s convoy is attacked; far from being a secret, their movements have been leaked to outside attackers. Amelia and Kincaid momentarily team up to get out of the area, but now they must find a way to get to the court without Interpol’s help. With no else left to turn to, Ameilia phones Michael and asks him to help transport Kincaid.

Michael is initially reluctant to help. On one level, he doesn’t want to deal with Amelia due to their break-up. On another level, due to the nature of his work, he’s found himself on the opposite side of Kincaid many times, often having to keep his clients protected from the hitman. There’s a clear antagonism present in the group. But Amelia promises to help reinstate Michael’s company’s security rating through her government connections if he gets Darius to the court on time to testify. Thus, the reluctant duo between hitman and bodyguard is born.

Unfortunately, the plot that follows goes exactly as one would expect: a love-hate relationship is formed by the duo who ribs and endears themselves to one another over the course of their trip all while they survive increasingly elaborate attacks by Dukovich’s party. Though disappointing, the narrative would be fine if it at least served as a vehicle for stylized action sequences or entertaining character moments, but none of these moments ever bear fruit because the movie would rather tell than show.

The visual creativity from the opening never happens again which is a shame because the primary antagonism between Michael and Kincaid is how they orient themselves towards planning. While Michael is rigid and disciplined, Kincaid is very much the opposite, opting to play situations based on how they proceed in the moment. Consequently, when the character’s find themselves dealing with a threatening situation, they tend to have different reactions; Michael thinks something out and tries to stick by the book while Kincaid goes for the clearest immediate option available. Instead of demonstrating this visually like he does in the opening, perhaps by shooting Michael’s character with split-screen shots to showcase the sequential planning and Kincaid’s character with jump cuts to demonstrate the haphazard movement, director Patrick Hughes opts for standard coverage of the duo as they deal with their problems. We don’t get to see the difference between the characters manifest in poignant fashion and are forced to gleam the essence of their relationship through their conversations.

This proves to be an issue because most of the dialogue is insipid and insists on the basest humor to get a laugh. Ryan Gosling and Samuel L. Jackson may be talented actors, but there’s only so much they can do when most of their conversations end in a punchline about smelling like ass. This type of humor is uninspiring on its own but contributes to a serious tonal whiplash when the story jumps from these jokes to scenes of the primary antagonist planning/committing genocide and genocide-related activities.

All of this culminates in a general feeling of disengagement. There’s nothing to get invested in. The characters are placeholders for the story that give their actors little room to breathe life into the narrative. The jokes are indexed to the lowest common denominator of humor and undercut any sense of tension or gravitas. Even though the action scenes are shot competently and give a clear sense of what’s going on, you don’t care because there’s nothing to cling onto.

REPORT CARD

TLDR	The Hitman’s Bodyguard is a movie that lacks any sense of personality or identity worth investing in. The aggregation of safe buddy-cop story beats provides very little entertainment as even the most minute action is predictable. Even the comedic stylings of the leading duo can’t give the movie a pulse as the script insists on having them repeat the worst punchlines to jokes repeatedly.
Rating	D
Grade	5.5/10

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2010s, 2012, A, Action, Adventure, Grade, Marvel, Past, Review, review-movie, Science Fiction, Superhero, Year

Film Review: The Avengers – 2012

January 27, 2022 The Critic Leave a comment

Director(s)	Joss Whedon
Principal Cast	Robert Downey Jr. as Tony Stark / Iron Man Chris Evans as Steve Rogers / Captain America Tom Hiddleston as Loki Samuel L. Jackson as Nick Fury Mark Ruffalo as Bruce Banner / Hulk Chris Hemsworth as Thor Scarlett Johansson as Natasha Romanoff / Black Widow Jeremy Renner as Clint Barton / Hawkeye
Release Date	2012
Language(s)	English
Running Time	143 minutes
Report Card	Click to go to Review TLDR/Summary

Marvel title card.

Marvel title card dissolves in the flames of the Tesseract.

A hooded figure narrates to an unseen usurper.

The opening sets the stage for what’s to come. The title card dissolves into the Tesseract which becomes the focal point of the sequence. There’s a universal scope in this story as we see alien figures plotting an invasion of the Earth in search of the cosmic cube. The rhythmic fades to black create a foreboding effect and as the camera pushes into the Tesseract, it becomes clear that intergalactic conflict is coming.

The title sequence starts with the Marvel logo prominently in the center of the screen. The camera pulls back from the logo which becomes encompassed by blue flames, flames which are revealed to be the core of the Tesseract, the cosmic item recovered by S.H.I.E.L.D in Captain America: The First Avenger. The screen fades to black.

A voice mentions that the “Tesseract has awakened” on Earth. The camera pans up an elaborate, alien staircase where a hooded creature bows to an unseen figure. The creature, the narrator from earlier, continues and claims that an informant who is intimately aware with the cube will claim it for them. The screen fades to black.

