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The Star Wars Saga, ranked best to worst.

1. The Empire Strikes Back Directed by Irvin Kershner

Upon close consideration, I’ve come to the shocking conclusion that Empire is the best Star Wars film. There’s a wealth of world-building and character development here that in many ways makes Star Wars the living breathing universe it is now. A richly complex melodrama lies at the heart of Empire, giving a whole new meaning to the term “space opera”. The performances here are some of the strongest in the entire franchise. Mark Hamill not only fleshes out Luke’s character, but in his training with Yoda and his duel with Vader he establishes the profound nature of the force, and how every future character interacts with it. As Han and Leia, Harrison Ford and Carrie Fisher create authenticity to their characters��� relationship. Often misinterpreted as playfully hostile or sassy, there’s a real and endearing sense of affection between them, particularly in the infamous “I love you”/”I know” line- shedding their previously petty flirtation and affirming their true feelings. The emotional crux of Empire lies not in the most memorable twist, but in the moments immediately following it - In Luke and Leia reaching out to each other, reconnecting a relationship that was lost, rekindling hope in the force after we thought it was lost.

2. A New Hope  Directed by George Lucas

I’ll be the first in line to make fun of dorky George Lucas and his woeful attempts at writing dialogue or romance. However, it’s pretty damn impossible to ignore what he achieved with Star Wars in 1977. The sheer audacity of his vision and his determination in executing it despite the naysaying from producers and supposed friends. Lucas had the bold idea of using cinema for it’s absolute worth- more than just a storytelling medium but a theatrical one. A cacaphony of sight and sound that could draw mass audiences and create a lasting impression. It’s a formula that every Hollywood and Bollywood blockbuster strives and more often than not fails to follow. It’s hard to dissociate A New Hope from the cultural phenomenon it helped create, but when you do, it stands as an impressive film on it’s own. Groundbreaking in terms of it’s visual effects and nostalgic in the simplicity of it’s sci-fi serial story, Star Wars ticked all the right boxes for so many people. If I was to boil Star Wars down to an essence, i think it lies in 2 scenes: Luke looking out at the binary sunset on Tattooine, and Han Solo yahooing after the Falcon saves Luke in the Death Star trenches. Those two scenes, Wistfulness and Exuberance, are the two sides of one concept- Adventure. Star Wars ignited those emotions in every child’s imagination, and it’s a flame that’s likely to never go out. 

3. Rogue One: A Star Wars Story Directed by Gareth Evans

Hard to believe this is a Disney movie. While the house of mouse may have a reputation for emotional gut punches in kids movies, it’s never felt quite so... permanent. Rogue One is an unrelenting emotional journey barelling towards surefire tragedy. We spend moments with characters that seem to be carrying the weight of the world on their shoulders. The sense of desperation that permeates the movie almost overpowers any sense of heroism. It’s so unlike anything we’ve seen in a Star Wars movie. Their courage comes from a place that is wholly genuine and believable. We see the rebellion for the despondent group that they are. Sorely outnumbered by the Empire, their actions in this movie show a reckless, darker side to them and makes the morality of Star Wars so much more complex. The first time we meet Cassian Andor- the stand out performace of the film by Diego Luna- we see him kill another rebel to protect their secrets. It’s a movie that reframes the original Star Wars trilogy, making it a richer, complex universe and more intriguing as a result. Also, the last five minutes might be the best five minutes in any Star Wars movie.

4. Return of the Jedi Directed by Richard Marquand

The one sore spot in the original trilogy for me are the Ewoks. I realise it's ridiculous for me to complain about kid-friendly creatures in a kid's movie, but Star Wars has done this a lot more tolerably in the form of Porgs and Baby Yoda. Just something about these furry, Tibetan speaking monsters who somehow have the wherewithal to defeat an elite and well equipped empire rubs me the long way. Anyway, other than that, the movie's pretty fantastic. The culmination of Luke's journey comes to a head in an extremely emotional and effective climax. John Williams score crescendos to operatic heights and Mark Hamill's stellar performance sells Luke’s torment. It’s also worth noting that in those final moments of moral dilemma, Darth Vader is silent- it’s David Prowse’s performance entirely that sells this. His incredible presence throughout the trilogy builds to this moment and you can feel the weight of it in those closeups on Vader. Every other cast member rounds the story out perfectly- from Lando and Han’s playful rapport to Leia’s more militaristic side in planning the rebellions final moves. I still bemoan the fact that they changed the final song- an opinion that I’m apparently a minority on- but it’s a pretty incredible ending altogether and wonderfully cathartic to watch over and over again.

5. The Last Jedi Directed by Rian Johnson

With Last Jedi, Rian Johnson analyzed the universe Star Wars inhabits, and what drives it’s characters. The characters that we love are pushed to their limits, struggle against insurmountable odds and their own innate flaws. And we see all of them fail in turn. It is remarkably bleak, but not without purpose. It is out of this failure that the Resistance needs to recoup and come back stronger. The performances here, are arguably the best you’ll find in the entire franchise. Daisy Ridley has to break down Rey’s naivete and find a deeper sense of self actualization. Adam Driver hands in some of his best work, by swerving the audience into believing Kylo Ren and then creating a desperate plea in THAT throne room scene, and eventually turning him into a snivelling villain, all in the same movie. Mark Hamill’s performance here is heartbreaking- revealing the bleakest version of Luke, and struggling to find his redemption. Last Jedi is a bold deconstuction of these characters, of what they stand for, and what makes Star Wars beautiful.

