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Film Diary 2017: August AKA "The Month Where I Crossed A Lot Off Of My Watchlist"

I found myself playing a major round of catch up last month, cramming three months worth of detailed movie reactions into one massive film journal post. But finally, I’m back on track with quite the larger month so far in 2017 as I cross off some highly notable titles from the past year off of my watchlist.

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along! To see which movies I’m watching in real time prior to these posts, various ratings on a five star scale for assorted journal entries, likes and more, you can take a peek at my personal Letterboxd here & maybe even give me a follow there.

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total.

89) August 1st: The Accountant* - DVD (Rental - Library); This first entry of the month I admittedly gained some new interest towards when news arrived that a sequel is reportedly in early development. Driving it home even more so was a glowing review from family members, as it had just arrived on HBO weeks prior. So having watched it, I can say I enjoyed it though I did manage to guess at least a few of the larger twists that seemed to have a impact towards others’ experience of the narrative. The story, when it irons itself out and gets rolling, ultimately can feel spiritually similar to that of Jack Reacher; both being solidly-crafted mystery thrillers centered around a man with an impressive set of skills. But where Tom Cruise delivers a military-trained badass, Affleck presents a character a bit more complex due to a high-functioning form of autism coupled with a number of interesting factors that I wouldn’t want to reveal for spoilers’ sake. Because of this, Affleck brings out a unique performance that’s demanded of him while its the supporting characters surrounding him who help define it and push it into new directions. Anna Kendrick is charming opposite Affleck as she finds a way to connect with him and ultimately gives the film a decent part of its emotional side underneath the mystery. Jon Bernthal is absolutely the scene stealer you wish was given more screentime, with his final scene in the film shining his talents wonderfully and his prior moments presenting a sly counterbalance to Affleck’s focused demeanor. Director Gavin O'Connor (who also helmed the incredibly moving feature Warrior that I highly recommend, along with the based on a true story Miracle) presents a thriller that certainly takes a novel approach, as it does feel like the tight style you see in various books brought to life on screen. As I stated, some of the larger surprises I was able to guess before their reveal; however, that doesn’t rob them of their overly satisfying and slick feeling when officially presented. In fact it actually adds more intrigue into the world, if anything. The Accountant is a good mystery that I certainly walked away from with more pros than cons. And if a sequel is to be made, I’m definitely intrigued by how Affleck, O'Connor and more will elevate the foundation laid out here.

90) La La Land* - DVD (Rental - Library); If you had asked me last Winter which of the contenders to emerge out of awards season caught my eye, I absolutely would have said La La Land. My hopes were definitely high as an impressive cast and the idea of a musical came forward under the direction of Damien Chazelle, who brought us the incredible Whiplash. As awards season took off, though, La La Land dominated to the degree of annoyance, resulting in many parodies, screen time, thank you speeches and ultimately a major downturn in my expectations. Six months later and far removed from the height of awards recognition, I can say that it absolutely deserved its praise & yet not everything presented shines as brightly as word of mouth would have you think. Chazelle crafts a great homage to classic Hollywood musicals of the past, heartfelt and passionate but perhaps a bit too predictable. Sebastian and Mia are both great individual personalities, equal parts charming, frustrating, and inspiring. They each come from very different worlds with very different passions, and it’s clear where that path will eventually lead them. I did, however, appreciate that 95% of what was presented in trailers and commercials as this sweeping love at first sight is given a twist to first time viewers with their origins and the songs sung at the time not painting the perfect picture. Seeing their relationship bloom is an interesting journey, with Emma Stone easily delivering the best performance of the film. And it all results in a finale that is both touching and oddly satisfying. Chazelle’s vision is presented with memorably shot scenes, and what helps boost the musical is a soundtrack from Dear Evan Hansen’s Pasek & Paul that will keep the catchy original songs stuck in your head for days to come. At the same time I feel it gets a bit too lost in the Hollywood love letter to give it a true edge, ultimately resulting in me gravitating more towards the intriguing exploration of themes in Whiplash as opposed to the spectacle of La La Land. That’s not to say I didn’t enjoy nor believe La La Land is a great film; it absolutely is and I’ll wind up owning it on Blu-Ray someday for sure. But in the quest to measure up to the great musicals of the past and reinventing it for the present, a premise similarly presented just a few years ago in the award winning The Artist, it’s just too heavy of a task at times.

91) August 2nd: Big Night* - DVD (Rental - Library); Watching as much Youtube as I do, the hit cooking channel Binging with Babish landed this feature on my watchlist after his episode in which he crafted the film’s signature dish. It took awhile to hunt down the movie, but I finally managed to get my hands on it and ultimately found it to be an enjoyable little gem. The story at the center made me laugh plenty, with characters that were fun to watch, music and food that demanded your attention, interesting relationships to watch as they jump their respective hurdles, and even an ending that is more poignant with a message to deliver than it is overly satisfying.

92) Arrival* - DVD (Rental - Library); Continuing to close out my watchlist of films I missed in 2016, this sci-fi feature arrived last year and caught my eye due to director Denis Villeneuve who previously impressed me with thrillers Prisoners and Sicario. An alien invasion story that unfolds the more we discover what’s going on alongside the characters, Arrival has an absolutely gripping first act that evokes a tense feeling reminiscent to Signs and The Day The Earth Stood Still. To see the scope expanded beyond just what our cast is doing and take into consideration how the perspective of the invasion differs in countries around the world is an intriguing concept that helps drive the hurdles to the exploration at large. The second act tends to drag as really we somewhat plateau with the characters getting a bit too comfortable for the intrigue to really continue. However, this results in a third act with a surprise that I absolutely adored as it tends to reflect on the film in an entirely new angle. As for performances, Amy Adams really holds scenes strongly on her shoulders while similarly working well opposite most of the supporting cast. At the end of the day though, Villeneuve pulls off a memorable original sci-fi entry that makes me excited for his upcoming turn with Blade Runner so long as he can shake that mid-movie halt present here.

93) August 3rd: Ouija: Origin Of Evil* - DVD (Rental - Library); I’m attempting to keep a majority of my horror movie queue until next month as we start to move into the Halloween season. But as this one became available, I decided to take a shot. I’d yet to see the original Ouija as so-so reviews mostly kept me at arm’s length and in the years since it never really emerged as a must-see entry in the genre. However the prequel gained my attention last year when after a large marketing campaign, and its stance as the only horror themed outing for the 2016 Halloween box office, it intriguingly gained a positive reception. And after seeing it I can certainly see the appeal. At it’s core is a 60s-set haunted house movie driven by the title game that perhaps I enjoyed less for its scares and more for its plot. A fan of the Paranormal Activity franchise, the skeleton underneath it all felt like quite the similar set-up with a family you’re set to care for, demons, and all of the supernatural happenings taking place under one roof as the small nods ramp up into a bigger climax. What elevates it even more is director Mike Flanagan’s visual style. Flanagan pulls off something impressive by managing to fully immerse the story in a setting that truly does feel like the 1960s in nearly every aspect. Furthermore, there are quite a few shots in this movie that actually made me walk away impressed because they gave off a unique look that wound up sticking with me. The cast, likewise, is strong and plays in the world well; the younger actors are impressive in their delivery of the material (so much so that one of them is continuing the horror prequel haunts in Annabelle: Creation this month). My minor gripes are that while I found everything compelling enough, it didn’t offer too much in outright scares for myself; though I strongly admire that Flanagan goes for an overwhelming sense of creepiness and awe over what’s unfolding as opposed to a cheap string of jump scares. Additionally the CGI - while not used overwhelmingly - isn’t up to snuff thanks to the film’s low budget, as the few scenes it’s utilized in come across as late ‘90s level at best and SyFy original movie level at its worst. In the end, Ouija: Origin Of Evil was a solid watch that managed to now not only put Flanagan’s recent horror release Oculus on my watchlist but also possibly the original Ouija, as from what I briefly glanced I now have the perfect set-up towards it.

94) August 5th: Big Eyes* - Streaming (Netflix); I’m honestly not sure what compelled me to turn on this Tim Burton directed feature from a few years ago. Perhaps it just struck me as the right time to finally check it off my watchlist? Regardless, what transpires is a solid story that doesn’t quite emerge as one of the director’s finest films but manages to at least tell an intriguing true story. Burton manages to put his own unique spin on a biopic, not to Ed Wood heights however, as this art tale comes off quite different thanks to the central romance and Christoph Waltz’s character. Certain shots definitely evoke an early Burton feel through the visuals presented, such as the way he plays with color in a certain way on screen. But likewise, the story never manages to overly wow you beyond your personal fascination of the key struggle, and I think part of that has to do with Waltz as well. A strong actor, his initial take in which his role is supposed to be alluring and comforting in the first half comes off just too over the top, to the point you know that you shouldn’t trust this guy, even if a more effective outcome in the grand scheme of things demands you to. And it’s that mismatch that left me wanting something more in that execution, honestly, as the failure to be as swept away as Adams’ character had led to a disconnect for me that followed throughout. When things reach their peak, there is an empowering feeling to Adams that really emerges until the credits roll, despite an ending that can be a bit too comedic but at the same time satisfying as well. Far from an absolute hard hitting biopic, Big Eyes at least manages to do something different with the genre for a take almost as different as its interesting story, even if it’s not the cleanest brushstrokes.

95) August 6th: T2 Trainspotting* - DVD (Rental - Library); Back in January (when my journal posts weren’t so finely detailed), I had seen Trainspotting and walked away with an impactful reaction towards the film of entertaining and heartbreaking proportions. At the time, I knew a sequel was on the horizon but distanced myself from the initial word of mouth because I had no nostalgic attachment that many others have had. Seeing the sequel, my take is that it’s a fine expansion that doesn’t hit nearly as hard as the original but still manages to have a damn fun time with the characters. This go-around feels less about the overall theme of addiction and more about the aftermath of the first film’s climax, despite a great handful of our leads still being addicted to various things and even some trippy imagery in the middle of it all. The thematic focus this time is the impact of the original’s ending and the friendship divide it led to, in addition to whether or not those bonds can be repaired or not. In that respect it certainly works, with your intrigue as to where these characters are at and your compassion for them driving a good deal of the movie. Similarly it’s a change up that gives it a thankful new focus instead of simply being another sequel dealing with the same exact skeleton for a quick cash grab, as most non-blockbuster sequels tend to turn out. In doing this, director Danny Boyle tends to turn the attention inward for all these characters as they confront their current state and where they should be going after their dreams didn’t necessarily wind up going according to plan. Boyle reflects this in various ways, perhaps most notably a scene in which the lyrics for Queen’s “Radio Gaga” tend to relate rather fittingly. But as I’ve said, this is all well and good as long as you’re expecting more fun than you are another hard hitter. Character driven, I never quite felt like the situations at large were ever out of their controls nor that the conflict would result in any major surprises. At the same time, there’s a “dynamic” that’s cooked up that the film feels it needs to adhere to in order to give the plot one little left turn at the end that doesn’t really feel as grand as it wants to be. If you enjoy these characters and are looking to have simply a fun night out with them all these years later, absolutely take the chance.

96) August 8th: Ouija* - DVD (Rental - Library); Ugh. I had to. I really had to go and let the mythology get the better of me. After seeing the prequel the previous week I decided to go back and watch the first installment that originated the story, despite terrible initial critical reception trying to convince me otherwise. That being said, I can’t accurately put into words how much I disliked this movie. Where Origin Of Evil has a thematic motif of a haunted house film, it’s almost as if Ouija is confused as to what it wants to be. In some parts it’s recognizable modern-horror fare with a demonic mystery, which doesn’t kick into high gear until halfway through the film, and then a lunge into full on supernatural confrontation. In fact, the haunting scenes leading into the overly supernatural half of the film feels more like it would’ve worked better as a slasher feature surrounding the teen characters. But the way it unfolds is in a frustrating blend of bizarre character choices, lack of any emotional reactions to twists, confusing time placement to put the prior into context, and more. There’s dumb horror thinking - such as simply accepting the stovetop turned on and proceeding to bed upstairs - and then there’s just absolutely bizarre, unexplained horror thinking - such as the parents’ of one of the victims vaguely “going away” IMMEDIATELY after their daughter’s death and leaving our lead character in charge of housesitting. And that’s just in the first 20 minutes. 95% of the horror in this movie builds up to a cheap jump scare; characters dying are barely given any kind of emotional reaction by our leads as they just go on with their lives; time in between scenes is even more abstract as dialogue to let go of their grief seems shockingly too soon. It’s just a mess. I’m willing to pay the film a compliment in that the CGI presented here is noticeably better than its prequel, even despite this entry having less of a reported budget. Additionally, Olivia Cooke does her damn best with what she’s given as her turn as Laine is perhaps the strongest of the cast. Origin Of Evil is certainly an effective evolution of whatever Ouija attempted to do, and I still absolutely recommend it. But if you’re looking for a chronological extension, it’s best to stay in the ‘60s because boy oh boy this script is ultimately what drags the whole movie down.