The informant in question is handed a glowing scepter. Another fade to black.

Then an army of armored alien creatures, the Chituari, start to roar as the narrator guarantees that the informant will take the Earth as compensation for retrieving the cube, using the army of Chituari to take control. Upon retrieving the cube, the unseen figure will rule the universe. A final fade to black.

Once again, the Tesseract takes center stage and the camera starts to push into it. This is an opening that makes it clear from the get-go: The Avengers is more epic than the films that came before. The rhythmic fades to black induce a sense of a grandiose force building up. The alien world and set-piece confirms that this story is taking place against a much grander backdrop. As the camera pushes in through the Tesseract, to the planet of Earth it becomes clear that worlds are going to collide.

Fury (Samuel L. Jackson) and Clint (Jeremy Renner) talk about the Tesseract.

A S.H.I.E.L.D base is being evacuated as a helicopter arrives at the facility. Nick Fury (Samuel L. Jackson) steps out and begins to head into the building that everyone else is running out of. He runs down to the testing facility overseen by Dr. Selvig (Stellan Skarsgård) where tests are being run on the Tesseract. Selvig explains that Tesseract is active and is taking action of its own accord, setting off fluctuations and discharges as it pleases. Clint (Jeremy Renner), the agent overseeing the experiments, tells Fury that any disruption on display is not due to any party on “this” side. Suddenly, it becomes clear. If the Tesseract is a doorway, then it reasons that it can be opened from two sides. One side might be on Earth, but the other side is somewhere else entirely and is raring to invade the planet.

On cue, the Tesseract discharges a bright blue light, opening a portal to another location. The informant from earlier makes their appearance in spectacular fashion, completely shifting the feeling of the room. We cut to a close-up and learn that this intruder is none other than Loki (Tom Hiddleston), Thor’s (Chris Hemsworth) brother who we had been led to believe was dead at the end of Thor. The questions begin to pile up: How did Loki survive? Who hired him? Why do they want the Tesseract so badly?

Loki takes control of Clint (Jeremy Renner) using the scepter.

But Loki’s not concerned with giving any answers, and he quickly takes charge of the situation, blasting agents with his scepter and laying waste to the highly, secure government building. He turns his scepter to both Selvig and Clint’s chests and takes control of their minds; they switch allegiances immediately. Fury is easily handled and the Tesseract is stolen from the premises but not before the cube releases one last burst of energy, destroying the facility in its entirety.

For the first time in the franchise, Fury is thoroughly trounced and left beaten. He declares an emergency and tells his agents to begin looking for the cube. Loki’s attack means that the world is now at war and needs to prepare. One of his subordinates, Agent Coulson (Clark Gregg), asks what they can hope to do. The Avengers theme starts to play in the background as the title card drops as a response. Fury’s answer is a given: it’s time to assemble to the Avengers, a task force made up of individuals capable of mounting a resistance to forces that conventional might cannot stand up against.

But far from being a solution to the Loki problem, creating the Avengers brings about a whole host of other issues for Fury because the rag-tag set of individuals he seeks to have work together are far from cooperative. Given the persons that Fury wants to involve with the project, namely the heroes of the previous Marvel films, it’s easy to see how problems could stack up. Tony Stark (Robert Downey Jr.) is a ego-maniac who can’t help but demonstrate just how smart he is. Bruce Banner (Mark Ruffalo) of is a man so afraid of himself that he’d rather live his life as a wanderer than be near people and risk harming them as the Hulk. Steve Rogers (Chris Evans) is a man haunted by the loss of his past and is desperate to do anything to numb those sensations. Thor might be fond of the Earth but his priorities lay with Asgard and its people. Natasha Romanoff (Scarlett Johansson) only shows true loyalty to Fury and is more than willing to pull one over on people to achieve any given mission. Meanwhile, Clint Barton is compromised and controlled by Loki.

Balancing these personalities isn’t easy, but director Joss Whedon successfully manages to plot a narrative course that lets the characters bounce off each other authentically. The characters act as we would expect them to given their previous cinematic depictions; the fun emerges from watching the sparks between the characters we know and love getting to experience the same level of familiarity with one another. It’s clear that the actors are enjoying themselves and play off one another seamlessly, so it’s hard not to get invested in the burgeoning friendships. As bonds begin to form between members at a more personal and at a larger ensemble level, the various narrative threads from the previous films start to make sense as a larger puzzle. The group feels less a collection of arbitrarily selected heroes and more like a naturally forming assemblage. Consequently, even when the technical maneuverings of the plot feel outlandish, the energy on display by the key players ensures that no moment remains dull. This is a narrative that knows how to keep a steady hand on the momentum and keep the viewer engaged.

The film’s formula is so effective that it’s effectively served as the de-facto template of the franchise ever since. A story of a diverse group learning to work together maps well with the depths of the Marvel Universe, offering any minor character from a previous film a chance to reprise a more important, embellished role in a future entry. Learning to fight together means that the narrative can be built around multiple fight set-pieces; have the heroes get a minor win, then suffer a loss of sorts, before finally coming together and achieving a victory of sorts. Progression can be clearly marked and delineated which makes character arcs easier to notice and subsequently appreciate.