6. The Force Awakens Directed by J. J. Abrams

In many ways, a safe movie to announce the return of Star Wars. But it’s hard to fault this. Disney’s decision making was shrewd here, bringing on J. J. Abrams to pay homage to George Lucas’ original vision, returning the franchise to it’s roots of practical effects and shooting on film. There was something truly special about experiencing this film in theatres, so much so that I did it eleven times. It captured a sense of wonder for fans new and old- hearing the scream of Tie Fighters, John Williams herald the return of the Millenium Falcon, and the look of awe on Rey’s face as she clutches her destiny in her hand. I’ll be honest, the film loses some of this magic without the shared experience of an audience, and it’s flaws are more noticeable. But being swept up in the excitement of adventure felt so darn good in 2015, and that’s so key to this franchise.

7. Revenge of the Sith Directed by George Lucas

This movie has risen so much in my opinion, entirely due to the animated Clone Wars series. Revenge of the Sith depicts the overwhelming tragedy that frames the original Star Wars. Watching Clone Wars explains explicitly what makes this film so tragic. But it’s more than that- it’s a catastrophic failure on behalf of the Jedi Order. Ignorance and pride allow evil to fester and grow. George Lucas took the simplicity of the moral struggle he established in 1977 and tried to give it depth and complexity with the prequels, and it pays off in Revenge of the Sith. It leads into the original trilogy quite brilliantly, with a promise of hope and resilience.

8. The Phantom Menace Directed by George Lucas

It has not aged well. While the advent of CGI I’m sure felt exciting at the time, and you almost can’t fault George Lucas for his insistence on staying at the forefront of VFX innovation as he has always done, it’s his reliance on so much of it that fails horribly. Like a kid in a candy store, Lucas stuffs the pockets of this film with so many bizarre effects for absolutely no reason. That sea monster scene is one of the worst displays I’ve ever seen and it’s absurd that it sits in a Star Wars film. Add to that the boring political plotline and ridiculous midichlorian dilemma and there’s very little redemptive about this film. However, it does have podracing, and Duel of the Fates, and it’s remarkable how much that salves the wound.

9. The Rise of Skywalker Directed by J. J. Abrams

Alright, well obviously this film has been problematic. However, I’m not about to bemoan the idea that Disney has ruined Star Wars and I have nothing left to live for. So let’s all just calm down. Ultimately J. J. Abrams was faced with the impossible task of wrapping up the Skywalker saga, with very few Skywalkers to work with. I firmly believe this would have been a very different film if Carrie Fisher was around to complete her performance. But left with nothing but the new cast, Abrams is caught between summing up the past while also looking to the future. It forces an awkward plotline with Palpatine- despite Ian McDiarmid's solid performance, the writing here seems wildly derivative of the franchise. There are some truly beautiful scenes, most notably the chemistry that Adam Driver gets to share with Harrison Ford, and Joonas Suotamo’s critically emotional outburst as Chewbacca. Some of the production design and score is so entirely different from the rest of the franchise it's inherently intriguing. But there’s very little here to save some of the poorer choices the film makes: the open plot hole with Finn, the derailing of Rey’s character development, and most crucially, the deeply perturbing culmination of Rey and Kylo’s relationship. The audience literally went “ew”.

10. Solo: A Star Wars Story Directed by Ron Howard

The biggest problem with Solo is that it operates under the presumption that people will be enamoured and invested in it. Not just in one movie, but in an entire series of movies. Solo clearly operates as a setup for further sequels. As a result, many plot lines remain unresolved, and Qi’ra winds up being a completely under-baked character. Her motivations make no sense, and a twist ending that I assume was supposed to be exciting is instead downright confusing. There’s a lot of unnecessary exposition into Han’s past too. As an origin story, I don’t need to know every aspect of Han’s past- especially not cute winks at inane things like “Why’s he called Solo?”. All this being said, The movie features some solid performances- Donald Glover is expectedly phenomenal as Lando, and Alden Ehrenreich excels as Solo, adding some welcome flavour to the character- particularly his friendship with Chewbacca, and a brilliantly executed final scene between him and Woody Harrelson’s Beckett.

11. Attack of the Clones Directed by George Lucas

How in the world this film made it all the way to production and into filming, with no one pulling Lucas aside and saying “Hey George, those kids have no chemistry” is beyond me. And I’m not going to blame Hayden Christensen or Natalie Portman on this one, because the whole damn love story makes no sense. Maybe falling for a dude who admits he murdered women and children isn’t such a great idea? Then there’s the increasingly convoluted political climate set up in Phantom Menace, and the machinations of the dark side that would take the entire Clone Wars series to fully explain. All this being said, Temuera Morrison, Samuel L. Jackson, Ewan MacGregor AND Christopher Lee are all in this movie. And they’re pretty damn fantastic.

12. The Clone Wars Directed by Dave Filoni

It’s inexplicable that Dave Filoni would go on to have a hand in some of the best Star Wars content ever made in Clone Wars, Rebels and the Mandalorian. And yet he got his start in the franchise by putting up this piece of junk. And junk is being a little generous. The humour is so juvenile it’s insulting to even the youngest of audiences it’s intended for. The plotline feels way to thin to warrant a feature film, and if this was in fact intended as a pilot for the TV series, they sure picked to most uninteresting story to pique our interest. Skip the movie, watch the show. 

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The Vast of Night Review

“The Vast of Night” (PG-13)

Directed by Andrew Patterson

(2020)

In The Vast of Night, two young people weave in and out of small-town normalcy like whirlwinds of excitement. Their fluid banter just begs for us to follow them through this sleepy New Mexico town and listen in. This glossy, dapper, and quaint vision that director Andrew Patterson paints for us is hard not to be drawn to. But then there’s the aliens. And suffice it to say, I didn’t look away from this movie once.