97) August 9th: Live By Night* - DVD (Rental - Library); This gangster film adaptation managed to come and go quickly from theaters, also managing to break Ben Affleck’s critical momentum as a director in recent years. Live By Night certainly has a visual flair about it, but easily this is my least favorite film directed by the Argo visionary. The pacing is slow as all hell, managing to change gears half an hour in and repositioning itself as a potential revenge-driven story, but never quite managing to find a strong a focus on that. Likewise, I find that Affleck’s performance following this shift leads to him mostly stone faced, leaving me wishing that we could have seen more behind his persona that peeks out but never quite gives him a beating heart. Supporting characters help add personality to that leading man though; Zoe Saldana is great, sly and lovable, Elle Fanning’s character has a great turn that I actually liked as her actress dreams finally grant her an audience she craves. But it never impressed as much as it should. The building of this new empire lacks the power it should easily exude because there’s always a threat in the way that never allows us to bask in the glory, and even lacks the confidence of strength to squash said menace at the same time. Characters all play in this muddled sandbox of conflicting motives and ideals with a drawn out ending that goes for poetic rather than satisfying, and ultimately while there are cogs to admire as the story machine pumps along, it’s far from well-oiled.

98) August 10th: Hell Or High Water* - DVD (Rental - Library); Going from one outlaw tale to the next, I’m happy to say Hell or High Water is one film I walked away in awe of, as it presents a charming, entertaining thriller that I absolutely adored. The plot immediately drops you in the thick of things, allowing much to be discovered by these characters that drive the events that transpire, leaving a slow, unfolding motive to interest you throughout. The tone brushes with western noir in quite a few ways, but at the same time has a lot of fun with the chemistry between our two central pairs; Chris Pine and Ben Foster play off each other fantastically for a dynamic yin & yang type of performance, while Jeff Bridges and Gil Birmingham share a very similar relationship posed on an opposite moral side. And what easily helps is a well-rounded script from Taylor Sheridan, that manages to make you laugh one moment, feel shocked the next, and marvel at plenty of tense encounters. I felt like director David Mackenzie’s feature was a longshot earlier this year to take home the title for Best Picture, and yet I walk away many months later feeling as if it would’ve deserved that underdog fight. Easily one of the best impressions of the month and the year at large.

99) Batman: Return Of The Caped Crusaders* - DVD (Rental - Library); As someone never overly attached to the late Adam West’s portrayal of Batman, I still give it a great amount of respect. I grew up in a time lucky enough to be swarmed with Batmen on television through The Animated Series, Beyond, Justice League and even Nickelodeon reruns of West’s version as well. Released last Fall, Return of the Caped Crusaders continued the fun of that original campy era with a number of original voices in tow, with the return of West, Burt Ward and Julie Newmar. What results is a harmless, well-crafted love letter that is campy as always. The comedy is great, with the story and tone more in line with the original show for both its highs and lows. If anything, the film feels best described as being of the same spirit as the classic Hanna Barbera cartoons. The script is packed with plenty of fantastic homages and fourth wall breaks that only gain even more of a spotlight having built up over the years thanks to internet culture. Where it really finds a hard time is with pacing and balance. The first half hour follows the original show’s storytelling method almost verbatim for a straight half hour that once the charm of experiencing the classic atmosphere fades, it really starts to drag. Thankfully the plot manages to find a second wind afterwards to propel the second half, but at the same time can’t build anything quite serious enough to stand on confidently. For die hard fans of the original, unlike myself, this is absolutely a movie made for them. And though I see the flaws which led towards a more shaky reception, there’s still some fun to be had amidst everything else.

100) Get Out* - DVD (Rental - Library); For my 100th movie of the year milestone, I finally was able to see easily one of the most acclaimed and my most anticipated films of 2017 in Get Out. And man did it live up to the hype. Director Jordan Peele not only manages to create a creepy atmosphere all the way around while at the same time tackling major social issues, but does so with an incredible cast top to bottom led by breakout Daniel Kaluuya. Much like Ouija: Origin of Evil, what it lacks in outright traditional scares it makes up for in genuinely eerie and skin crawling tension. There are even some visual representations of the film’s main theme of racial & social divides and injustices that will have you rewatching the film over and over again. Even if you guess some of what transpires, the third act manages to squeak out some real surprises. The ending managed to evoke a real gut-drop of an emotional reaction from myself only to sophisticatedly subvert it in a way that has left a very lasting impression. A must-buy-on-Blu-Ray from me, and I’m happy to finally add to the number of voices praising this original feature that deserves said praise.

101) August 11th: xXx: Return Of Xander Cage* - DVD (Rental - Library); Vin Diesel has easily come back to the top of the box office thanks to the return and retooling of the Fast and Furious over the past decade. But truly, that’s been his only series of films go score a hit with audiences lately (unless you consider his turn as Groot in Guardians). When it was announced he would be returning as Xander Cage in another xXx film, I mostly had mixed feelings. The first entry was never my cup of tea, and I easily watched the sequel with Ice Cube more when I was younger (one of the few films I owned on UMD for the original PSP). So heading into this movie, I didn’t quite know what to expect. But ultimately I received an entertaining, endearingly over the top, big dumb fun action movie. The best way I can describe it is Return of Xander Cage feels like a film plucked out of that early-to-mid 2000s action genre where it also originated, for both its strengths and flaws. Diesel presents a performance that is definitely a change of pace from Dom in Fast and Furious; he really seems like he’s having plenty of fun in all his quippy charming pleasure. And honestly, there’s a good chance the feature would’ve crumbled without his presence. The story isn’t nearly as complex as they want it to be, with any real twists being seen from a mile away thanks to the classic “oh hey I kinda recognize that guy from somewhere” tactic spelling out importance later on down the road. Most of it has to do with a macguffin chase that is the only thing driving the plot forward. A great number of characters are introduced in a Suicide Squad manner that I’m sure many out there will roll their eyes over. Ruby Rose and others are awesome badasses, while others lean a bit too far into their roles; Toni Collette’s hard-ass company woman lacks the back & forth to come off as anything but blandly annoyed, and Nina Dobrev’s Becky is there for an overly comedic infusion that can feel really off balance compared to the tone of the rest of the action and one liners. As the team is assembled and the plot comes to a close, I just couldn’t help but feel as if the set up for another feature ultimately had more potential than this entry, as it had finally laid down the foundation for something bigger. The action gets better the longer the film goes on, but if I’m being honest the most sly and impressive action set piece occurs halfway through the film with a private island party setting. Additionally, when the action looks practical it really hits well; those assisted by CGI do not and simply take you out of it due to its highly stylized appearance. In the end, Return of Xander Cage requires even more extension of disbelief than your typical Fast and Furious entry, but is packed with some truly genuine charm and world building that is still pretty fun. If they can execute their ending set-up right and develop a story that’s both better and WAY less goofy, there’s potential we could see this series elevated beyond this chapter teetering the line of enjoyable and stupid.

102) August 12th: Silence* - DVD (Rental - Library); Upon awards season heating up last year, there was a little bit of talk behind Martin Scorsese’s latest film Silence that didn’t reach the crescendo of other competitors alongside it. Regardless of this, I still wanted to give it a look and see if it lived up to the hype. And while it definitely needs to overcome an incredibly long runtime, it’s when the movie switches gears following the first hour that a truly impressive outing is presented. Slow paced at first, it’s after that aforementioned time passes by we truly get to the meat of our tale and with it a story that rests firmly on the shoulders of Andrew Garfield. In that focus, Garfield gives an absolutely powerhouse performance that is just captivating to watch as he is put through an emotional ringer. I have yet to see Hacksaw Ridge, which he was nominated for, but a case easily could have been made for a nomination here as well had he failed to secure the nod originally. It’s in this stage as well that the film gains its true depth as we see a test of faith in many forms for our protagonists throughout; faith in their missing mentor, faith in their guide who they don’t fully trust. And Scorsese visually astounds as he ties in thematically to various parts of The Bible, with the allegories losing subtlety the longer the film goes on. For some reason, I originally didn’t think Silence would be as overwhelmingly religious in its nature as it was, despite its premise, but it is and it may turn off some audience members in that exploration. But I also saw the artistic side of it in terms of relating the ongoing plot to that of the classic text and simply found myself impressed at what Scorsese accomplished. In the end, if you can endure the slow burn introductory act and are set to see the story through, there is plenty to capture your attention later on that will leave a longer lasting impact well after the credits roll.

103) August 13th: Selma* - TV (DVR - FX); Sitting on my DVR from earlier in the week, I found this to be the right time to watch this film in light of recent events. And Selma is as amazing as people have said, reaching the right tone of powerful and heartbreaking to examine the Civil Rights movement and their marches. At the heart of it all is David Oyelowo leading a great all-star cast, with Oyelowo presenting a stunning, moving performance that absolutely should’ve been nominated for awards at the highest level. Through his heart and emotion as Martin Luther King Jr., the narrative reaches deeper emotional depths beyond those already presented that even managed to make me misty eyed at one point. Definitely an important feature to watch.

104) Justice League: Dark* - DVD (Rental - Library); My second WB-animated outing of the month, this entry falls more in line with the ongoing DC animated film canon that I’ve been very touch-and-go with in recent years. The latest entry from the studio to get an R-rating, I had anticipation for this outing as it not only featured the return of TV’s John Constantine in Matt Ryan but was also a preview of what may hit the big screen sooner rather than later in live action. And overall, I have to say it was solid but felt far more at times like a pilot for a television series than a standalone feature. The main plot feels a bit so-so in its slow build up, introduction of team members, assembly of said team and more, until a very late third act results in a memorable showdown with some true strength. Did it deserve an R-rating? While I don’t believe it grasps as dark of a tone as The Killing Joke, it does feature some undoubtedly dark moments and creepy imagery that certainly makes a case for the rating, but debatable. As for the voice work, I’ll admit it took a bit of warming up to, especially in the realm of Ryan gaining his spark as Constantine the longer the film goes on, having to shift his role from the usual portrayal to behind the mic. Notably, Camilla Luddington is absolutely fantastic as Zatanna and boosts the material incredibly well, while Nicholas Turturro is very entertaining as Deadman. It wasn’t the strongest of the DC Animated Original Movie canon thus far, however it’s far from the weakest. If anything, a solid foundation into the more mystic side to present further adventures rather than an overly satisfying standalone.

105) August 15th: Disney’s Beauty and The Beast (2017)* - DVD (Rental - Library); Before I begin this reaction, I feel I have to tackle the subject of the recent Disney remakes to indicate my headspace. I was grown up strongly on Disney from a very early age and there are various films from their history that hold a special place. In recent years, Disney has unleashed a number of live-action remakes that in my opinion take the base story of the originals and attempt to elevate them beyond the iconic scenes that you can never ever replace in animated form. So far some of the remakes (The Jungle Book) have achieved this much better than others (Maleficent). This year it was Beauty and The Beast’s turn and while admittedly the original was a well-remembered feature, it is far from my personal favorite. But now that I’ve seen the remake, I have to say how absolutely impressed I am. Taking the original story, the live action version manages to expand in key areas that wildly impress; Belle emerges far more independent and self-sufficient, Maurice is granted a much more emotional side that deepens his relationship with his daughter and is woven into the plot in bigger ways. Josh Gad sheds a more comedic and goofier typecasting for a Le Fou that is given depth, attempting to serve as a well-calculated conscience for Gaston while still delivering sharp-witted humorous lines and subtle emotional intentions as well to fantastic effect. Backgrounds for both our main leads are explored to heartbreaking success, though I do wish The Beast was still given more beyond a single flashback for additional sympathy (and a freakin’ human name would STILL be nice). Everything else either matches well with the original as classic scenes and songs are brought to life, while the supplemental songs are just as catchy and provide more emotional context (such as “Evermore” or “Days in the Sun”, the latter of which reads as a more somber yet satisfying replacement to the extended cut’s “Human Again”). The acting is strong from all fronts; the enchanted castle inhabitants did take a little bit of getting used to on my end and don’t necessarily hit the same iconic look of the animated version. There are even some surprising developments as the film’s story goes on as well that adds more for the plot and characters to gain from. Personally, I adored this version despite whatever shortcomings it may have and Disney manages to prove that updating their classics can still be a worthwhile endeavor. If you haven’t, definitely check this out when it hits Netflix for U.S. subscribers in the coming weeks.