Yet, The Avengers remains unique even after a decade filled with films taking inspiration from its formula because there’s an earnest enthusiasm in its construction. Long one takes and extensive use of spectator reactions to the spectacles gives the film a distinctive visual identity that many other entries in the franchise are missing. The characters also all have a distinct sense of personality; they’re not all quipsters, so when characters like Tony make a snarky remark, those moments register because they operate in contrast to otherwise “straight” dialogue. This makes the humor hit harder and the serious events linger for a moment of reflection. While the seams sometimes crop up – an inevitability given the film’s duty in patching together every previous Marvel entry – concerns regarding them melt away due to the sense of wonder and enthusiasm on display.

REPORT CARD

TLDR	Even a decade after it’s release, The Avengers still entertains due to the spontaneous and organic way it mixes the founding Marvel cinematic characters and their respective story threads. The foundational super-hero ensemble film demonstrates that any character can find new purpose if helmed in another story and that characters from seemingly different, developed worlds can come together in a coherent manner in which the sum is greater than the parts. The film’s ambition has paid off multiple-fold, establishing the basis of the largest cinematic franchise the world has seen to date.
Rating	9.0/10
Grade	A

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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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2010s, 2015, C+, Grade, Horror, mystery, Past, Review, review-movie, supernatural, Thriller, Year

Film Review: Insidious: Chapter 3 – 2015

January 19, 2022 The Critic Leave a comment

Director(s)	Leigh Whannell
Principal Cast	Lin Shaye as Elise Rainier Stefanie Scott as Quinn Brenner Dermot Mulroney as Sean Brenner
Release Date	2015
Language(s)	English
Running Time	98 minutes
Report Card	Click to go Review TLDR/Summary

The title sequence starts in typical Insidious fashion: the credits are written with blue letters that dissipate in ethereal fashion before violent instrumentals punctuate the soundscape and the ominous red title card comes into frame. More blue text indicates that this third chapter in the franchise is a prequel to the first two movies. Then the text fades to a black screen which explodes in a burst of white light; the light becomes a skyline where birds fly around and the camera moves down to street-level. A young woman, Quinn Brenner (Stefanie Scott), walks down the street towards a house.

She knocks on the front door and an elderly woman, Elise (Lin Shaye) comes to answer. Quinn indicates she’s heard of Elise’s psychic powers and consultations and requests help with a supernatural affair. Elise responds in the negative and explains that her days of psychic entrepreneurship are over. Nonetheless, the sincerity of Quinn’s pleas moves Elise and she offers the would-be-customer a chance to come in and talk.

Quinn explains that she’s lost her mother some time ago and thinks that the latter is communicating with her. Since the occasion, she’s become insistent on reaching back out; it’s clear that her mom served a critical role in her life and confirmation of such contact would help Quinn find a firm footing in life. Elise gets swept up in the admission and begrudgingly offers to help Quinn try and contact Quinn’s deceased mother.

Elise turns out the light and begins delving into the realm beyond, but it becomes clear that something is going wrong. The camera pushes in from behind Quinn; something is coming. She turns and looks behind her and senses an unseen presence in the room. It’s clear that the wrong specter has heard the call. Elise’s face contorts in pain and she stops the séance, indicating that such occupational dangers are the reason she’s left the profession. The retired psychic turns to Quinn and warns the latter to stop reaching out for her mother because any message to one of the dead can be heard by all of them, and as the two just witnessed, some of the specters from beyond are more than willing to cause harm to those who call to them.

Alas, now that the other side has heard Quinn’s call and knows her of the depths of her longing, it’s not going to let her go so easily. Dark forces slowly infiltrate her life and begin to wreak havoc, leaving her bruised and damaged in her journey to find her mother. Unable to deal with the supernatural shenanigans, Sean (Dermot Mulroney), Quinn’s father, contacts Elise to help with the situation. The psychic is thus forced back into the fray and must confront her own inner demons as she seeks to stop the demonic forces that currently threaten Quinn’s life.

Unfortunately, for fans of the franchise, the film’s status as a prequel makes the journey to come predictable; the fate of pivotal characters is already known, so a sense of tension is missing. The script doesn’t account for this in any fashion, opting for inoffensive and tried story beats to generate a baseline level of interest in what’s to come. At one level, the story spends little time in building up Quinn or her family; the relationships between members of the Brenner family never get pushed or stressed in ways that would give the characters something for the viewer to latch onto.

Meanwhile, Elise, who serves as a secondary hero in the story, is given very little to do, which is a shame when Lin Shaye is one of the better actors here. The journey of a psychic so scared by the darkness of the astral world that she seals her own power is one that has so much ground to traverse, but instead of giving Elise room to grow and understand her role, the story prods her to her foregone conclusion with little demonstration of Elise’s decision-making process.