This is Andrew Patterson’s directorial debut. And while this totally justifies his gleeful use of all the filmmaking stunts possible- the wild long takes, the completely blank screens, the tube TV insets – it does not explain his sheer audacity in writing such tight, snappy dialogue to punctuate the mounting suspense in a movie that is already such a hip affair. What I’m trying to say is, he’s good. He’s damn good, and he has no right being this good for a debut effort.

The screenplay is paced like something by Aaron Sorkin, but a lot more fun, like something by Rian Johnson. It results in a movie where it’s hard to say if it’s the actors or the screenplay that’s so darn good. However I suspect it’s both, and sure enough, The Vast of Night is a gosh darned home run of a movie as a result. I had some issues with the ending, and I thought it could have been a great deal… subtler… but when I look back on it, it’s hard not to think of the whole thing as just altogether amazing. We might not have a great deal of reason to go back to cinemas anytime soon. But if you have access to Amazon Prime, turn your lights off, grab a bowl of popcorn and be assured this movie will give you all of the excitement of the most thrilling cinematic experiences.

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Schindler’s List

Steven Spielberg

1993

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The DC Extended Universe, Ranked Best to Worst.

1. Wonder Woman Directed by Patty Jenkins

Wonder Woman might be the only good movie that DC has made. Patty Jenkins really hits the nail on the head and perfectly captures the voice of the character. For a character so old and so iconic, there are many versions of Diana’s story, but Patty Jenkins really manages to deliver a definitive version. Gal Gadot, like Christopher Reeve or Chadwick Boseman before her, is perfectly cast in a role that is so much more than just a movie character. Diana is as strong as she is compassionate. The character flaws she needs to overcome is her own naivete, rather than the misguided angst so many of DC’s other characters grapple with. While other action sequences in the franchise have been overly cluttered, Wonder Woman’s cinematography offers some of the slickest, most iconic action scenes in the genre. It’s an altogether incredible achievement and a milestone for cinema in general.

2. Wonder Woman 1984 Directed by Patty Jenkins

The greatest fault I could find with this movie is that it didn’t lean into the 80s setting more. It does tread the line of a rather schmaltzy central plot, but solid performances from cast members like Pedro Pascal make it believable. It’s an absolute joy to see Gadot and Pine return to their roles, and an even greater joy to see ther choice of outfits for every scene. Solid. While Kristen Wiig is expectedly brilliant like with everything she does, she’s handling a character arc that seems derivative and outdated. Like it’s predecessor, WW84 showcases some pretty stellar action sequences, with Jenkins once again showing a knowing eye for big, impressive set pieces paired with frenetically paced fight sequences.

3. Aquaman Directed by James Wan

After the convoluted mess of ensemble films like Suicide Squad and Justice League, and even some of Marvel’s recent fare, it was refreshing to see a more traditional origin story. This was ultimately what drew my interest to superheroes in general, and while this film doesn’t have the same elegance of a Superman (1978) or Batman Begins, it’s an origin story that modern audiences can sign on for easily. It’s strongest scenes are in the lore-expanding quest that Arthur and Mera go on, simultaneoulsy a National Treasure-esque adventure and a showcase for solid chemistry between Jason Momoa and Amber Heard. And while Ocean Master does seem like an exaggerated villain at times, It’s Patrick Wilson’s solid performance that manages to sell it and make him arguably the best villain DC’s had.

4. Shazam! Directed by David F. Sandberg

Obviously, an inordinate amount of fun. Shazam doesn’t try and be something it’s not. Ultimately, more than any other superhero film, Shazam understands that this genre was always intended for children. And while at times the plot might seem thin or the conflict inconsequential, Shazam never loses sight of it’s heart. A capable cast of child actors make this believable, and subverting the genre tropes makes the film charming and witty. While it seems overly simplistic in terms of it’s storytelling, in DC’s world of confusing plots, this is a welcome change.

5. Man of Steel Directed by Zack Snyder

Perhaps the strangest portrayal of Superman to date, Zack Snyder honed in on the mythos of the character and what makes him “super” Unfortunately, it seems to completely ignore what makes him a “man”. We’re left with a wholly alien representation of the character- a gross misunderstanding of who Superman is supposed to be. Horrible character choices for both Jor-El and Jonathan Kent leave Clark a shell of the hero he’s supposed to be. We’re left with a character more willing to grapple with moral dilemmas and his own inner angst than actually step up and do the right thing. Henry Cavill has an undeniably affective presence, and he certainly feels right for the role, but he’s never given a chance to actually play the part. Aesthetically pleasing to look at, and generally quite entertaining, it’s unfortunately the way Man of Steel fails its character that makes it so unbearable.

6. Birds of Prey (And the rest of the title) Directed by Cathy Yan

I mean, this is basically just a Harley Quinn movie with some other random characters thrown in. Considering Margot Robbie wrote the film, I find it particularly bothersome that the most work she does for character development is for her own character. We see brief intriguing glimpses of some of the other Birds and unfortunately never get more than a taste. Some of the fight scenes are handling quite capably, trading in the more grittier feel of the standard DC fare for more amusing prop and set work. However, much like Suicide Squad before it, I feel like the movie suffers from “soundtrack vomit”-  a post Guardians of the Galaxy symptom in which a movie tries to assemble catchy songs and them slot them into the edit with no real motivation. 