106) August 16th: Phoenix Forgotten* - DVD (Rental - Library); The popularity of the found footage style in film has continued to simmer down, following its resurgence courtesy of the phenomenon that was the first Paranormal Activity. The horror genre has produced plenty of entries using the method in the years following, but a few additional found footage sci-fi narratives popped up to notable intrigue in that time, such as 2012’s Chronicle. Earlier this year prior to my screening of Kong: Skull Island, a trailer played that caught me completely off guard for a new sci-fi found footage film called Phoenix Forgotten that is based around the mysterious real life Phoenix lights event of 1997 and looked almost to be the alien/sci-fi version of The Blair Witch Project. The feature arrived quietly in some theaters one month later and has now arrived on home video just a few weeks ago. And while the concept is intriguing, the pacing comes off as wildly sluggish as it attempts to balance two timelines. The film is packaged as a documentary that admittedly at times had the exact quality look of real life docs that have impressed on Netflix in recent years. In this fictional doc, though, we are told a story between present day and 1997 as the now-grown-up younger sister of our subject in the 90s footage attempts to piece together what happened to her missing brother. The present day set-up helps support the other plot, sure, but once the 90s footage starts to grow intriguing its that storyline you ultimately want to stick with. However, it’s when the present day interlude pops its head in at one of the most inopportune times that it almost halts any momentum the handheld “shaky cam” portion attempted to build. We’re taken through various bridges before we can ultimately get to the real climax of the film in the 90s material, and even afterwards when perhaps you need answers the most, all we get is some text on screen as opposed to any type of continuation or conclusion from the present day story. And it’s this off balance that left me cold to Phoenix Forgotten as I couldn’t help but feel that it was stunted in its growth. It’s the constant stopping that bored me and after the most interesting part of the movie arrives thankfully uninterrupted, the other side of the movie simply refuses to carry the torch any further as we head to credits instead of build on its own momentum as well. I understand that I am part of a massive divide on this movie, as internet comments throughout have been pretty evenly mixed between people who hate it and people who adore it. While I loved the concept and the ideas presented in various moments do have a great deal of interest, this UFO simply couldn’t beam me up.

107) August 17th: The LEGO Batman Movie* - DVD (Rental - Library); The LEGO universe is rolling forward quite hard this year, with The LEGO Ninjago Movie arriving in theaters soon. The original The LEGO Movie was a quick-witted, hilarious, and charming endeavor with Batman being a standout character in a supporting capacity. This spin-off certainly received positive reception, and I enjoyed it well enough. It’s nowhere near as smart in its humor as its predecessor, but presents an impressive deconstruction of the entire Batman legacy by exploring his core role and relationships, especially including the ones with the Bat family and The Joker. There are wonderful nods to other incarnations of the hero, as well as his universe, while the climax of The LEGO Movie helps enhance the more absurd elements that pop up, even in terms of pop culture crossover. The inclusion of a key piece from Superman’s stories actually brings something different not seen in this corner of the Dark Knight’s films. It still skews overall younger in its demographic range, and I would argue even more so than The LEGO Movie did, but is still fun. It’s not the most satisfying or groundbreaking animated feature, and yet a worthy second installment in the brick-filled franchise.

108) August 19th: Inferno* - DVD (Rental - Library); I was never one that particularly gravitated towards the phenomenon that was The Da Vinci Code at the height of its popularity. I had seen the previous two films and thought they were solid but short of the top tier blockbusters or thrillers they strived to be. After a seven year gap between films, the franchise continued with little fanfare last year in the third installment Inferno, which in my opinion was fine but ultimately felt like a dull next chapter against a sharp ongoing narrative. The main premise of this adventure immediately puts lead character Robert Langdon at a disadvantage, left to discover exactly what is going on, and yet in the progression of that journey he still feels outpaced. At one point there are seemingly three different factions working against a Langdon not at his full strength, which is increasingly overwhelming the longer the story switches their morality around, and leaves a bit of a mess in its wake because of it. The script at least presents a mystery in the middle of all the clutter to latch on to, and wisely explains a variety of plot threads that manage to come-and-go by the time credits roll. Action sequences can feel slow paced at times, bundled with some CGI that stands out as well. In the end, perhaps this was better left to the page, as the complex mystery thriller can wind up more forgettable than captivating this time around.

109) The Chronicles Of Narnia: The Lion, The Witch, and The Wardrobe - Streaming (HBO Go); It’s been awhile since I traveled to the fantasy world beyond the wardrobe. A notable feature upon its release and a story largely taught to me in school for its thematic focuses & allegories, I never got around to falling for anything beyond this initial adventure. As one of my best friends made her way through the trilogy, I decided that perhaps it was time to revisit the saga before it undergoes a planned reboot of sorts in Hollywood. First up is the most notable entry in the saga that still holds up for the most part. The acting from our core four actors really differs, getting a bit better as it goes on but leaves a bit to be desired. Likewise, some smaller shots with green screen backgrounds notably stand out 12 years later as the technology has advanced. Early career James McAvoy is still an absolute scene stealer; Tilda Swinton stands strong as does Liam Neeson’s voice performance as their titular characters. The end battle is still a blockbuster climax that captures your attention as much as a similar faceoff in Game Of Thrones would. I don’t know if it was the fact that I’ve gone through the central story multiple times before, but ultimately I wound up feeling as if the film felt lighter to me and I wasn’t as sucked in as I may have been the first time around. At the same time, with my determination to finally see the trilogy through, that may have been because upon this rewatch I see it simply as a reintroduction and the first act of the films to come.

110) August 20th: The Space Between Us* - DVD (Rental - Library); This sci-fi feature seemed to come and go rather quickly earlier this year, sneaking under the radar as more high profile fare made its way to theaters. Curious due to the cast involved, I was interested in whether or not the original story would come as a pleasant surprise. And for awhile, it actually did. The first act of the movie I thought was fantastic, filled with a interesting concept, themes, and relationships that are set up which could easily be explored for a powerful emotional undercurrent. In fact, it’s at this point that I thought perhaps the marketing of an overly young adult romantic adventure and cheesy title pegged it wrong. Asa Butterfield comes off great here as the lone teenager of Mars, a dreamer of a life beyond his highly isolated one, and even sharing a promising dynamic with his surrogate mother (Carla Gugino). However, it’s halfway through when the film loses its edge as a fish out of water tale by changing gears towards Earth. It’s here the central romance is pushed aggressively towards the front, with the adults shoved to the side until late in the third act, left to simply chase our lead around as it’s reduced to a road trip movie instead. That being said, Britt Robertson does a great job as an individual with her own dreams, which syncs her up with Butterfield not only in tone but in dynamic as the more grounded of the duo to present a yin and yang repertoire. Here, though, the romantic dialogue seemed to get more cringe-inducing as it goes on, with quite a few eye rolling moments in tow, a plot twist that didn’t sit well with me, and an ending that similarly landed way too flat. And it’s that second half that disappoints me the most, as so much potential is set up early on just waiting to be explored thanks to it’s unique premise. Instead of focusing on the complicated bonds, his very hidden existence, an entirely different culture, the loss of his mother & more, it’s the magnification of the cutesy star-crossed lovers that leans too heavily into cliché and left a lesser impression as a result.

111) August 21st: The Chronicles of Narnia: Prince Caspian* - DVD (Rental - Library); Going into the second installment of the Narnian trilogy, I recalled seeing a portion of this film many years ago but never finishing the entire outing as I didn’t like the drastic time jump at first. Rewatching it now, I can state it’s my favorite of the three entries thus far. That’s not to say it doesn’t have a small share of problems, such as its bloated runtime, and it not being as allegorically deep or thematically satisfying with a focus more so on an action template. But in that note there’s also a lot to be explored in that length. At the close of the last film, our core four characters lived into adulthood as the royalty of Narnia, only to be reverted back to their childhood selves upon rediscovering their original portal into the world. An abrupt ending at that point left much to be desired, and Caspian absolutely enjoys delving into that as we see not only the toll its had on the four of them but a new sense of maturity in the quartet as well. It’s there we get into a generally more mature outing, where the stakes are even higher for the fate of Narnia itself as opposed to strictly its leadership, and likewise the actors present better performances as a reflection of all these combined elements. While half of our key siblings are destined to not return in the sequel in a leading capacity, the ending here gives a heartfelt conclusion that grants us a better close than the previous entry, capitalizing on our time spent with the Pevensies and more confident in their road ahead.

112) Now You See Me 2* - DVD (Rental - Library); The previous Now You See Me managed to impress me enough as a sly magic-fueled thriller and capitalized on the atmosphere with a twist ending that’s a nice touch despite not quite being spelled out narratively beforehand. It’s not the greatest, but certainly an entertaining outing. The sequel, however, steps in a completely different direction for a handful of reasons. For starters, I feel as if the trailers were a bit misleading, as the direction seemed to indicate that perhaps this time around the magic would have some reality to it (spoilers: no it doesn’t). Additionally the secondary tone underneath the primary thriller goes way more comedic, which is better when contained in a surprisingly great relief character such as Lizzy Caplan, but is presented too widespread here and is an odd contrast to the foundation laid out by the first film. Having to tackle the first film’s aftermath is intriguing enough, attempting to widen the scope beyond our core group and similarly exploring the true identity of one of our leads. But with some in-fighting mixed with the lack of being the ones on top this time around, the engine isn’t exactly firing at full steam. And when it’s mixed with that aforementioned comedic slant in tone, the tricks fail to astonish and amaze as much as it did the first time around.

113) August 22nd: The Chronicles Of Narnia: Voyage of The Dawn Treader* - DVD (Rental - Library); I conclude my viewing of the Narnia trilogy with Dawn Treader, the entry that in my opinion seemed to have an uphill battle. Not only is this the first film in the series without Disney behind it nor director Andrew Adamson, it’s the first without two of the major four characters traveling to the title land due to the conclusion of Prince Caspian. And honestly with all of the changes, it’s my least favorite of the trilogy. Easily the shortest of the saga, it somehow feels the longest as the pacing is a bit weird. The opening reintroduction into Lucy and Edmund’s lives are barely driven home on an empathic level before we’re whisked away to Narnia. While Ben Barnes is back as Caspian and awesome as one of our leads, the massive change of accents between films proves a bit distracting. Additionally, the lack of a major villain for the first time in the series adds to the pacing problem despite a clear objective painted out. It just feels a bit listless and as if there isn’t much resistance to the flow of the story. That being said, somewhere in the thick of it all Lucy and Edmund’s personal stories are concluded rather well; even if I would argue Lucy’s is given more attention than Edmund’s. The acting may be the best of the three, especially when Will Poulter steals scenes as the infuriating yet enjoyable newcomer Eustace. And while the allegories come off less subtle this time around, it’s hard to knock Dawn Treader for it, as this leads towards easily the most emotional ending thus far; highly memorable, heartfelt, definitive and satisfying. All the behind the scenes shuffling may have prevented this installment from reaching bigger heights, but it’s a handful of character moments, a new dynamic, and that incredible ending which you cannot rob the third entry of.