Consequently, the narrative, though coherent, offers very little space to latch on. It’s a vehicle for frightening set-pieces. But just like the story, these set-pieces are lacking a vitality or ingenuity that sets them apart from traditional haunted-house fare. A character will notice something is wrong. A presence will show up. The character will look around for them and then BOOM. A loud jolt along with a “creepy” image and the sequence is done. While both Insidious and Insidious: Chapter 2 have “jump scares” in them, both films employ them in measured manners that lets them have an impact. They build up to their scares through a chaotic sound design which never gives the viewer a moment to rest or predict what’s going to come next. In contrast, Chapter 3 opts for the same audio design for each of its set-pieces which makes them feel more chore than scare.

The problem is frustrating because it’s clear that director Leigh Whannell is competent at the technical aspects of nailing suspenseful sequences. There are multiple moments where the tension builds naturally as entities enter the background quietly. There’s a time given to let a reaction build up. But instead of riding the momentum and delivering on the subtle and eerie nature of what’s going on, Whannell opts to go for bombastic and showy spectacles. This might be forgiven if, like Chapter 2, Chapter 3 utilized the metaphysical trappings of its universe to set-up visually distinctive spectacles, but it never manages to tap into the same visual possibilities. It’s telling when the first two entries bathe their supernatural sequences with hellish reds and astral blues and this entry only makes use of the color scheme at the start and end of its narrative. In fact, outside of some events in the third act, there’s very little here to distinguish the film as an entry in the franchise; it could have just been a supernatural story with no connection to what came before.

In this sense, Insidious: Chapter 3 is frustrating not because it’s particularly bad in any one way but because it never manages to embellish an identity for itself – a disappointment given the potential the mythos of the franchise offers. By opting for the safe and simple choice at most turns, the narrative never manages to endear itself to anyone looking for something deeper than just a simple and technically competent supernatural story.

REPORT CARD

TLDR	The third chapter in the Insidious franchise lacks the identity or charisma that made the previous entries, namely the first film, mainstays of the horror genre. The set-pieces and narrative never make use of the metaphysical possibilities inherent to the franchise, opting for conventional set-ups and trappings at every turn. While this may be entertaining for the viewer looking for a simple, conventional supernatural outing, those hoping for something unique and engaging should look elsewhere.
Rating	6.9/10
Grade	C+

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2010s, 2011, Action, Adventure, B, Grade, Marvel, Past, Review, review-movie, Science Fiction, Superhero, Year

Film Review: Captain America: The First Avenger – 2011

January 12, 2022 The Critic Leave a comment

Director(s)	Joe Johnston
Principal Cast	Chris Evans as Steve Rogers / Captain America Hugo Weaving as Johann Schmidt / Red Skull Hayley Atwell as Peggy Carter Sebastian Stan as Bucky Barnes
Release Date	2021
Language(s)	English
Running Time	124 minutes
Report Card	Click to go to Review TLDR/Summary

Note: This review contains spoilers regarding the first 35 minutes of the film as opposed to the site’s usual benchmark of 10-20 minutes. The same effort towards sustaining the intrigue and momentum of the film, especially in its second and third acts, is maintained in this review, and all plot details revealed are just meant to be a springboard to discuss the scope of the work in better detail. Nothing discussed should undermine the “best” portions of the film or the many mysteries that keep the story engaging.

Captain America’s shield lay submerged in ice.

A crew comes upon a wreckage in the Arctic. They go to excavate the remains and discover an shield with a red, white, blue star color pattern encased in ice. The camera pushes in on the shield as a member of the crew calls for assistance; the discovery is one that has been a long time in the making. What is the story behind this American symbol?

Suddenly, we cut back to the past – Norway, 1942. An elderly man guarding a temple of sorts is accosted by Hydra, an off-shoot branch of the Third Reich. The symbol of the organization, a skull with tentacles reaching out, becomes the focal point of the camera as a car adorned with it comes into view – a counterpoint to the shield from earlier. The leader of Hydra, Johann Schmidt (Hugo Weaving), makes his way from the car in ostentatious fashion and interrogates the elderly man on where the hidden object is. The man refuses to give in but Schmidt is able to surmise the location of the object, the Tesseract, one of Odin’s very own treasures.

Steve (Chris Evans) tries and fails to get drafted.

The story cuts from Norway to the United States of America. A scrawny but determined young man attempts enlist for the efforts in the war. However, his medical history is fraught with complications, so he’s rejected from the war. But Steve’s patriotism knows no bounds; while watching a movie with a lengthy emphatic war-time advert preceding the picture proper, he finds himself in a battle with a heckler who loudly protests the length of the tribute. As the two deck it out outside the theatre, Steve picks up a garbage can lid and holds it up like a shield – a connection to the discovery at the story’s start.