7. Batman v Superman: Dawn of Justice Directed by Zack Snyder

An absolute misfire from DC in a sad attempt to make themselves relevant amidst Marvel’s runaway success. A focal point in the movie is the collateral damage caused by Superman in Man of Steel. And apparently the best way for the movie to deliberate on this is by exhibiting even more collateral damage. Showcasing the conflict between these two iconic characters seems like a good idea on paper, and it’s certainly been captivating in past comics. But the movie seems to devolve it into nothing more than a bar fight between two dumb jocks. We see Batman get cyber bullied by Lex Luthor, and Superman get coerced by a stupid plot hole. Then they beat each other up like idiots. A movie that spawned a thousand jokes, it’s really only worth watching to make fun of.

8. Joker Directed by Todd Philips

Apparently, this movie isn’t supposed to be counted as part of DC’s Film Universe. But I couldn’t resist the opportunity to remind you what a steaming pile of garbage it is. It would be inaccurate to even call this a movie. It’s really just a desperate actor trying to win an Oscar from an Academy that continues to be woefully out of touch. And an even more pathetic attempt by a incel director to stay relevant. The talented work from it’s cinematographer and composer force me to show some restraint from putting it at the bottom of this list, but rest assured- while there might be films I put below this, there are none I hate more. 

9.  Justice League  Directed by Zack Snyder(?)

Painful to watch, I went into this movie with the lowest of expectations, and they were somehow not met at all. It feels altogether rushed, poorly constrcuted and boring all at the same time. They forego any need for world building and instead toss us headfirst into a horribly convoluted storyline. They rush through an origin for Cyborg and introduce Aquaman like he’s the douchebag you never invited who shows up to your houseparty. Batman over-compensates for his eye-rolling seriousness in the last movie by being overly witty in this one. And they solve Superman’s death by having a hilarious grave robbing scene that I guess is supposed to be funny but is so ridiculous to watch that it felt more at place in an Adam Sandler movie. And to top it all off, the movie in general is one big eyesore. It’s honestly painful to watch the shoddy CGI that constitutes the main antagonist and the waves of enemies we watch the JL plow through. And while the opening scene I think is supposed to be a last ditch effort for them to make Superman relevant, it would be promising if I could look past his god awful CGI lip.

10. Suicide Squad  Directed by David Ayer

A hilarious comedy where the characters don’t actually have any dialogue and instead just speak in one-liners. A touching romantic drama where the Joker abuses Harley Quinn. A moving character study where Deadshot just wants to be a better father by killing Batman. A thrilling action movie where we hope the heroes can overcome Cara Delevigne’s dumb dancing and blow up the generic pillar of doom she’s summoned in the middle of Gotham. Suicide Squad is all of these things and more- so there’s my rousing endorsement.

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Grizzly Man

Werner Herzog

2005

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The Expendables

Sylvester Stallone

2010

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Small Axe - Education

Steve McQueen

2020

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Soul

Pete Doctor & Kemp Powers

2020

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A Scanner Darkly

Richard Linklater

2006

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The Adventures of Tintin

Steven Spielberg

2011

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Lincoln

Steven Spielberg

2012

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Minari

Lee Isaac Chung

2020

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“Pain and Glory” Review

Pain and Glory - Dolor y Gloria (R)

Directed by Pedro Almodóvar

2019

There’s a scene in Pain and Glory where Salvador Mallo (a character inspired by director Pedro Almodóvar and played by Antonio Banderas) offers some direction to an actor saying "The better actor isn't the one who cries. It's the one who fights to hold back the tears." How much of this advice did Banderas follow himself? He has never been more vulnerable than he is in Pain and Glory, a movie by his close friend and collaborator Almodóvar - whose films could so easily be categorised as melodrama. But Pain and Glory seems different. It feels personal as it undoubtedly is. Banderas matches Almodóvar’s passion with a performance that is so entirely genuine that you are engrossed and involved in it- seeing Salvador as a real character in himself, and not pondering the similitude he might share with Almodóvar.

Like so many of Almodóvar’s films, Pain and Glory is absolutely stunning to look at. His vivid colour pallettes are on full display, with meticulous details paid to the sets and costume design as he personally supplied a number of his own furniture and clothing. The scenes of Salvador’s childhood contain an intangible magic of relatability that only the strongest writing can bring out. As Salvador’s mother, Penélope Cruz ( Almodóvar’s other muse) brings to life another deeply personal role with an expert level of finesse. Playing so many important parts in Almodóvar’s life, her craft has been sharpened and matured so that she would be the unquestionable choice to portray his most personal relationship- that which he had with his mother.

It would be so simplistic to say that Pain and Glory is Almodóvar’s most personal film yet. But in truth so many of his films have been so deeply personal. Pain and Glory strives to be more. In reflecting on his life, Almodóvar encourages us to reflect on our own, and consider the quiet moments that shape us, and thrive in our memory. This is Antonio Banderas’ career best though, and more than anything it is a film that should be seen if only to understand how criminally overlooked his skill as an actor has been.

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The Marvel Cinematic Universe, Ranked Best to Worst.

Why watch a movie when you can experience it? And that’s what the MCU demands you do. These films are less about settling in to watch a movie. It’s about getting together your family, your friends and making an entire event of them. Marvel Studios has forever changed cinema going, and boy am I eager to get back to them. So with that, let me break down the franchise and my take on the best and worst it has to offer.

1. Iron Man 3 Directed by Shane Black

Iron Man 3 still holds up as one of the MCU’s strongest screenplays. It’s their first (and one of their only) real character study of a superhero, and the psychology behind being one. Tony Stark suffers from PTSD and struggles to understand his relationship with Iron Man. He is forced to contend with human issues and find what it is that truly makes him a hero. It’s also a movie chock full of incredible action set pieces- the Air Force One scene still holding up as one of my favourites- and wickedly funny dialogue. It continues to be my most satisfying re-watch out of the MCU.