114) Disney’s The Hunchback of Notre Dame - Blu-Ray; Looking to shift my mindset from the Narnian conclusion, I at random decided to revisit a mid-90s animated feature that in my opinion only gets better the older you become. Hunchback is easily one of Disney’s darker and more mature outings, which as a kid I always liked for its visuals and songs but always felt a disconnect with. As I’ve grown older, though, the film has absolutely climbed my personal charts not just for its incredible songs (one of the greatest of which “Hellfire” accurately displaying an internal conflict for our villain) but for all its complex themes of religion, mass persecution based on class, morality through perspective, temptation, subverting your idea of the key romantic subplot to respect the platonic, and more. What hinders some of the maturity, though, is the more slapstick comedic moments filled with wacky sound effects, an example of which includes a chase scene in the middle of the main festival. And while yes The Gargoyle Trio are those goofy sidekicks that show up all throughout Disney’s animation, they do raise a very interesting purpose in serving as this intriguing outlet for Quasimodo that also reflects not only his isolation but his mentality in these three being simply a figment of his imagination created in his loneliness (before that’s seemingly thrown out the window as they fight back in the climax, but I digress). Going back now, there’s plenty to love about Hunchback that’s easily worth a revisit and may manage to impress those who haven’t seen it in awhile.

115) August 23rd: Dawn Of The Dead (2004)* - TV (DVR - IFC); This zombie-action reimagining from the mid-2000s has been notable over recent years not only because it’s grown a strong following, but also for its director Zack Snyder and writer James Gunn. Having caught bits and pieces over the years on cable, I finally sat down to watch the full film and while I admire it for the subversion of the iconic rules & perception of zombies from Romero’s original outings, it didn’t overly wow me. The factors leading to my timid reaction I believe are perhaps a bit of over hype from a vocal fanbase for the flick, but also the exhaustion of the genre in this post-Walking Dead culture, where there are certainly echoes of a similar dynamic in regards to a group focus and competing dynamics within. That being said, the more agile undead come across as terrifying, threatening antagonists that certainly lean into the film’s more general action-over-horror feel as to how they are dealt with by our core characters. Speaking of which, there are some solid entertaining arcs for a handful of the members, especially Michael Kelly’s C.J. and a highly memorable close to Mekhi Phifer’s Andre, that add a bit more substance beyond their initial first impressions in which they seem to fill a respective role in the crowd. It’s the farthest thing from what I’d define as a bad film; I just wish I had seen it before the over-saturation that’s emerged in the last decade, where it may have astonished me before zombies achieved another massive popularity boost.

116) August 25th: John Wick: Chapter 2* - DVD (Rental - Library); The original John Wick managed to impress me with badass action and a gritty, ruthless feel against a rather simple yet unique revenge story. And though the sequel lacks as big of an emotional undertone underneath it as its predecessor along with some pacing issues, the sequel still manages to surprise in new ways as the previously mysterious background of John’s prior assassin profession is explored and cracks the previously smaller scope wide open. The action remains as awesome as ever, with plenty of fantastic build up, tension in certain scenes, and intriguing matchups presented once the core narrative truly hits its stride. How exactly you anticipate the face-off between John and supporting characters certainly drives intrigue with the rest of the plot, as in the meantime we’re given a villain with a bit more mythology behind him, and plenty of rules in regards to the assassin organization that fuels the underbelly of the entire film. Additionally, this second installment sets up a third entry with such ease, anticipation and captures the imagination of what they could do now that they’ve painted themselves into a corner. Another enjoyable outing that I may have liked more than its first, despite any flaws.

117) August 26th: Split* - DVD (Rental - Library); It’s no secret that M. Night Shyamalan has let me down before. Hell, I went to go see The Happening and The Last Airbender in theaters for who knows what torturous reason. Regardless, I had yet to see Shyamalan 2.0 in action as The Visit has not made its way up my watchlist and this outing was quite the hunt as a physical rental. I can finally say I’ve seen Split, despite knowing full well what the “twist” extra scene at the end was well in advance, and it was a tense, well-acted thriller that overcomes some early sluggishness to work quite well. The first act tends to be where I saw the most faults, with standoffish dialogue between characters that left them initially cold and a general odd tone of lesser films from the director, which left me worried. But once more about our primary protagonist and antagonist are revealed, the plot takes off as an edge of your seat battle ensues. James McAvoy is absolutely astounding as the key player in all of this, afflicted with multiple personality disorder and making sure to convey each identity uniquely that will just leave you appreciative of his performance. Likewise, our lead on the other side of things Anya Taylor Joy gives a performance that grows heartbreaking the more you understand her, thanks to a backstory that breaks down her initial highly guarded walls. It’s the dynamic between these two that plays well to drive the set-up forward and has me intrigued in exactly how it may shift upon the addition of new cast members in the upcoming sequel. Mentioning that, the spoiled extra scene really didn’t hinder my opinion of the movie as a whole. In fact, it helped enhance some minor dialogue throughout, especially in regards to Dr. Fletcher’s psychological theories. When all is said and done, though Get Out easily takes the cake this year with its artistic subtleties bubbling under the surface, Split is a well crafted entry in the thriller category that lands Shyamalan back on my good side.

118) August 29th: A Cure For Wellness* - DVD (Rental - Library); I’m willing to admit this wasn’t one I was completely eager to see earlier this year, and yet upon its theatrical release I remember positive reactions from friends. So, I decided to give the film a try and found a visually stunning psychological thriller with a compelling mythology that unfortunately doesn’t move quick enough. That’s not to say I felt the film’s two and a half hour runtime felt overly dragging compared to other features this past month. In that regard, the movie manages its screentime and pacing rather well. But to me where A Cure for Wellness tends to lose some points is the second half in its failure to execute its reveals at quite the right time. The story articulates its mythology so well that I felt I knew exactly what was going on for awhile before Lockhart (Dane Dehaan) did, or before we reached the major unveiling in one of the film’s final set pieces, almost as if it was underestimating its audience in a way. And that’s disheartening as not only is the mythology a large part of what helps this story work, but what separates some good chunks of the film from also just being weird for weird’s sake. That being said, I actually liked A Cure for Wellness despite all its flaws. Dehaan does strong as the audience vehicle; Mia Goth is compelling as the complex patient whose innocence is a stark contrast towards a lot surrounding her; Jason Isaacs is an absolute scene stealer as the director of the facility. In the end, I feel that this is a movie that will easily divide people as its something many can perceive different things from. Some will see an overly creepy and intriguing mystery thriller; others will see the subtext of a life over analyzed and over medicated. For me, I found a blend of both but still wish there had been less of a beating around the bush in regards to the mythology, and more of an outright focus on exploring of the deep central themes.

119) Jackie* - DVD (Rental - Library); Another awards season contender, it seems I chose to end my month with two features with grief at their core. First comes the mourning of JFK, with a film that focuses on Jackie Kennedy and the days following the death of her husband. Natalie Portman delivers a strong portrayal of the former First Lady, showcasing not only immense strength but exceptional poise amidst the chaos of it all, managing arrangements her way, dealing with her brother-in-law, political factors, her children and so much more amidst a very heartbreaking loss. All of this is explored wonderfully and thematically as I sat in awe of how much Mrs. Kennedy had to endure. Storywise, I have to admit that I didn’t really get into the film until after the first act, which comes off non-linear as we jump across multiple timelines, until we finally settle on just two. From that point on we get to see the true emotional and thematic meat of the movie emerge and it can be quite intriguing. It didn’t knock me on my ass as much as it did other people, nor did it crack my top films of the month either, but it’s still a strong entry if you’re interested into the material.

120) August 30th: Manchester By The Sea* - DVD (Rental - Library); And finally, we have my last awards contender of the month. With only trailers and tv spots to go on, I didn’t quite know what to expect from Manchester By The Sea except for the wide consensus that it was sad. Imagine my surprise when I found myself chuckling early on at the odd charm the film presents, while at the same time intrigued as the story begins to uncover exactly what’s behind the lead character of Lee. Seemingly off-kilter, especially in his reactions towards his brother’s death, it’s when Lee’s story is revealed the film reaches deeper lengths in its grief theme as each of our characters are experiencing it in one form or another. The ending may upset people, but honestly I dug it as the reasoning is very prominent in the film through Lee’s actions, supporting characters’ examples, and it never robs the central story from its character development that it does build, especially between Lee and his nephew Patrick. Lucas Hedges steals the show in his breakthrough performance, and likewise Affleck works well to present a lead whose complexities are unveiled the longer the film continues. A strong watch that works on both an entertaining and artistic level, similar to that of Hell or High Water.

And that concludes my incredibly packed August! I expect the next month to be a rather slow one because I’ll be converting a good deal of my free time towards Destiny 2 as it’s released. But there are certainly some big films landing on my radar as we inch closer towards Halloween, including the remake of It and the sequel to Kingsman. Additionally, I’ve already begun to plan a horror-themed list of features, including an experimental rewatch of the Paranormal Activity franchise but in chronological order of events. Until then Guardians, I’m grabbing my Ghost, going to see Ikora Rey, and I’ll see you next time.

[maczazind]

Film Diary 2017: May, June, and July AKA "The Combined Post Because I Got Lazy"

For the first time this year, I unfortunately missed my window in terms of keeping up with these monthly entries. A huge handful of birthdays, stress and even an ankle injury all seem to be the contributing factors that ultimately led to me combining both the May, June and July posts. So now, you’re getting three for the price of one! The summer movie season is coming to a close soon and with it has come some clear winners and disappointments. Additionally, the summer season has led to many movie marathons popping up in deep cable as the holidays come and go. Which have I seen, and what did I think? Read on to find out…

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along!

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total.

55) May 5th: Guardians of the Galaxy Vol. 2* - Theater; Kicking off the blockbuster season, I have to admit there was a piece of myself deep down that was worried about the Guardians sequel. The trailers presented plenty of music, chemistry and wit that I loved from the first film while a lack of a clear antagonist left much to be desired. And this concerned me because while the original is one of my top three features of the entire MCU thus far, it did have some problems with Ronan & it’s closing climax that I still take I stride due to everything else it does damn well. Without getting into spoilers, Guardians 2 thankfully doesn’t go the route of Iron Man 2 or Thor: The Dark World and recaptures the magic by expanding upon the elements of the first. That’s not to say it’s perfect; the first act while fun feels a bit lost in its direction. There’s certainly a tug & pull between the one-liners and the emotion it tries to dish out, sometimes struggling to keep that balance, but finds a solid grip for sure. It was to my delight that a decent-sized bulk of previously released scenes arrive in the first half hour, allowing you to really enter into the true meat of the film. The main villain that is presented is perhaps the most memorable in years for the MCU; the emotional beats that are hit, especially in the second half, may be the most heartstring pulling of the entire cinematic universe in recent memory. Director James Gunn very much goes for a more personal story in regards to Star-Lord and in doing so seeks a similar story for the entire team, playing on the theme of family between Gamora/Nebula, briefly tackling Drax’s underlying origins once more, and even the dynamic within the team itself most notably between Rocket/Quill. And it’s there I feel the sequel reaches the same placement of its predecessor. It takes the elements I loved from the first and explores certain aspects as well to beautifully compliment it and present a memorable outing I can still think back to weeks after leaving the theater.

56) May 12th: The Powerpuff Girls Movie - TV (On Demand); Released circa 2002 and commentary regarding the recent reboot aside, this animated feature has interesting placement in my book. The original series holds a special nostalgic place for myself as it was easily a cartoon that took its bubbly exterior and appealed to everyone through its action, comedy, characters and exceptional visual direction. The film is a bit of a different story, as I really only remember seeing it once after renting it from the video store. Now on its 15th anniversary, bumbling through on demand I came across its availability and decided to dive head first into the mystery of why it never left a lasting impression. In many respects, there are ways the movie works well. The amped up visuals and entire final third act battle with Mojo Jojo are among the highlights, including the girls’ fish out of water story that is absolutely a different side to the main trio given their overwhelming acceptance by the people of Townsville in the series. But the film in many ways I think serves better as an expansion of the series rather than a standalone outing. This is very much an origins tale of The Girls’ unique creation and integration into Townsville; but there are certain pieces of the film, especially Mojo Jojo’s own origin story, that resonate more if you’ve seen the show’s expansion of these elements. Furthermore, the movie somewhat struggles with some identity: the first act is the perspective of The Professor to the entire creation of the title characters, before changing to The Girls’ POV as Professor is thrown into jail for the second act and taking a sharp left turn alongside it. With the origins skeleton in mind, its acceptable that The Girls aren’t the hero team viewers knew and loved just yet either; though to see them unknowingly destroy the city they’ve protected so many times before can be a bit jarring. They don’t quite accept their role of heroes until well into the third act and that’s when things start to click into familiar territory. Finally, the film is a lot darker than I remembered compared to the balance the series conveyed. It sets aside the status quo of the small screen for something uncharted and there are times it does feel like a mixed bag of trying to tell a more serious side of The Girls’ history with the fun elements they’ve presented before. And that’s exactly how I walked away from this: mixed. I think if you’re a fan of the original series you can tackle this no problem with the mindset of it simply growing on what you already know. But this format may not leave the best first impression for those too young or too old to experience the wonder that is this franchise.