While Steve finds himself unable to win the battle, his friend Bucky (Sebastian Stan) shows up to save the day. The two depart and talk about Steve’s ongoing efforts to enlist; he’s falsified his papers multiple times to try and get a different assessment but has failed repeatedly. Bucky tells Steve that the latter would be better off not enlisting, but the young patriot responds that his effort should match that of his countrymen. Unbeknownst to the duo, Dr. Abraham Erskine (Stanley Tucci), a German scientist working for the United States, hears the exchange and becomes interested in the lengths Steve will go through to help the war efforts.

Consequently, Erskine intervenes during Steve next enlistment attempt. He questions the aspiring soldier to be and concludes that Steve’s character might be the true difference maker in the battles to come. Finally, Steve is allowed to join in the war effort.

Unfortunately, his willpower doesn’t translate to physical might. He finds himself struggling with the regimen required of him but persists in spite of being ostracized by his peers. However, what he lacks in physique he more than makes up for in mental aptitude. His drill leader challenges the squadron of trainees to retrieve a flag from a pole; apparently, no one has ever been able to take it down. The group attempts to get the flag, jumping at the flagpole in indiscriminate fashion, but none of them are able to get it down. But Steve chooses to tackle the problem from a different vantage point; he takes out the screws holding the pole up and picks the flag up off the floor.

Like Erskine said, Steve’s perspective is what can shift the tides of war. Even Steve’s biggest detractors are humbled by the trainee’s charisma and unyielding moral compass. Erskine reveals to Steve that the latter has been chosen for a “Super Soldier” program initiative based on a earlier initiative that Erskine was forced to implemented on Johann Schmidt back in Germany, the same Schmidt who stole the Tesseract earlier. It turns out that Schmidt is obsessed with the ideas of Gods and treats mythology with the same reverence as history itself. He wholeheartedly believes in the idea that one can transcend and become greater than humanity; if Gods can walk the Earth and leave their artifacts then remaining locked by humanity is a sign of weakness. After his procedure, his beliefs and fervor towards achieving them only increased; the super-soldier serum amplifies whatever the underlying person’s attributes are.

While Erskine is gambling on an similarly amplified Steve on being able to deal the death blow, Schmidt hopes that the Tesseract and the weapons that it can power will be enough to take over the world. The procedure is a success and Steve transforms from a scrawny weakling to a muscular and imposing warrior capable of Thus, the stage is set for the battle between the two forces, one oriented towards protecting the peace and maintaining justice and the other oriented towards achieving dominance at all costs.

Schmidt (Hugo Weaving) is obsessed with mythological/religious iconography.

At its heart, Captain America: The First Avenger is a story about creating legacies, making a message out of oneself. Once transformed into the eponymous Captain America, Steve is forced to reckon not only with his newfound powers but the responsibility that such powers engender for him. Schmidt uses his power and influence to shoot him and his organization into the realm of mythos. Director Joe Johnston reinforces not only the intensity of Schmidt’s beliefs via stylized montage bits but also frames the character in ostentatious and showy manners, a manner fitting of a man trying to make himself into legend.

Captain America is used in a similar fashion initially and is forced to play the role of national galvanizer. His appearance becomes more about maintaining an image than anything else. If Schmidt is obsessed with religious and spiritual iconography because he believes that such works are proof of a world beyond, then Captain America’s immortalization as a cultural icon is proof that greatness is something that anyone can aspire to and achieve; being made an icon through the comic book depictions is analogous to a mythmaking of old that Schmidt is obsessed with emulating. In this sense, the primary battle between the two super-soldiers is about how legends are made.

By constantly referencing the two men along with their respective symbols, Steve with the shield and Schmidt with the Hydra icon, Johnston is able to reinforce the explicit nature of what the two men are fighting for. A shield is a tool for defense, protection, safeguarding. It’s fitting that a hero not bent on killing but on justice chooses to use such an instrument as his tool of choice and is associated with the same. Meanwhile the image of a skull with tentacles demonstrates Schmidt’s obsession with expanding his deadly influence, eliminating anything that doesn’t fit in with his vision; it’s a symbol of bloodshed and oppression.

Alas, the film doesn’t utilize its strong groundwork as effectively as it should, choosing to settle instead of using its requisite elements to generate something greater than the sum of its parts. This issue is apparent from the very start. Once the camera pushes in on the encased shield, the film should have cut to an image of Steve with a shield, positing a relationship between the hero to be and the icon that represents him and his ideologies. For example, the film could have cut to Steve being beaten in the alley ^[1] Obviously, this assumes other minute plot changes and showed us his assent from the very start; given the importance vested in the shield, this direct connection would have made it clear that the movie is Captain America’s. The choice to instead cut to Schmidt and the symbol of Hydra suggests that this is both of their tales and both symbols are intertwined, which though true to an extent, makes the choice to open the movie on the discovery of the shield feel like a wasted storytelling opportunity.