2. Black Panther Directed by Ryan Coogler

Marvel’s best villain, best score, best production design, and best picture candidate. It’s the movie that forced Hollywood to take them seriously. Ryan Coogler showed the world that he can perform even within a studio system that had largely been criticised for being too overbearing. The world may have always known that Black Panther existed, but Coogler showed us why he matters so much. The story is the MCU’s most inspiring yet. Killmonger forces not just T'Challa, but every audience member to consider his motivations seriously. It shows humanity that heroism doesn’t come from superficial acts, but from overcoming our own flaws and learning hard lessons from our history.

3. Thor: Ragnarok Directed by Taika Waititi

In letting Taika Waititi have free reign over Ragnarok, Marvel is given their most unique film yet. The movie feels very much like Waititi’s own vision, chock full of his signature wit and charm. And its within this vision that we finally see Chris Hemsworth come into his own as Thor. Finally at ease, he’s allowed to be funny, and absurd, and play the emotional scenes without any melodrama. Waititi really makes the character dynamics in this film memorable, introducing us to the Grandmaster and Valkyrie, and fleshing out Banner and Loki. It’s a cast that charms us enough to consider staying with the MCU and seeing where they go.

4. Captain America: The Winter Soldier Directed by Anthony and Joe Russo

Chris Evans finally comes into his own as Captain America, as Winter Soldier gives him a captivating character arc to work through. Steve Rogers is placed in a conflict that makes him question his own motivations. The morality that he stands for is in direct opposition to the authority he serves, leaving him to question what it means to be Captain America. We also see him learn from his relationships with the supporting cast- with a franchise best portrayal of Nick Fury and Black Widow and a particularly strong introduction of Falcon. The Russos create something truly remarkable by taking a character that has been criticized for being too traditional and show him learn and change significantly. But in addition to all this they direct what is easily the MCU’s best pure action movie yet, showcasing the franchise’s best car chase (Fury vs Cops) and its best fight scene (THAT knife scene).

5. Avengers: Endgame Directed by Anthony and Joe Russo

Stunning, momentous and joyous, Endgame is the theatrical experience that Marvel has spent over 10 years honing to perfection. Just one year after Infinity War, the MCU brings together their iconic, colossal cast for their grandest, most ambitious adventure yet. And while Endgame is chock-full of some stunning action sequences and gleeful references, it carries a genuine heart to it. These heroes struggle with PTSD from the events of Infinity War. We see them at their very lowest, and watch their desperation mount and grow to determination. This epic struggle is what has made superheroes so compelling for so many years. By breaking these characters down, the Russos show us just what makes them great. We’ve witnessed writers, directors and certainly the actors take these characters on journeys that have seemed at times thrilling, at time out of touch, but in Endgame, they’re at their very best. The moments of reprieve in the action where we simply sit with them to listen in on their banter are the best. Building to it’s inevitably emotional ending, Endgame winds up being one of the most wholly cathartic experience I have had with a film.

6. Guardians of the Galaxy Directed by James Gunn

At the time of it’s release, Guardians was the franchise’s best-looking movie yet, and it still holds up. The slick space opera designs set to the now iconic soundtrack made the first Guardians an aesthetic marvel. It’s the substance that comes with this that makes the movie one of the MCU’s best. The ragtag group are misfits who find their purpose by banding together, and while the sequel may have drawn this out to nauseating lengths, the first movie made it succinctly effective. It found the right balance of humour and sentiment, endearing us to a cast of characters that seemed too obscure to be popular- and guaran-damn-teeing that Marvel can do whatever the hell it pleases moving forward.

7. Avengers: Infinity War Directed by Anthony and Joe Russo

To handle ten years of storytelling and world building and bring it to such a satisfying crescendo is commendable. The Russo brothers handle each character well- each new introduction is a pleasing moment of familiarity and excitement to the fans that have stuck with this franchise. It’s a perfect match to the comic book format. And ultimately Infinity War is as good as any major comic book event. A chance to see our favourite characters interact with each other with conceivable motivations, and face a threat that is alarmingly critical. Its in this respect that Infinity War outshines its predecessors. For the first time, the Avengers face real emotional consequences if they fail. The Russo’s pull no punches to make this clear and despite a fair amount of signature MCU levity, Infinity War winds up being their darkest film yet.

8. The Avengers Directed by Joss Whedon

There’s no questioning the milestone achievement that The Avengers accomplished. As a superhero ensemble, it never once feels congested or jarring-something that most blockbusters consistently suffer from. Instead the protagonists are given clear goals, and their obstacles make real sense. Their hostility towards each other stems from their innate character flaws that they need to address to face the true antagonist in Loki. It highlights what Marvel does so well- offer us adventures that don’t tie up all their loose ends but rather leave them dangling to set up more ambitious stories.

9. Spiderman: Homecoming Directed by Jon Watts

I’ve long considered Spider-Man an uninteresting superhero, so it is highly commendable that Homecoming manages to change that. We skip the origin story and meet a Peter Parker that is inexperienced and has a lot of growing up to do. He contends with Michael Keaton’s Vulture- a villain that is simultaneously charismatic, intimidating, and relatable. Supported by what is probably the best supporting cast in any MCU film. Martin Starr, Hannibal Burress, Zendaya, Jacob Batalon, Jon Favreau and Marisa Tomei flesh out Spidey’s own universe of Queens- wholly believable and charming.