57) May 17th: The Founder* - DVD (Rental - Library); After it had gained some awards season buzz only to seemingly be snubbed out of the year’s annual ceremonies, I sincerely wondered if The Founder failed to live up to the hype it built in its early marketing. And though it does have problems, the biopic about McDonald’s transformation to a small California eatery to the global dominator it is today surprised me by how strong of an immensely intriguing tale it is. Michael Keaton’s Ray Croc plays a central protagonist that is flawed yet engrossing in his ruthless business spirit. Though this is very much Croc’s tale on how he went from a struggling salesman to the man responsible for expanding the golden arches into a worldwide phenom, his story doesn’t come without some chapters that drag. His life at home, what little we see of it, is introduced with a clear road of what’s to come and in turn says not to get too invested. Because of this, it becomes a bit of a hassle when the minor subplot is dragged out for a decent portion of the movie. But the intrigue of the plot and where the film really shines is the focus on the McDonald brothers and their relationship with Croc as time goes on. The brothers had me hooked the second they laid out their small business origins story to Ray and from there it just becomes a clash of morals, standards, quality and money all at the same time as we see two different types of men fight over their ideals. And it’s that piece of the film that really drives it from beginning to end, even throughout various meetings with potential new employees and lawyers. If you’re interested in seeing a different side to the largest fast food company in the world prior to the common status of the restaurants in modern times, this is definitely one to give a watch to.

58) May 18th: Hidden Figures* - DVD (Rental - Library); Moving on to another highly buzzed about awards contender, Hidden Figures hit a very similar sweet spot for me. It tells a very unrecognized and important story regarding three highly influential woman to NASA in the midst of the space race. Taraji P. Henson’s central role of Katherine Goble Johnson is easily the one that shines the brightest and I can now see why many were upset over her snub at the Academy Awards. Likewise, Octavia Spencer’s Dorothy Vaughan and Janelle Monáe’s Mary Jackson showcase their incredible individual stories of intelligence as well, while driving home a strong tale about both race and gender equality that transcends its setting. It absolutely lives up to the hype and deserves to be seen if you haven’t already.

59) May 20th: Ghostbusters: Answer The Call* - DVD (Rental - Library); There are a handful of reasons why I decided to check out this reboot months after it’s release. For one, the original wasn’t quite the icon of my childhood that everyone else tended to hold up on a pedestal, though I do still regard the film as an incredibly well done and fun classic. For another note, I’m not as won over on director Paul Feig as others have been. Following the highly hyped Bridesmaids, I’d finally seen it on Blu-Ray and thought it was only okay but went on to enjoy follow-up efforts such as The Heat and Spy. Combining these two elements and the atmosphere surrounding the perception of Ghostbusters ultimately led myself towards a timid response. But now that I’ve finally seen it, I can say my reaction is still dishesrtening. The first act, in my eyes, is where the film holds most of its problems. It’s very much a Feig film in its dialogue and therein lies an issue in not deciding what kind of film it wants to be - the script in the beginning paints a more joke-filled affair that is a stark contrast to the paranormal adventure elements it’s attempting to set up. So for the first act, it’s a movie that through its comedy almost doesn’t want to take itself seriously with extremely forced comedic dialogue despite the fact that it needs you to consider it serious for the premise to really work. As the film goes on, the more over the top comedic elements settle down to embrace the growing action and at times finally find a decent balance between the two. It’s there that the film can actually be fun and leave a better impression. But it’s the fact that it takes so long to get to that balance that can be the troubling part. The villain doesn’t quite live up to measure either, trading in mythology of a single supernatural heavy hitter for a wave of various CGI beings that create chaos. That chaos does lead to an entertaining climax, but perhaps could have been more impactful with a stronger antagonist at the center of the action. In the end, I didn’t necessarily hate the reboot as it decides it wants to warm up the longer it continues. However, it’s far from the optimistic fresh start I was hoping it could’ve been. I now understand the divided response and why any plans of a direct sequel have been incredibly quiet.

60) Interstellar* - On Demand (Epix); Another one I put off for personal reasons. Five years ago, The Dark Knight Rises arrived and my best friends can tell you how frustrated I was toward the third act in which a number of extremely questionable choices are made. When I had seen in 2014 that Interstellar seemed to also divide opinions, I decided to put it off until now. However, this one ends on a more positive note for me as I enjoyed it for the most part. Granted it didn’t reach a transcendent level in its plot nor approach to the ideas it outs forth, but there were still a handful of concepts I found intriguing. Cooper’s devotion to his family is certainly a driving force throughout the film and the introduction of a massive difference in how time passes by in the other galaxy developed a type of running clock in my head. I was hopeful for a reunion because it was in many ways Cooper’s singular ideal beneath his responsibility to the expedition that helped flesh him out and give the sci-fi adventure some personal stakes. It doesn’t necessarily excuse some of the more heavy handed stuff nor the nearly three hour runtime that does feel quite a bit taxing and gives no excuse for an ending that feels rushed. And perhaps I benefited from various details being out there online for myself so that I wasn’t so taken aback by their presentation. Still, the film remained on good standing for myself. For all the homages to Kubrick’s 2001 and the various interesting concepts presented that the film’s sci-fi premise hinge on, Interstellar was a solid watch though one that I’m not exactly clamoring to run out and add to my Blu-Ray shelf.

61) May 25th: Fantastic Beasts and Where To Find Them* - DVD (Rental - Library); Upon the release of the first expanded story for The Wizarding World, many Harry Potter fans were able to experience a film set in the universe that was not a direct adaptation of its source material. However for myself, I managed to fall onto the traditional route and read the book before the movie as I received the official scripted book release for Christmas. So suffice to say this reaction to the film won’t be too detailed because I don’t have much of a response - there were no major surprises as I knew what was exactly in store. All that was really left was to see how it translated into a performance setting and it went well. Everyone served their roles well; I really think the audience vehicle that is Jacob, a non-magical human introduced to everything, is the scene stealer and it becomes apparent towards a truly emotional conclusion for him. It’s a solid foundation to build upon to really delve into some of the mythology from the other books, especially Grindelwald, Dumbledore and earlier years of Hogwarts, along with this new unexplored section of the universe. I can’t help but wonder if I would have been more enthusiastic towards the film if I had experienced it prior to the book. Still, I’m still very interested in how the rest of this expansion unfolds as future installments arrive.

62) May 27th: Bleed For This* - DVD (Rental - Library); Last month, after giving a sour response to Hands of Stone, I was very hesitant to dive into another boxing biopic despite this outing being centered in an area I originated from. Bleed for This is yet another film of the genre that failed to make waves last year and seemed to disappear without a trace despite yet again having some notable names attached to it, such as Miles Teller, Aaron Eckhart and Katey Segal. Thankfully, though, this outing worked out much better than the aforementioned as it turns out Bleed For This is a solid entry. The ego and eccentric personality displayed by Teller here keeps things always entertaining, while the central story never falls into an overwhelming pit of cliché. Teller and Eckhart have great chemistry, both giving impressive performances, while the addition of Vinny’s family into his career adds some intrigue as profession and blood clash. Definitely a movie worth checking out.

63) Brooklyn* - DVD (Rental - Library); A sweet, endearing love story that at times is as comical as it is dramatic. Exploring not just immigration but the universal feelings of coming of age, friendship, love, torn between family & your own individual life and so very much more, I found myself falling deeper into the film’s undeniable charm the longer it went on. Saoirse Ronan’s performance is a strong one, while Emory Cohen shines as one of her two love interests. I’m not typically one to embrace stories that are more romantic in nature, yet director John Crowley and writer Nick Hornby find ways in order to balance that out by focusing on Eilis’ struggles that her move to America brings both socially and emotionally. One of the more fondly remembered entries of the year for me.

64) May 29th: Rise of The Planet of the Apes - Blu-Ray; In preparation for the upcoming sequel War For The Planet Of The Apes, I figured it was time to rewatch the two previous Cesar entries in the franchise which I hadn’t seen in a good while. First up is 2011’s surprise Summer smash Rise and boy oh boy did I forget how much I love this prequel. I always tend to hold its successor Dawn to a higher stander for various reasons (see below), but somewhere along the way I forgot what Dawn does so damn right. The core relationship between Will & Caesar, Will’s motivation behind the central drug, the nods to the original story that this entry is building towards, the visual storytelling that director Rupert Wyatt conveys for most of the apes’ storyline, the third act that sucks you in the second Caesar’s intelligence reaches a new level from the perspective of the human characters; I could go on and on. Though there is more of an emphasis on the human element in this film, it’s both necessary and understandable in a handful of ways. The humans are the dominant ones at this point and time so its natural they play a larger role, especially in the creation of the Apes’ advanced evolution. At the same time, it allows Caesar to shine that much brighter as a scene stealer with Andy Serkis just knocking it out of the park while the story portrays this wonderful balance of origin story and establishing Caesar as a complex protagonist, very much a subject of both sides of the primary man vs. ape conflict. Again, I feel since Matt Reeves has done a beautiful job in taking over the franchise from Wyatt, the first installment tends to be remembered more as a pleasant surprise with the promise of more to come. Rewatching it though, it is a damn good foundation that allowed Reeves to certainly elevate the material in the sequel and yet still stands strong on its own right as the film to revive the series in a spectacular fashion.

65) Dawn of The Planet of the Apes - Blu-Ray; To continue the conversation, Dawn from Reeves successfully elevates the predecessor by not only going bigger in terms of the central conflict with Apes and humans but also more personal by delving into the differences of the characters as well. Koba, introduced in the last movie, comes from a different side of the humans than Caesar did and both operate separately in terms of their empathy for the humans who are slowly dwindling out. So while the humans are very much in survival mode and not ready to face the apes, whom they blame for the massive outbreak that led to the deaths of many, we see the unified Apes having a civil war of sorts as loyalties are torn between the two leaders. And it’s that three sided conflict that finds a handful of ways to be complex, introspective & thrilling. I’m willing to admit that upon rewatching, Dawn did not hit me as strong as it did the first time; perhaps because most of the shock or unpredictability I found in that first viewing was more cemented now. However, it still does not rob the awe and power from the film as both an incredible sequel and one of the best of the entire franchise.

66) June 3rd: She’s All That - TV (Freeform - DVR); Listen, I was in the mood for a nostalgic teen movie flashback. A classic for many, admittedly She’s All That was never my favorite. And now I still see why. For all the clichés it still has, it’s not to say it isn’t enjoyable. But perhaps I’ve just seen its parody Not Another Teen Movie far too many times to take this seriously. Freddie Prinze Jr. and Rachel Leigh Cook still standout portraying strong characters. I couldn’t help but feel that the climax of the entire film was extremely rushed and quickly resolved. There are some teen genre films I turn to in fleeting moments of comfort seeking and again this has never been one of them. After rewatching, let’s just say it didn’t win a spot.

67) June 4th: Die Hard With A Vengeance* - TV (IFC - DVR); The ONLY installment in the Die Hard franchise I had not seen in full. Though I feel as if Die Hard 2 helped recapture the “confined to one place” mentality of the original, Vengeance took the series in an entirely different direction by expanding that scope. And while I don’t necessarily admire the change up, it does lead to a more compelling villain than the second installment. Furthermore, Zeus is a perfect partner to McClane and both characters play off each other well. The third act climax is just okay and I do in fact prefer the darker yet more personal alternate ending, which you can find with just a quick Youtube search. Vengeance, though, is a solid entry in a series that holds strong when compared to the latest release a few years ago.