The effects of this can be felt in the rhythm of the film. While the majority of the run-time goes to developing Captain America, very little goes to developing Schmidt. He gets the necessary backstory and the film cuts him doing “nefarious” things as a way to hammer in how “evil” he is in comparison to Captain America but therein lies the problem. His story is boring and interjecting it so often in the tale of Captain America’s assent only stifles the pacing of a tale that’s actually worth getting invested in; not bifurcating the opening would have made the impact and subsequent battle between the symbols and the men who represent them all the more impactful.

With all that being said, especially for an early entrant in the Marvel Cinematic Universe, The First Avenger does a more than adequate job juggling its elements around in satisfying enough fashion. When the story focuses on Steve, which it does for the most part, its engaging and should satisfy those looking for a lighter superhero outing.

REPORT CARD

TLDR	Captain America: The First Avenger‘s tale of a weakling turned superhero should satisfy any viewer looking for an engaging, albeit predictable adventure that examines what it takes to become an true icon. Not all the moving parts synch up when they need to, but the story’s strong foundation lets it weather rougher patches and stay engaging from start to finish.
Rating	8.0/10
Grade	B

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2020s, 2021, A+, Crime, Drama, Film Noir, Grade, Past, Review, review-movie, Thriller, Year

Film Review: Nightmare Alley – 2021

January 3, 2022 The Critic Leave a comment

Director(s)	Guillermo del Toro
Principal Cast	Bradley Cooper as Stanton “Stan” Carlisle Toni Collette as Zeena Cate Blanchett as Lilith Rooney Mara as as Molly
Release Date	2021
Language(s)	English
Running Time	150 minutes
Report Card	Click to go to Review TLDR/Summary

A man, Stan, drags a body into a decrepit, disheveled looking house. He places the body into a small hole in the ground and sets the house to flames. Who is being burned and why are they being disposed of in this fashion? These are the questions the narrative circles around; as Stan makes decisions, the film cuts to the scene of the fire, highlighting how his choices shape his relationship to the aspects of his past that he wishes to burn and move past.

With only a suitcase, a watch, and a few knick-knacks, Stan makes his way away from the burning household towards a bus. He gets on board and passes out. Suddenly, he’s woken at the last stop, a carnival, and makes his way out. It becomes clear that outside of getting away from his past, Stan has no clear goals; he’s merely a wanderer trying to make the best of his situation.

Though he comes in to the location by random, it’s clear that Stan is more than competent at making do with his situation. He travels through the carnival and comes upon a “geek” show. The carnival’s owner, Clem (Willem DaFoe), exclaims that even though “geek” in question is so feral he’s still been classified as a man. But still, he insists on posing the question: “Is he man, or beast?”

The crowd becomes fully enthralled by the tagline and buys into the show, forking over change to partake in the festivities. A malnourished and broken-in man (Paul Anderson) crawls out of a damp, grimy enclosing and approaches a chicken which has just been placed in the enclosure. The audience watches with baited breath, but Stan seems more disturbed by the ordeal than anything else. When the “geek” bites down on the chicken’s neck and severs its head, Stan turns while the crowd cheers and jeers at the ordeal.

He leaves the area and is approached by members of the carnival looking for physical labor. Without saying a word, Stan agrees to their proposition and quickly begins to work. He gets acquainted with Clem (Willem DaFoe) and agrees to take on additional work for food and pay; all his negotiations are carried out without an utterance on his part, only gestures. He’s more than content to nod along and play his part, whatever it may be.

It’s only when Clem sends him to capture the carnival’s “geek” after the latter escapes his cage that Stan finds a reason to open his mouth. Upon finding the “geek”, Stan attempts to bargain with the escapee. Stan promises not to inform Clem of his location and instead questions the “geek” on the nature of their predicament; how did this fellow end up desperate enough to eat live chickens for an audience?

But instead of an answer, Stan gets a blow to the head from a rock the “geek” throws. Words can do nothing here and Stan resorts to physical action, proceeding to beat to beat the “geek” into submission. Clem manages to find the duo and stops Stan from killing the performer before then offering him a permanent position with the carnival. Sensing Stan’s mysterious past, Clem suggests that the environment is perfect for the wanderer because no one working at the locale would pry into his past; maybe the “geek” responded in such fashion because he, like Stan, wants to keep his past a mystery.

Regardless, like the “geek”, Stan agrees to work for Clem at the carnival and eagerly embraces the change of scenery. He goes from saying nothing to becoming very talkative. He’s a people pleaser and seems to know exactly what to say to people around him. He’s approached by Zeena (Toni Colette), a carny with a clairvoyant performance who takes a liking to him quickly.