10. Captain America: Civil War Directed by Anthony and Joe Russo

In all respects, this should have been the second Avengers film. The Russo brothers do what Joss Whedon couldn’t. They show these characters change and clarify their motivations based on the 8 years that we’ve been watching them. They introduce new characters like Spider-Man and Black Panther in seamless fashion. They provide exciting action set pieces and compelling moments of drama. The payoff at the end truly shows us how much of a battering these heroes take- emotionally and physically. We see their vulnerability more clearly than any other MCU film, forcing us to address the question that they can’t keep doing this forever.

11. Captain Marvel Directed by Anna Boden and Ryan Fleck

The biggest issue that this movie suffers from is that it seems very episodic to a larger MCU. Its hard to get around this though, with it’s release date being less than 2 months away from Endgame. It feels like there are some key world building details that had to be gotten across. Had this not been the case, perhaps they could have explored Carol’s character a bit more. She does seem interesting, and Brie Larson does an expectedly great job, but it seems like we’re only getting a taste of a much larger character study. From what we see though, it is refreshing to see a female character who simply goes out and kicks ass without ever being sexualised, even in terms of costume design. The highlight of the film though, is undoubtedly Samuel L. Jackson’s incredible portrayal of a young Nick Fury, through the most magical of magic tricks in VFX.

12. Iron Man Directed by Jon Favreau

While I do feel like the movie has lost some of it’s lustre since it’s release, there’s no denying that Jon Favreau achieved something remarkable with Iron Man. Forever considered one of Marvel’s B-characters, Favreau brings Tony Stark into a modern era and instantly relevant setting. This is obviously due in large part to his gamble of casting the debilitated Robert Downey Jr. in the lead. Downey Jr. pays off in spades, revitalising his career and sadly typecasting himself forever with a roguishly charming performance.

13. Doctor Strange Directed Scott Derrickson

Doctor Strange is proof of the amazing world-building prowess the MCU has. They introduce key elements to the universe that seem incredibly important, without ever overwhelming the story. Benedict Cumberbatch puts on his best American accent yet and capably sells Stephen Strange as one of the MCU’s more level-headed heroes. The rich mythos of Doctor Strange fits immediately into the greater MCU framework while telling it’s own compelling narrative culminating in my favourite climax to any MCU film- “Dormammu, I’ve come to bargain.”

14. Spider-Man: Far From Home Directed by Jon Watts

The real standout from this film is Jake Gyllenhaal with his pitch-perfect performance as Quentin Beck/Mysterio. He threads that line of MCU humour extremely well, but also manages to come off as wholly and realistically threatening when he needs to. Far From Home had the tough task of following the monumental Endgame,  but it fulfills its purpose of truly setting the tone for the future. A lot rests on Peter Parker’s shoulders and Far From Home shows him having to deal with it responsibly, maturing and growing to fill a greater role in the MCU. 

15. Ant-Man Directed by Peyton Reed

If you ignore the fact that this movie was almost directed by Edgar Wright and how amazing that could have been, Ant-Man still delivers as a very entertaining movie and one of the franchises strongest origin stories. Scott Lang is instantly the MCU’s most relatable character- not a god, not a spy, just a thief with no powers and no resources (initially). And there is no one who could have played this character better than Paul Rudd. Bringing his signature charm and impeccable comedic timing to the franchise is a breath of fresh air and a brand-new dynamic. 

16. Captain America: The First Avenger Directed by Joe Johnston

Ultimately my biggest problem with Captain America has always been his origin story, so I have some natural issues with this film. It is also bogged down with some cliched romantic drama between Steve and Peggy which takes away from its otherwise engrossing plot. Hugo Weaving proves to be an effective Red Skull, showing us a deeply disturbing quest for power. The movie excels in its WW2 setting, laying down real consequences and motives behind Captain America’s heroism. It takes a few movies for Chris Evans to settle into the role, but this is a strong start.

17. Iron Man 2. Directed by Jon Favreau

Iron Man 2 consistently threads the line of poignant storytelling. Ivan Vanko’s vengeful motives, Tony Stark’s descent into alcoholism and the nature of war profiteering. It’s especially unfortunate then that the movie gets bogged down with a persistent need for levity. More than any other film in MCU, the humour in Iron Man 2 seems particularly cumbersome- taking away from what would surely be strong performances from Mickey Rourke and Sam Rockwell. As a result, we’re left with villains who don’t seem to be a threat at all- mere caricatures for Iron Man to dispatch without ever really pondering their motivations.

18. Ant-Man and the Wasp Directed by Peyton Reed

My initial reaction to this movie was pretty positive, but given time I realise it’s totally forgettable. While it does feature some integral world building to the larger MCU, there’s very little done to explore some of their characters, particularly the Pym/van Dynes. There are still a lot of great aspects, including some clever action set pieces that explore Ant-Man’s powers more. Scott’s relationship with Cassie is expanded on and Paul Rudd and Abby Ryder Fortson do a great job selling this, making it seem truly endearing without ever being corny. Also Randall Park is in it and he might be the greatest actor of his generation.

19. Guardians of the Galaxy Vol. 2 Directed by James Gunn

More of the same, but not nearly as fresh is what Guardians 2 serves up. It rehashes a lot of its predecessors joke formulas, action montages and even the basic emotional tone. It’s hard for any of this to seem anything other than repetitive and I’m left wanting these characters to go on real adventures rather than wallow in their own angst. Without offering any new developments to these characters and a rather uninteresting plot, the movie is another totally dismissible filler episode in the MCU.