68) June 7th: Wonder Woman* - Theater; Gosh. What can I say about Wonder Woman that hasn’t been said already? Among the three high profiles entries in the genre this season, easily my favorite superhero film of the summer. It’s a weird comparison, but I walked out of the latest DCEU entry feeling as if Diana is now the Superman of this cinematic universe. What I mean by that is at the conclusion of her first ever solo feature, the title hero comes off as such a wonderful beacon of strength, power, hope and resilience that firmly cements her as a major force moving forward in this cinematic universe. From the intriguing origin story packed with badass characters, to the climactic final battle, Wonder Woman not only presents a superhero film that is entertaining, funny when it needs to be, heartbreaking when it calls for it and so many other things, but it takes the time to both explore and enforce what it means to be a hero. Not only do we get to connect with nearly every supporting character along the way of Diana’s journey, we see what they mean to her and her heroic philosophy the more the story goes on. And it’s that infectious passion & care about all of the elements around Diana that easily leaps off the screen and in turn makes you care about them; Ares’ downfall is important to her, so you care about her quest to stop him; protecting humans at various turns, especially including No Man’s Land, means something to her and in turn we care about the missions at hand. Take this tale, put it in the hands of director Patty Jenkins who infuses the film with a wonderful eye even down to a differential in color treatment in key scenes to distinguish the mood, and you get easily the best entry in the DCEU by a long shot. One of my favorites of the year thus far for sure.

69) June 14th: The Simpsons Movie - Blu-Ray; Up until about a year ago, I had never owned the theatrical adventure of the long-running iconic television family. I saw the film upon its theatrical release and really remember loving it for multiple reasons. As someone who fell in love with The Simpsons through a Season 2 box set and the wide variety of reruns that would air every weeknight after homework but before dinner, the movie struck a chord as I saw a slight elevation of the classic formula with better animation, a few less censorship restrictions and even some momentous payoff (looking at you, Springfield Gorge jump). My little step-sister has finally reached Simpsons-mania age and I finally bought the film on Blu-Ray so that she could watch it. Rewatching it nearly a decade later from my aforementioned first viewing, it’s still entertaining and even easier to see the raunchier jokes that easily went over my sister’s head. Filled with wit, heart and enough deviation from the typical formula to keep it a memorable stand-out adventure for the franchise, it definitely tends to hold up in my eyes.

70) June 18th: The Magnificent Seven (2016)* - TV (On Demand - Epix); I am by no means your average fan of the western genre, but that’s not to say I don’t like westerns. Having never seen the original outing, I thought that perhaps this remake may fare better with me without a template to expect anything from. Furthermore, the star-studded cast that included Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'onofrio and more intrigued as to how exactly they would come across. The movie starts off strong enough with a gripping introduction to our villain that really sets up the main conflict ahead. However, it’s the long process of assembling the team, giving them all their own introduction and seeing how they gel within the growing number of men that led to a dragging period that I simply could not recover from. Furthermore, the main villain who is responsible for the issue at hand simply disappears during this stretch, never to be seen until the third act climax. That climactic battle is certainly something to behold, but it’s the journey to get to it that just takes too damn long as loses momentum. And it’s there that the film ultimately lost me, leaving me with a sour taste. If there was one silver lining, though, it’s that had the remake been a larger hit I would’ve loved to see a spinoff starring the scene stealing duo of Ethan Hawke and Byung-hun Lee.

71) June 19th: The Edge of Seventeen* - DVD (Rental - Library); This new spin on the classic teen movie format has been on my radar since the first trailer was released last summer. Then, it seemingly arrived, received its buzz, and then vanished. Now months later I’ve finally watched the latest member of the genre and I have to say I found it entertaining. That’s not to say there isn’t some major predictability to it, especially concerning the main love interest, but elements introduced are used to ground the entire story in a comical way that ultimately works. The key feat is making sure this is pulled off is through casting and Hailee Steinfeld absolutely shines in the lead role of Nadine. She’s able to pull off the complex mix of awkward, funny, self-loathing, analytical, heartbroken and more at various points throughout that it makes for a wildly unpredictable ride as she volleys between opening up & emotionally deflecting. The supporting cast works around her as they all click well with Steinfeld, especially Woody Harrelson’s eccentric teacher, but perhaps the breakout is the endearing, dorky, hopelessly romantic performance by Hayden Szeto as Erwin. Time will tell if this stands next to other teen classics, but thankfully it stands strong as writer/director Kelly Fremon Craig presents a quirky, grounded and relatable coming-of-age tale.

72) June 23rd: The Purge* - TV (DVR - FX); A franchise that’s been around for a little bit now, I’ve never experienced an entry in its entirety. Some shots from cable here, a commercial there, youtube videos showcasing the series’ place at Universal Studios during Halloween over here. So, I finally decided to give the premiere chapter a try. And it was just okay. The setting and rules regarding it are the most interesting part. The rest is a somewhat bland thriller filled with jump scares, most of which includes a small vendetta elevated that you can see coming from awhile away thanks to the set up. Ethan Hawke, Lena Headey and Adelaide Kane do their best with what their given, but really the only one who steals the show is Rhys Wakefield as the Purge Leader who doesn’t get nearly enough screentime in all his creepy glory. But, yeah. It was fine enough. I’ve heard the sequels are better as it doesn’t confine us to one location, and they do in fact feature continuing characters unconnected to this one. I’m not exactly rushing out to see them after this, though.

73) June 27th: The Quick And The Dead (1995)* - TV (DVR - Sundance); Talk about hitting me out of nowhere. Just days after a sour modern western experience, I managed to come across this film in my cable guide, which I’d never heard of. My jaw dropped when I saw the cast included Sharon Stone, Russell Crowe, Gene Hackman, Leonardo Dicaprio and more, all directed under one of my favorites Sam Raimi. What resulted is an exciting film filled with plenty of build up, payoff and execution that is a hell of a lot of fun. The set-up of a shootout tournament among these participants, most of whom either have a gimmick to showcase or a past to be revealed, certainly tends to suck you in with how exactly it will ultimately pan out. In addition to this, the idea of these various characters and well known actors pitted against each other is as equally intriguing. In the end, this felt like a unique entry in the genre that though may not be as fleshed out as some would like, is still quite the entertaining hidden gem with fantastic performances from the aforementioned quartet. Seek it out if you have the chance.

74) June 28th: Okja* - Streaming (Netflix); From director Bong Joon-ho, the highly talked about Snowpierecer has been a film I have yet to see despite being on my list for the longest time. This means the newly released Okja is my first impression of Joon-ho and ultimately I walked away liking this unique adventure. It’s perhaps best that the less you know about Okja the better, though I had seen the previously released trailers and still found a story filled with unpredictability. The backdrop of the plot is certainly satirical against a corporate machine and towards the end melts away to emphasize a message which paints the film with an interestingly sharp edge as it contains a rather whimsical and heartfelt tale of friendship. The first act of Okja at times reminded me of a Studio Ghibli film brought to live action through its scope of wonder, while the central bond between Mija & the title creature does feel at times slightly reminiscent of Totoro, Hiccup & Toothless, Lilo & Stitch and others. But it’s that sharp lining that gives it a final punctuation mark that may not only divide some but certainly gives you something to think about long after it’s over.

75) July 5th: Spider-Man - Blu-Ray; In the days leading up to Spider-Man: Homecoming, I found it only fitting that I revisit the web slinger’s past to prepare for his future. First up was his original 2002 debut and the start of the Sam Raimi saga that would unfold for another five years. I’ve found myself firmly in the placement of adoring not only this film but the sequel to follow and rewatching the original resulted in an interesting perspective. I’ve always thought that Spider-Man was incredibly good and usually I’ve managed to find something different in it depending on the mood I’m in. This rewatch, I found myself not drawn to the action (which, through the head bobbing behind masks, kind of struck me with a Power Rangers vibe) but to the well developed characters. Mary Jane is treated far better in this outing than the sequel as a rough home life and headspace of following her dreams blossoms into an arc that continues its logical journey in the next installment. So while she may not be treated well in the sequel, it’s the establishment of her accomplishments that give her an additional silver lining due to the set up here. Harry is both a rich kid and outcast, thus he bonds with Peter over their social status while at the same time leaving you to not believe 100% in the relationship as there is in fact a harder edged lining to it all that does inevitably unfold. Uncle Ben, who is given a bit less screen time than I remember, still packs a punch in the scenes he’s in due to his emotional impact; origin story be damned, Uncle Ben’s death is still at a core of Spider-Man and important. And then there’s Tobey Maguire’s Peter. Memes aside, you have to take into consideration WHY his scenes look that way in context; Tobey plays a Peter that IS believably awkward, nerdy, down on his luck but still with an endearing heart of gold that inspires that heroic nature in a generation of moviegoers. I’m not saying nor excusing all of his scenes over the three films (lord knows there are plenty I can’t defend - Emo Peter dancing, some blank stares, etc.) but its that awkwardness that works to drive home his nerdier qualities, only for his Spider-Man to offer a kind of confidence that comes with a few quips and plenty of excitement-yelling while web slinging. And though the action and special effects may not hold up as well today as they did back then, what made them great still does: the dynamic between our hero & villain, Willem Dafoe’s performance, Danny Elfman’s incredible score, and Sam Raimi’s direction. The relationship between Peter and Norman has always been a highlight of the saga, with Dafoe’s Jekyll/Hyde turn driving home the more despicable aspects that not only work but the complex circumstances surrounding them escalating the entire feud. Elfman’s score equally elevates various moments throughout, creating a memorable musical outing for a superhero film that for the last 15 years has only ever truly been challenged by Hans Zimmer’s The Dark Knight score. When you wrap it all up, Spider-Man struck me much better than I usually tend to think about it. It has its good share of faults; however, for most it should still hold a special place not just because it convinced Hollywood to invest in the comics-to-film boom but because it’s a great template of how to balance the fun, the dramatic and the emotional while exploring the characters on a three dimensional level.

76) July 6th: Spider-Man 2 - Blu-Ray; Now, we move on to the sequel. There’s no question about it, I still love this movie. It’s been one of my favorites since its release and it remains that way to this day. But, it is in no way infallible. Let’s start with the good, and for there I’ll begin with how the film looks. Now I’m not sure if it was the change over of cinematographers from Don Burgess to Bill Pope but on a visual level this has always been important to me. Where Spider-Man at times feels like it’s stylized to seem like a comic come to life, it can clearly feel like actors on a stage or set because of it. Spider-Man 2, though, drastically dials that back and nearly everything feels blended into a more realistic looking New York, especially including the action. The action is much more CGI in nature compared to the first, but ditches that “Power Ranger” problem I had mentioned because of it. Storywise, Spider-Man 2 hits so many high notes in my opinion. We get to see Peter truly struggle with his responsibility and what he desires. It’s a well crafted balancing act that not only makes our main character sympathetic but drives most of Peter’s plot in the film to an incredible degree. Nearly every relationship he shares with a character benefits from this focus and it really strengthens even the smallest interaction between our hero and supporting players. You feel for him; you hurt for him; and when it comes down to it, you understand and connect with him. Further adding to the character count that transcends the screen, Alfred Molina as Otto Octavius aka Doc Ock. On some level, there is no possible way that Doc Ock was going to top the personal heights set by Green Goblin in the last film but damn does it find a way to bring it close. They follow a similar template for sure; both men who connect with Peter and are seen as mentors before a freak accident causes them to become villains but shown they’re more so being controlled by their creations. But dammit if it doesn’t work. And with Ock, Raimi crafts some of the most memorable scenes of his saga (besides the upside down kiss, of course): the horror-like hospital scene and the train rescue, the latter of which still stands strong as perhaps the best action scene in any Spider-Man movie. As I said though, the film is not perfect. It’s biggest fault has to be Mary Jane. While an argument could be made that watching the Raimi films back to back brings her to a logical next step, Mary Jane is nothing more than simply a goal to get in this sequel. Most of the romantic back and forth between Peter, Mary Jane and her new fiancée comes across as unnecessary, though Raimi admirably never portrays her fiancée as an antagonist as he really is not a cliché. And while this may light a fire under Peter’s ass, motivating him and some decisions going forward, it doesn’t help flesh out Mary Jane other than making her mostly dependent on Peter. It runs its course, and the emotion between the two does reach a high point, but it’s still a blemish. Besides that, though, Spider-Man 2 is still one of the most fun, action packed, entertaining, emotional and complex films Marvel has made and still stands tall against the MCU-era.