Zeena’s husband, Pete (David Strathairn) is a mentalist and an alcoholic who acts as a surrogate father to Stan. He quickly takes the young man under his wing and teaches him cold reading techniques capable of fooling even the best. With the techniques in hand, Stan blossoms, captivating any soul willing to listen to his words. He goes from a silent wanderer to a charismatic charlatan capable of conning anyone who comes his way, saying exactly what he thinks people want to hear. With the world seemingly at his beck and call, Stan proceeds out from the carnival and into the world determined to to use his skillsets to get everything he wants. But as his marks get more dangerous, Stan is forced to confront the depths of his deepest desires.

The film’s focus on how his desire unfurls is motivated by psychoanalysis – references are made directly in the text. In particular, Stan finds that his journey intersects with three women, Zeena being one of them, all of whom act as both a surrogate partner and mother to him. The Oedipal nature of the relation is intentional and informs the way the film operates. As Stan makes critical decisions in relation to these women, his final trajectory becomes apparent. The weight of every choice he makes reverberates and can be measured as the film cuts to flames as a visual refrain, a visual-call back to his original act of immolation showcasing just how far or close he is to the past he’s trying to escape.

His psychic journey is manifested in the production design. Director Guillermo del Toro does great work to ensure that Stan’s psychic encounters and battles take place in backdrops which reinforce the the shifting tides of power between parties. del Toro uses the noir stylings of the genre and narrative to accentuate the sets, leaning into the use shadows, smoke, and slanted angles to emphasize the nightmarish alleys that Stan finds himself traversing. The rooms and locales that people own are part and parcel of each characters’ identity, so as Stan engages in his mental excursions with persons, the nature of what the characters are after and why they’re after can be felt in even the subtle ways the camera moves.

The narrative, based on William Lindsay Gresham’s 1946 novel, is clock full of detail, providing ample narrative strings for the viewer to parse and put together against these larger visual flourishes. Every thread in play is set-up for a particular reason, and del Toro knows just how to litter the call-backs and references to generate a feeling of catharsis. No beat overstays its welcome and by the time the film’s ending comes into view, any viewer who’s become entranced will already know what is going to unfold and why its going to play out as it does because the way the film’s threads congeal is sublime.

REPORT CARD

TLDR	Nightmare Alley’s meticulous machinations makes it a wonder to marvel at; each story and character beat has a purpose and watching the threads come together in explosive fashion makes the slow-burn journey all the more satisfying.
Rating	10/10
Grade	A+

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, 2021, A, Action, Grade, Review, review-movie, romance, Science Fiction, Year

Film Review: The Matrix Resurrections – 2021

December 23, 2021 The Critic Leave a comment

Director(s)	Lana Wachowski
Principal Cast	Keanu Reeves as Thomas Anderson / Neo Carrie-Anne Moss as Tiffany / Trinity Yahya Abdul-Mateen II as Morpheus Jessica Henwick as Bugs Jonathan Groff as Smith
Release Date	2021
Language(s)	English
Running Time	148 minutes
Report Card	Click to go to Review TLDR/Summary

NOTE: There are light spoilers regarding the first act of the film. These spoilers are present in the second wave of trailers for the film, but if you are someone who’s trying to avoid any of the story’s twists, come back to this review after you’ve seen the movie.

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.

The screen is filled with sprawling green code. This is a set-up we’re familiar with. There’s few things that are synonymous with the franchise as the code which makes up the virtual worlds denizens inhabit. Bugs (Jessica Henwick) comments that the code segment she’s looking at is a modal, a sandbox environment where explicit code changes can be tested without compromising the main system, which is self-repeating – an anomaly in the system. She talks to her partner, Sequoia (Toby Onwumere) about the secrets the code could hide before jumping into the sequence of bits.

She appears in the background of a scene and suddenly it becomes clear; we’re back in The Matrix. More precisely, we’re watching the start of the first film where Trinity (Carrie-Ann Moss) finds herself accosted by police officers during her investigation into Neo’s location. Bugs watches the scene from the background; it’s obvious that this moment is one she knows about as she comments that Trinity is about to kick ass. However, the scene does not play out as Bugs or ourselves predicts.

Instead of seeing our Agent Smith (Hugo Weaving) enter in like expected, we are introduced to his double of sorts, a new Agent (Yahya Abdul-Mateen II), who sets the events in disarray. The script goes off the rails. Trinity gets chased down by the agents and Bugs is pulled into the simulation. Now the other players are aware of her, so she’s forced to switch from passive observer to active participant. She makes her escape from the agents and seemingly evades their tracks, making her way to what appears to be Thomas Anderson’s desk (Neo’s original name) where she runs into the new Agent.

Like Smith in the original film, this Agent exhibits a difference in perception, choosing to investigate the next location of his target instead of chasing aimlessly behind them. However, this Agent isn’t seeking to kill Bugs and instead begins a dialogue with her. They both confess that their perception of the world has been altered; they’ve both gone through experiences where the code of the world revealed itself to them, shattering their expectations of what is and is not real. They believe that these experiences are linked to Neo/Thomas, whose presence they can feel even if they can’t trace. Suddenly Bugs realizes that the Agent is none other than a representation of Morpheus, the man who first revealed the truth of “the Matrix” to Neo in the first film. But the duo is unable to figure out why Morpheus of all people has been coded as an agent in a never ending-loop chronicling Trinity’s discovery of Neo. Why indeed.