20. Thor Directed by Kenneth Branagh

It’s really baffling that with as big of a name as Kenneth Branagh attached to it, Thor winds up being one of the MCU’s most poorly directed films. Poorly constructed shots framed on a dutch tilt and coloured with a gaudy high contrast palette make this movie a downright eyesore. It’s especially unfortunate because it’s got some great moments of storytelling in it. While the first three quarters of the movie seem tedious, it pays off in the last 30 minutes- exposing a complex family drama that drives most of the film. While Chris Hemsworth took a few films to polish his acting chops, Tom Hiddleston and Anthony Hopkins provide strong performances to really sell their characters and make us care.

21. The Incredible Hulk Directed by Louis Leterrier

This movie has easily become the sore thumb in Marvel’s formula. It seems entirely different from the rest of the movies. This is due in large part I believe to make it similar to the original TV series. None of this is a good thing. The movie has a largely meandering plotline, with no sensible character development. Bruce Banner goes back and forth between being tortured by the Hulk and accepting him. In a world populated by poor villains, Tim Roth’s Abomination might be the worst one. At no point do his motivations make sense or seem clear at all.

22. Avengers: Age of Ultron Directed by Joss Whedon

It seems like Joss Whedon decided to make a sequel to The Avengers without taking into consideration the four other movies that came out after it. Ignoring most of the character development and brushing aside key plot points, Whedon instead tries to explore their team dynamic by sewing seeds of hostility and testing them against a new villain. However, as good as James Spader is, Ultron never feels like a real threat. The real antagonist for the Avengers winds up being themselves, constantly bickering over right and wrong- and while this isn’t necessarily bad, Civil War would do a much better job of this just a year later. This makes Age of Ultron a dispensable entry in the MCU, and Whedon’s extremely poor handling of Natasha and Bruce’s relationship make it an arduous rewatch.

23. Thor: The Dark World Directed by Alan Taylor

The Dark World suffers from some bizarre shifts in tone and horribly forced humour. They reduce Jane Foster and Thor’s relationship to a cliched romantic comedy and then use it to add unnecessary comedy to the family dynamic established in the first Thor. Even the performances seem poor here- as if the actors never truly felt comfortable in their role. They posture and exaggerate to sell a script that offers them very little to work with. With a caricature of an evil villain and a generic McGuffin to chase, The Dark World is everything you could criticize the MCU of, rolled into one movie.

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“Emma.” Review

Emma. (PG)

Directed by Autumn de Wilde

2020

There is so much to love here. Music, set design, costumes, cinematography, performances. The whole thing is so pleasant to look at. It’s incredibly commendable that Autumn de Wilde was able to get all this so right on her debut film, adapting what could be seen as a difficult novel to adapt. 

“Emma” the novel features a character that’s not entirely endearing, and in previous adaptations might even be percieved as ignorant, cold, and altogether unlikeable. De Wilde’s adaptation is far removed from these, though still very close to the nature of the character. While Emma tends towards ignorance, it generally stems from her inexperience through her age or social standing. Her flaws are the fault of misplaced naïveté, and we grow more understanding of them as we get to know her character. 

A great deal of credit goes to Anya Taylor Joy’s lead performance, seeming at once to contain the youthful wit of the character, down to her mannerisms and expressions. It brings a sense of ironical reflection on the source material, freeing it from the more rigid adaptations of Austen’s work in the past. There seems to be a general sense of levity and fun throughout the film, making it hard not to enjoy. Taylor Joy is supported by an equally impressive performance from Johnny Flynn, whose Mr. Knightely immediately establishes a sharp banter and foil to Emma. 

In addition to all this great stuff, Emma is also accompanied by a stellar soundtrack, as some choice English folk tunes accompany Isobel Waller-Bridge’s choral score. At the heart of it all is Johnny Flynn himself, lending his harmonious pipes to a song in the film and writing and performing a solid end credits piece. 

All in all, this film was such a joyous watch, and stands out as the best adaptation of the novel to date. Yes, even more than Clueless.

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Favourite Films from 2019

1. Portrait of a Lady On Fire Directed by Céline Sciamma

A gorgeous, gripping, and emotional vision enough to reduce me to tears. Portrait of a Lady on Fire is so may things all at once, it’s hard to pin it down. It seems on paper to be a romance, but as you get into it, the atmospheric tension conveys a sense of gothic horror. It leaves you uneasy but also enraptured, yearning but also soothed. A movie about art, love, depression and self-actualization that manages to blend them all seamlessly and elegantly. The cinematography, editing, performances, production design are all incredible, coming together under Sciamma’s hand to create a masterpiece of cinema. AND. That final scene is an absolute thrill ride.

2. Jojo Rabbit Directed by Taika Waititi

Taika Waititi might just be the best writer/director working today, and this is evident in everything he does, from the MCU to The Mandalorian to Jojo Rabbit. He demonstrates so well how he can work under a major studio and direct a blockbuster, but also direct a film that is so personal and meaningful. And the most incredible thing about Jojo Rabbit is that it isn’t some small indie film he made for himself. It’s a movie for everyone, under a major studio, for a wide audience. This is so integral to the message of this film. It’s one that everyone should be able to watch and yes, enjoy and laugh at, but also feel uncomfortable, emotional and cripplingly saddened by. It’s the most important movie he has made, one that we should all be grateful for. 

3. Parasite Directed by Bong Joon-Ho

The movie that finally gave Bong Joon-Ho wider attention, and rightfully so. His usual themes of social class and the degradation of civility are portrayed so effectively and empathetically in Parasite. Instead of the insane atmospheres of his earlier genre films, Parasite is about such a mundane situation that is put on a slow burner, simmering and bubbling to a chaotic crescendo. The emotional journey of watching this film in cinemas was incredibly rewarding, as I laughed alongside an audience- at first in good humour, then uncomfortably, and then silenced with baited breath, gripped with tension, shock and horror.