77) July 7th: Spider-Man: Homecoming* - Theater; So now that I tackled two of my favorite superhero films of all time, what about the most recent installment in the franchise? This one is a bit trickier. Homecoming, in many ways, had a variety of expectations set about it. Not only is it the title character’s first true adventure in the MCU in a non-supporting capacity, but it’s also Sony’s admission that after 10 years of trying they needed help to get the hero on the right path again. Headed into the movie, my expectations were actually a little low. Despite the glowing consensus that manifested via reviews, I’ve felt like the MCU has reached somewhat of a tonal formula lately and hasn’t knocked me on my ass in amazement since Guardians of the Galaxy. Furthermore, the over reliance on Iron Man in marketing materials soured my hype as I felt it was less Spidey’s movie and more aggressively a team up that would not allow him to stand strong enough on his own. Plus the hinting of an artificial intelligence in his suit only made me a tad bit bitter out of concern they were taking an Iron Man like approach to Spidey as well. However, after seeing the film I can say that it does wind up in the upper-half of my MCU ranking thus far. Homecoming was a fun, largely entertaining coming of age superhero movie that works on a variety of different levels but also has its fair share of problems. Homecoming feels, more or less, like an adaptation similar in line to the television series’ of the past 15 years or so but never brought fully to life on the big screen. Both prior sagas attempted to explore this path but were wildly cut short with graduations occurring and school setting ultimately ditched. With the highs, Tom Holland does come off very likable as Peter Parker attempting to make sense of what his inclusion and path of a superhero ultimately means. With the younger Peter, I do feel there was a lack of emotional maturity and complexity that the Raimi films pulled off so well, opting more for the comedic approach than a tortured one. But at the same time, it’s completely understandable as maturity is definitely lacking in early teenage development. A part of me feels for that emotional edge there should have been an emphasis on Uncle Ben, in any capacity. I know many feel retreading the origins story is tiresome, and I agree - but neglecting the repercussions of Uncle Ben’s death is not. As at least three men call out Aunt May’s attractive looks and even her obliviousness to one of them, it would’ve worked to add some depth to her by showing she’s still not over the death of her husband and how Peter reacts to that. Similarly, Peter and Tony come to odds late in the film where Tony makes a remark about trying to be a father figure, where it could have been absolutely opportune for Peter to outburst how he had one and it didn’t end well. There is an infusion of “great power/great responsibility”, though, as we do openly get to see Peter struggle between what he wants & what he must do on a few different occasions, and it’s absolutely a nice touch. On the opposite to Peter, Michael Keaton is strong as The Vulture and when the two finally share some extended screentime together it’s absolutely electric. The rest of the cast falls into roles of exactly what the comedy calls for. Laura Harrier is certainly your female lead, despite the promotional push making you think that it’s Zendaya. And her Liz is fine; connecting with Peter in certain ways but never amounting to one of Peter’s greatest love interests by any means. Zendaya’s Michelle is one of two puzzle pieces (the other being the post credits scene) that definitely felt like “classic Sony” to me; she shows up what felt like in one minute intervals to quip out a line and then disappear. Admittedly, one of her moments early in the Washington Monument scene is one of the more memorable; but I simply felt she was nothing more than sequel-set-up fodder for now. The action failed to wow me, mostly because literally every major sequence was more-or-less detailed in trailers & tv spots. That’s not to say there weren’t some surprises in tow; just not in the action department. In fact, what I wanted more of is best exampled in a simple moment in the later half that may be my favorite of the entire film: a quieter yet still edge-of-your-seat scene shared between Peter and Adrian that shows brilliantly through visual acting/storytelling a key piece falling into place. It was absolutely incredible to watch. Overall, this was a good foundation to reestablish the Spider-Man universe and gain some new wind in the sails after six solo outings. There needs to be a little bit of tinkering moving forward, but the future looks promising if they can build upon this new take.

78) July 12th: Loving* - DVD (Rental - Library); Another important real-life story brought to the big screen, Loving tells the struggle for the titular couple whose lives are upheaved when law enforcement in their hometown disapproves of their interracial marriage. Though an incredibly slow burn movie, it’s the matter at the center of the film, the couple’s strength despite massive targeting and personal loss that drives the story. I didn’t find it nearly as attention grabbing as various other true-story entries in my journal this year; Ruth Negga and Joel Edgerton are solid as the leads; it’s certainly one to discover, though don’t expect this artistic film to strike every note.

79) July 13th: Assassin’s Creed* - DVD (Rental - Library); “You were the chosen one! It was said you would destroy the bad videogame movies, not join them! Bring balance to the genre, not leave it in darkness!” That paraphrased Star Wars quote is pretty much how I felt in 2016. Warcraft and Assassin’s Creed looked to be films that may have finally been what the videogame adaptation genre needed to kickstart a new wave of movies to be adapted. Projects such as Uncharted, The Last Of Us, Bioshock, Halo and countless others could have been finally taken out of film development hell upon a successful streak. Alas, the two tentpoles eyed by hopefuls such as myself failed. And though I haven’t seen nor played the fantasy entry of the duo, I have played & now seen Assassin’s Creed. Despite a promising first act, which attempts not only to intrigue in both the Animus storyline and our main character’s past, everything seems to slam to a halt directly afterwards. The Animus storyline is the only source of action, used as a break from the dull, utilized thrice and does not amount to very much screentime. The film does an admirable job of setting up the key components of the universe so that those unfamiliar with the franchise get the necessary information, but fails to really translate what makes it so popular through a script that’s just alright. In one of the more embarrassing fan service moments mid-Animus action sequence, one of our leads name drops a move from the games with a delivery of awe and I ultimately wound up bursting out with laughter. An attempted good vs. evil conflict brews, all led by a macguffin used previously in the games, though the assisted supporting characters under our lead Cal barely get anything more than a quick introduction and sly line. This all amounts to a climax that not only bleeds into an incredibly quick final scene but a laughably abrupt ending that feels just insulting as a simple set up for a potential sequel. It’s with these feelings of frustration another feature is added to the growing pile of video game movie flops, and now rest our hopes on the Tomb Raider reboot with Alicia Vikander.

80) Power Rangers* - Streaming (Rental - Amazon); This one I owe to Twitter, as one afternoon I decided to crowdsource what movie I was going to rent that evening in an online poll. The winner wound up being Power Rangers, a reboot I initially had no interest in seeing until it gained positive word of mouth from friends when it was in theaters. Having seen it myself, I can definitely say I enjoyed it with some reservations. Easily the strongest aspect of the film is the script’s exploration of the five main characters, making sure they have at least some depth and chemistry with one another. It can be argued that Jason, Kimberly and Billy get more development than Trini or Zack, but certainly each of the five at least get their own moments to shine. If this exploration had been absent, the necessary team aspect wouldn’t have held up nearly as strong as the later half of the movie demands it to be. That being said, there are some impressive moments in deleted scenes that could have also worked wonders in strengthening various bonds and character elements that I’m sad to have seen on the cutting room floor. Beyond the team is where some of the more drastic changes happen that I didn’t quite mind. Elizabeth Banks actually pulls off a solid Rita, with a backstory trait that definitely adds intrigue to her. Zordon definitely comes across as much more than an omnipotent head on a wall; I just wish that there was more detail into what exactly caused the rift in the old Ranger guard, which is established but kept pretty vague in dialogue. As for the action, which is mostly contained into the third act of the film…it was ok but I felt that the computer effects could have used some more time. The best example of my special effects problem is a scene very late in the movie in which there is a tight close up of a traveling Rita that is a mix of practical and green screen but comes off laughably bad. And though this is the worst of the worst, there are other sequences where I simply felt the CGI was floating as opposed to blending into the world - especially the suits, which I felt easily could have been more practical effect than the CGI ones we receive. Then again, I didn’t walk away from this movie thinking about the final zord fight; I walked away thinking about the characters. Power Rangers, though far from perfect, is a movie at its best when establishing characters to care about. While this origins story is a solid foundation that needs a little bit more construction, it’s the hopeful thought of seeing these characters again, their bonds tested not only by something new but by an addition of Tommy, that excites me.

81) July 14th: War For The Planet Of The Apes* - Theater; Continuing my takes on the new Planet of the Apes saga, War arrived as perhaps my most anticipated film of the Summer. With Matt Reeves now slated to step into the directorial chair for the first solo Batman entry in the DCEU, it felt as if there was a growing focus on how exactly this installment of the Caesar story would go. After glowing reviews, I still managed to temper my expectations and go in cold. What I found was a wildly satisfying, exceptional and yet different change of pace adventure in the leader’s story so far. By change, I’m more so referring to a decent portion of the film that sees Caesar and our two most established supporting roles Rocket & Maurice accompanying him on a quest that not only opens up a new side to Caesar but also focuses more on his motivations rather than that of the larger group. It’s here we get to see Caesar struggle not only with his compassion for the humans that has stayed with him for most of his life, but if the absence of that aligns him more with Koba’s mentality. Furthermore, this is ultimately Caesar’s biggest test as a leader of his group not just emotionally but mentally. Woody Harrelson is terrifying as The Colonel, more so than any other primary antagonist opposite of Caesar thus far and easily the greatest of the trio. It’s the extended time together, mostly in the second half, that gives the film it’s true power, heart, and signature moments. On top of all these dynamics, we even receive an interesting subplot that continues to connect these prequel entries to the original films. The special effects this time around are stunning, perhaps the most realistic of the trilogy. The ending wasn’t completely unexpected but fitting. Much like Dawn, I think placement in this entry will ultimately depend on rewatches and after the surprises have ultimately settled in. My gut is that Dawn edges this one out due to the solo diversion of this one being a drastic change; but there’s so much that feels right as a boiling point for Caesar, between being pushed to his limits and facing off with his most menacing villain yet. Reeves delivers another well crafted epic that cements one of the more surprising successes in recent blockbuster history.

82) July 15th: Tomorrowland* - DVD (Rental - Library); Tomorrowland is a film that for the better part of a couple years now I’ve avoided. Gearing up towards the release, I was extremely on board for the Brad Bird directed sci-fi adventure. So much so that I even purchased the official prequel novel that partially detailed the origins of the background organization Plus Ultra. Why I avoided the film, however, was due not only to its mixed reviews & my fear that it would disappoint, but because the road to the theatrical release mostly felt like an empty mystery box approach that left me rather sour on the entire ordeal. Now, I can say that I have seen it and yes I do in fact have some mixed reactions. The first act of Tomorrowland may be the piece I enjoyed quite the most. It’s easily the most focused act of the entire journey, blending the overwhelming theme of optimism in a world of harsh reality with some entertaining introductions to our core cast. The concepts presented offer plenty of mystery to explore as things start to build. The second act, though, is where I felt the film was dragged down. There is a lot of explanation to be had about exactly what is going on, what happened to Frank (which is made more clear but definitely not crystal clear the more that exposition is piled on), and the path to the title location all feel like a very forced prickly road trip with more questions than answers. The third act, pretty much set solely in Tomorrowland, finally weaves our central antagonist back into the fold after an hour and twenty minutes off screen…even though when we were last introduced to him, exactly who he was, where his morality lied, and his exact purpose all remained fuzzy. Still, it at least punctuates the story with an active force instead of ever changing robotic minions. But it’s just not enough. Especially when David Nix’s reasoning behind his motives aren’t truly your traditional evil, as he gives an impassioned and actually quite impressive speech about why he’s simply given up. This all culminates in a final thematic underlining that may feel a bit too much like The Lorax to some to be forgiven. At the same time, it is that message that kind of shined through for me. Sitting through the first act, I was almost convinced this could have been a cheer up movie to watch on the downer days because it has such an infectious spirit. The nods to classic Disney Parks material is equally admirable and certainly adds to the overall atmosphere. It’s just the structure problems that weaken the entire experience despite me coming away from the movie more favorably. I just wish it could have stepped over the pitfalls on the way there.