Their attempts to escape the modal fades into lines of code on another screen. This time the user can be seen and its none other Thomas Anderson, except this time he’s not the subject of the Matrix. He is its creator. The modal on his screen is revealed to be old code from his hit series of video games “The Matrix.” He’s the lead designer of the trilogy of games which depict the journeys of Neo, a renegade who fights machines and Agents in a computer-generated world. Instead of revealing the mysteries behind the code, this Thomas Anderson (Keanu Reeves) is responsible for the code itself.

The flip in perspective calls into question the entire nature of the franchise up to the moment. Are Bugs and Morpheus real or are they just scripts created by Thomas? Is the Matrix trilogy “real” or was it just a fabrication on the part of a coder who started to lose the ability to distinguish between his fictional world and the reality around him? The cracks between what is and is not happening and who is charge of who become blurred as Thomas goes through his work day. He’s haunted by visions – scenes ripped from the trilogy – but their presence isn’t comforting because their status as markers of truth is wholly based on context.

As Thomas learns from his therapist (Neil Patrick Harris), these visions could be an after-effect of delusional self-insertions. Artists often take from events, characters, and the like from their lives and use them as the basis for stories and ideas. The therapist argues that Thomas has done much the same with the Matrix videogames; unfortunately, because of his susceptibility to delusion, he’s reversed the inspiration process; instead of letting the game take cues from his life, his life is taking cues from the games. For example, the character Neo projects a hostility to Agent Smith. Because Thomas sees himself as Neo, a natural self-insert, he takes that hostility and applies it to the antagonistic force in his life, his boss Smith (Jonathan Groff). Unfortunately, these problems are only exacerbated when this same Smith reveals that the gaming company’s parent company, Warner Brothers, has demanded a sequel to the hit-trilogy; far from being free of the “Matrix’s” influence, Thomas finds himself in right back within its domains.

This is just the tip of the meta-rabbit hole that Resurrections offers to give any viewer willing to take its trip with an open mind. Far from being more of the same or a mere repetition, director Lana Wachowski’s return to the world of the “Matrix” is content with nothing less than pushing the boundaries on what the franchise is capable of. Franchise mainstays like the precisely choreographed gun-fu action set-pieces by Yuen Woo-ping or ever-present green tint in the lighting and production design are gone as this latest entry chooses to lean, more so than any of the previous entries, into its Alice in Wonderland influences. Like Alice, Neo finds himself caught in a world that constantly pulls the rug out from under him and is desperate to find a jumping-off point that will allow him to determine who he is, to determine what his reality means, to figure out how deep the rabbit hole really goes.

The structure of the film exemplifies this energy as its first act starts as an analysis of the franchise itself from an external point of view. As Thomas develops the 4th sequel to his franchise, he’s forced into meetings with people who seek to breakdown what made the franchise popular. Is it the bullet time sequences, the themes of trans liberation, the mind melting storyline, or something else entirely that energizes and makes the Matrix tick as it does? These discussions aren’t meta for the sake of being meta; they’re meant to invite us into the conversation and get us to think about what the film entails.

There’s a comedic underbite in the meta-elements that makes us aware that the drive to capitalize on nostalgia is a method of placation, a form of hypnotism by which subjects are lulled into a state of complacency by being. It’s apparent that Lana is not interested in doing a rehash of the franchise’s greatest hits, so when the homages start to kick in, the immediate response is to question them. In this sense, Resurrections is the equivalent to being shown what seems to be a completed puzzle and a bag of puzzle pieces and being told to complete the full picture.

Given its set-up, it’s understandable why the film’s reception has been so polarizing. It’s not a sequel in a traditional sense and refuses to give the audience what they think they want. Like Thomas, many might themselves frustrated with Resurrections because they yearn for the comfort and stylings of what came before even as the film suggests that repetition of the same material ad infinitum only creates stagnation that resembles progress when its anything but. The traditional sequel would aim to be closer to Spider-Man: No Way Home, slyly putting call-backs to previous installments and using those moments to build up to a conducive story that serves as a continuation of what came before. Resurrections unapologetically rejects such an approach in favor of a leap of faith that upends everything that came before and puts it all back together in a way that allows us to re-imagine the franchise in wholly new ways.

REPORT CARD

TLDR	In an entertainment climate filled with soft-reboots and rethreads of beloved story beats, its refreshing to see a sequel to such an enshrined franchise get so thoroughly broken down and reformulated in a film with as much passion and emotional heft. While The Matrix Resurrections might disappoint fans looking for a re-run of the franchise’s greatest hits like the crisp gun-fu action set-pieces, it should more than satisfy those who enjoy the philosophical possibilities inherent to the world.
Rating	9.4/10
Grade	A

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

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