4. Extra Ordinary Directed by Mike Ahern and Enda Loughman

Totally and unfairly flying under the radar, Extra Ordinary was the funniest movie I saw last year. The multiple hilarious references to classic horror films, the self-mocking use of genre tropes, and one brilliant performance from Will Forte had me in stitches the whole time. At its heart, its a simple emotional story, enough to be not just funny, but also undoubtedly charming.

5. The Last Black Man in San Francisco Directed by Joe Talbot

Its incredible that in Joe Talbot’s directorial debut, he crafted a film so  singularly artistic. Jimmie Fails’ story is one that is so beautifully poetic, and the film plays out like dream. It’s a story that is culturally relevant, undoubtedly, but also innately emotional and moving. Themes of race, masculinity, art and architecture are woven together cohesively in this exquisite film.

6. Booksmart Directed by Olivia Wilde

Speaking of impressive directorial debuts. Olivia Wilde breathes new life into raunchy coming of age tales with Booksmart. While this film has consistently been compared to Superbad, it should be clear that it is infinitely better than it. Booksmart is not simply a lewd comedy, but one with a strong understanding of it’s heart. It convinces us an audience to buy into the lead characters, root for them, relate to them, and yes laugh at and with them. 

7. Avengers: Endgame Directed by Anthony and Joe Russo

It cannot be understated just how monumental this film is. Kevin Feige and the team at Marvel Studios have achieved an impossible goal, and in only ten years. They have brought superheros out of the fringes of pop culture and made them immediately relevant and alluring. Avengers Endgame is an incredible celebration of the MCU, with moments of fan service that at times might seem pandering, but mostly tasteful and joyous. Endgame’s references to the past are filled with a self-aware sense of humour, and respect for its humble beginnings. Marvel forever changed theatre-going experiences to not just watching a movie, but sharing in a cultural event. And Endgame is a touchstone in cinema history. A shared experience amongst fans. And while it might not be proper to call it art, maybe it doesn’t need to be, because it stands apart nevertheless. 

8. Toy Story 4 Directed by Josh Cooley

I really liked it okay? On paper, this movie seemed like a bad idea, as Toy Story 3 was so incredible and I couldn’t imagine a better ending. But as I got into Toy Story 4, I see it’s importance to the story. It truly delves into the minds of these characters, and questions what happiness means to them. Tom Hanks brought to life a piece of my childhood (and indeed many childhoods like mine), and this film allows us to see Woody off to his cathartic destiny. 

9. Rocketman Directed by Dexter Fletcher

Unexpectedly brilliant, Rocketman sets itself apart from most formulaic biopics. It leans into the fantasy of Elton John’s music, and carries us trancelike through his life. Taron Egerton’s powerhouse performance fills in the nuances of Elton’s emotions. In the most gregarious bits of showmanship, to the darkest pits of despair, Egerton ensures that we empathize with, relate to, and celebrate the life of Sir Elton.

10. Little Women Directed by Greta Gerwig

Following the success of Lady Bord, Little Women is a daring choice for a second film. But Greta Gerwig proves that her prowess as a director has only gotten sharper. Her adaptation feels immediately compatible, honing in on the heart of the novel, and concisely translating it to a film that is funny, charming, and moving. Gerwig once again brings out the very best in Saoirse Ronan- her Jo March is equally headstrong and gentle, and every bit the iconic character that has been celebrated for decades. Timothee Chalamet really rocks it too. 

Honorable Mentions:

Blinded by the Light (Directed by Gurinder Chadha), Knives Out (Directed by Rian Johnson), Dolemite is My Name (Directed by Craig Brewer), John Wick: Chapter 3 - Parabellum (Directed by Chad Stahelski), The Lighthouse (Directed by Robert Eggers), The Irishman (Directed by Martin Scorsese), Ford v. Ferrari (Directed by James Mangold)

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“Joker” review

Joker (R)

Directed by Todd Phillips

2019

In the midst of complaining about how we’re all too sensitive to watch another Hangover movie, Todd Philipps gives us his edgy edge-lord vision of the Joker- A character study of a man plagued by mental illness and a society that mistreats him. He delivers this film with a sort of prepubescent level of finesse- society (mostly minorities) treating Arthur Fleck so poorly that it’s entirely unrealistic and downright laughable, and his mental illness manifesting itself in the most unhinged and inevitably violent way just so that we’re all clear: he’s crazy and NOBODY likes him.

Todd Phillips makes us suffer through prolonged sequences of Joaquin Phoenix dancing in slow motion and laughing sadly in order to convince us that this is a dramatic, tragic film, and so unlike your average superhero blockbuster. However, these sequences are so frequent and repetitive that by the time I got halfway through the movie I found I was so utterly bored and disinterested in the whole affair.

These “artistic” choices are clearly made to cover up Todd’s horrible attempt at a screenplay- a convoluted mess with half-baked themes and no real motivations for Fleck at all, other than the fact that “he’s crazy”. And so, I suppose Joaquin Phoenix’s performance is to be commended, because I can’t imagine how you’re supposed to work with such shoddy directing. And Phoenix really does give it his all here- crying, laughing, dancing in such a superbly melodramatic way that we simply must give him an Oscar so that he hopefully never puts us through this spectacle ever again.

Those half-baked themes in the screenplay include: “the rich are bad”, “society ignores the mentally ill”, “people are too sensitive”, “minorities are mean to Joker”, etc. etc. These are introduced throughout the film like they’re being written on a whiteboard in a brainstorming session. And they’re hardly developed any further than that.  We’re simply meant to sit by and listen while Todd drunkenly tries to tell us what’s wrong with all of us. Because we won’t watch another Hangover movie.