83) July 18th: Popstar: Never Stop Never Stopping* - Streaming (HBO Go); In the mood for something funny, I decided to turn towards last year’s The Lonely Island feature film. A heavy satire towards celebrity pop culture and the current method in which musical artists have to market themselves for popularity, I found it entertaining with a few pleasant surprises throughout the mockumentary. It doesn’t quite measure up to the cult heights of the team’s prior outing Hot Rod as the narrative isn’t quite as strong; it nails its core trio well but at the same time you get an idea exactly where the arc of the movie is heading extremely early on. Still, it’s worth a watch when the time is right and if you’re a fan of the group’s previous work.

84) July 21st: Dunkirk* - Theater; As previously stated in this post, it’s been some time since director Christopher Nolan is won me over completely. And if I’m being honest, I had very little enthusiasm towards actively going to see Dunkirk, despite the glowing reviews in the days prior. Alas, the decision to go see the war movie was made on a whim combined with the overwhelming temperatures. However, I’m extremely happy to say that Dunkirk was an amazing film in my eyes that quickly catapulted towards the top of my yearly ranking. What I say fro here on out will be rather bare bones because I truly believe the less you know going in, the better. Nolan presents a real life story but done in a unique narrative style that easily separates Dunkirk from the rest of the genre. A decent deal of the film is presented through visual storytelling as opposed to dialogue spelling things completely out and it’s truly a sight to see as you still connect with these various characters through their quest to survive by whatever means necessary. Furthermore, the inner Hitchcock suspense fan in me is absolutely giddy as Dunkirk has a great amount of edge-of-your-seat tense moments that are elevated even more so by Hans Zimmer’s score that works so complimentary to what you’re witnessing. It’s this tension that really sucked me in and would not let go until the final scene. It’s this blend that makes the film more so an experience than anything else that is perhaps best seen first in theaters right now rather than when it hits home video.

85) July 25th: Jumanji - Streaming (Starz); Prior to the sequel-reboot’s release later this Winter, I figured it was time to rewatch this fondly remembered childhood classic to many. It has been plenty of years since I’ve seen the adventure feature and it was never an overwhelming favorite of mine when I was younger. Seeing it again after all these years, however, it’s clear why it’s a staple for many. It isn’t overly cutesy as some family adventure films tend to come off; the drama & emotions are high, the premise can get dark rather quickly and it’s all very intriguing to watch unfold. Robin Williams is easily the highlight in terms of acting, playing one of his more complex characters that appeals to all-ages. The computer effects, though astounding at the time, don’t hold up overly well as you have to remember upon release this was the age when even Pixar was just starting out. That being said, if they could find a way to remaster the special effects much in a similar way Star Wars has done with its home video re-releases, Jumanji could be mistaken for a recent release. The blend between practical and CGI certainly helps, while at the foundation is still a strong story that young adults and older will probably appreciate more. And with the set-up for next installment allowing us to see inside of the game for a change, I’m interested in how exactly it holds up - especially with what seems to be a far more comedic approach than this original go.

86) July 27th: The Jetsons & WWE: Robo-Wrestlemania!* - DVD (Rental - Library); For three years now, WWE and WB animation have partnered up for a variety of direct-to-video films featuring WWE’s current roster of wrestling talent. Two Scooby Doo films are certainly one thing, as the franchise of spooktacular mysteries have not stopped since their resurgence in the late 90s. The more…let’s go with “interesting”, entries in this planned partnership are members from classic animation that have not seen a modern day take in an extended period. The Flintstones arrived first in 2015 with their first new film in 14 years that, in my opinion, just felt kind of lazy and rushed. The voices seemed off, the shoehorned WWE angle just led to more puns than anything else and to think that this could be a generation’s first exposure to the franchise disheartened me as well. It’s been many years since Cartoon Network or even Boomerang (yes, there is at least the paid service app now) aired the Hanna Barbera classics regularly on television and I often wonder whether or not the current generation growing up are even aware of their existence. Now this year, WWE and WB attempted the same with The Jetsons, a franchise with an even longer streak of nearly 30 years since it’s last piece of media. When the trailers first arrived, I was kind of angry because I saw this long dormant series was only being exhumed as a cash grab. Not to mention I didn’t know exactly who this was for - kids who are fans of WWE wouldn’t necessarily know who The Jetsons are, and those old enough to care might dodge it because they saw it simply as a quick buck. But, funny enough, after actually having seen the film I can say that oddly this is the best of the WWE/WB partnership thus far. I do have to give it credit where credit is due. Despite yet another heavy handed focus on the wrestling side of the story, there is a genuinely good Jetsons movie buried inside here. The first act, which mostly deals with Big Show waking up in the future and ultimately serves as a light reintroduction for the franchise, is actually a fun albeit kind of cliché plot that works as a concept and I would have loved to seen explored more before taking a sharp left turn. The comedic dialogue dealt actually got me to laugh out loud in some parts; the voice actors really sound like a close portrayal of the original show; the animation is solidly well done (better than The Flintstones partnership’s style anyways). Furthermore, it actually has a storyline that tries to infuse a moral within and creates a sturdy-enough arc to separate it from the pack of previous entries. That’s not to say there aren’t problems though. That same moral infusement of technology-driven laziness isn’t brought to its full potential what so ever, which I believe is due more to the wrestling focus; Big Show’s characterization is all over the place; the time travel subplot feels more like a cheap knockoff of the story device used in their 80s crossover with The Flintstones; at 81 minutes it still finds time to drag, especially in the second act which is full of wrestling glorification, a montage, nabbing stars and then making their way back. And yet despite those moments that left me bored and rolling my eyes, I still walked away feeling they did something truly right here. It can be incredibly entertaining, the joke writing stands strong enough, and there’s just something that really nails the family at the heart of this all that manages to rise above everything else. Dare I say it, I actually would look forward to a follow-up…without the wrestling. For now if this is the best we get then it could’ve been far far FAR worse off. For the best example of that just look at Tom & Jerry’s recent adventure with a certain chocolate factory and confectionary maker.

87) July 30th: Miss Sloane* - DVD (Rental - Library); We live in a year heavily focused on politics. Due to this, sometimes the entertainment we want to escape from it all may also be politically focused and it can add up to an exhausted feeling (one of the reasons I couldn’t quite pick up House Of Cards again earlier this summer). In this whirlwind, there seems to have been a political thriller overlooked in the middle of Oscar season that certainly deserves that attention now: Miss Sloane. Once you get settled into the world past a crash course introduction in the first twenty minutes and the film’s primary conflict is set up, the D.C.-set feature focusing on lobbying can both impress and shock you. Jessica Chastain is incredible as the strong, cutthroat, sharp yet not invulnerable title character. Elevating it even more is a script from Jonathan Perera that at times feels reminiscent to that of an Aaron Sorkin execution with how focused and sly the dialogue hits. Sam Waterston and John Lithgow are quite notable as antagonists to Chastain’s role, but Michael Stuhlbarg tends to knock it out of the park as his character’s relationship with Sloane drives his performance. Admittedly the story’s flow seems to take a sharp halt in the second half, though it’s intentional and even spelled out by Sloane herself. But for me it hits that spot that similar politicially-driven media, such as Scandal, has in the past in which my interest is driven by the fact this fiction I’m watching could easily be happening in real life. Filled with twists and if you enjoy the aforementioned Netflix series, Miss Sloane is one to check out.

88) The Girl On The Train* - DVD (Rental - Library); Ending on a low note shall be an adaptation that I can’t even attempt to accurately voice my substantial disappointment towards. Having read and enjoyed the original novel prior to any announcement of a film version, when ill-fated reviews emerged last Fall I ultimately avoided this movie. But as curiosity finally got the better of me, I decided to sit down and watch The Girl On The Train. And ouch. Despite a voiceover plot element utilized, most of the internal dialogue of the core three characters is left to the page causing some moments to come off almost creepy (to a laugh out loud degree in spots) and reasoning behind others aren’t really delivered upon. Additionally, this adds to an unlikeability problem as Rachel’s novel turn as unreliable narrator coping with personal life setbacks & struggling to venture beyond that traumatic past comes across as raging alcoholic with weird stalker tendencies. Likewise, Anna and Tom seems to suffer from development as they seem to share a lack of a spotlight beyond what’s shown, as does Riley who seems to be popping in more as someone who states the logically obvious as opposed to deconstructing the tangled web. Furthermore, most of the reveals that on paper drive the mystery by adding intrigue somewhat lost their impact here, as twists seems stated so matter-of-fact - especially the largest one at play. Now that could in fact be more of a problem on my end, much like Fantastic Beasts, because I knew all of the material. But when out of six main characters a majority is ruled out in a single line of dialogue, it doesn’t take much of an imagination to come to a revelation as an audience goer even if the lead has yet to realize it herself. It’s all of these elements that ultimately come across as trying too hard to chase the Gone Girl hype and falling like a knockoff, with less than two hours coming across as a slow one to get through.

WHEW! Well that took a long time. Three months away can really add up, eh? Now as the summer dies down, weirdly my journal is starting to heat up with some widely notable films from the past year. But, more on that after Labor Day…

What movies did you see this Summer? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!

[maczazind]

FILM DIARY 2017: April AKA"The Month with Dwayne Johnson & True Stories"

The summer blockbuster season has officially arrived as April showers make way for May flowers. But in that showery month came a handful of interesting films as well. April surprisingly found myself not only accidentally focusing on stories that were based on real life events but also features starring Dwayne Johnson. I hadn’t planned on the two stacking up but was surprised as the month came to a close how many the two categories had rang true. So before we make it into the tentpole films of the Summer, let’s focus on the last hurrah of the Spring as the following were my movie reactions for April.

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along!

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total.

April 1st: 43) Valkyrie* - DVD (Rental - Library); Originally released in the winter of 2008, I may have just missed an eventual screening of this in one of my high school history classes (where I saw a wave of films that went from the relevant to the random including Catch Me If You Can and Slumdog Millionaire). And while it doesn’t quite buck your expectations as much as the final act of Inglourious Basterds did with its climax, Tom Cruise still leads a fascinating story regardless about a major attempt within Germany itself to turn a military tactic on its head in an attempt to end WWII. Director Bryan Singer covers the material with a visually impressive turn here, in addition to supplying plenty of tense moments throughout. Regardless of how likely you know the ending, it’s the plan and events unfolding that capture your attention while granting a different perspective inside the country in a time of a chaos. It may not have stood out as Cruise’s biggest film in the last decade, but it’s certainly a pleasant surprise if the subject interests you.

April 2nd: 44) Soul Men* - TV (DVR - BET); One of Bernie Mac’s final films, this musically driven comedy was a fun time that I didn’t take too seriously. It was a fine cable watch in the middle of a weekend as the movie focuses on two washed up soul artists who take a cross country road trip to attend a tribute for their group leader who had spun off into a successful solo career. Massive amount of cliches aside, what helps add to the fun is the chemistry between Mac and Samuel L. Jackson. It seems like they’re enjoying themselves throughout and it gets infectious alongside a great soundtrack. Not a contender for a new favorite; yet I’ve seen plenty worse on television.

April 4th: 45) 5 to 7* - Streaming (Netflix); I tend to be a sucker for a few quieter, independent romantic dramedies since my younger days of renting random films from the video store down my street. And 5 to 7 fits that exact mold, blending an offbeat perspective it wears proudly on its sleeve with a cast that really elevates the material in play. It’s a very eccentric mix exploring the world of an open marriage, and yet Anton Yelchin’s charming Brian manages to serve his role well as the viewer’s perspective. It’s not perfect but still mesmerizing and emotional as the character driven romance is tackled in various interesting ways with differing ideals. And God, how I wish there was more of Olivia Thirlby’s Jane in this film. She manages to steal the spotlight in every scene she’s in; finding fantastic chemistry with Yelchin and truly making me crave more of a focus on their star-crossed, budding friendship. It’s certainly not a film for everyone; it’s one you’ll either accept as it lays out its central theme early on or you won’t. Though if you do, you may manage to embrace a handful of the alluring and enamoring traits it has to offer.

April 5th: 46) Rogue One: A Star Wars Story* - Blu-Ray; Despite being a sizeable Star Wars fan, I never saw Rogue One during its release due to family problems arising around that time. So while many kept their blinders on until the release, I attempted to maintain that bubble for an additional three months. Some things clearly got through thanks to social media response, such as the widely beloved Vader scene. Others seemed obvious given existing canon and dialogue. The bottom line is I didn’t love Rogue One as much as The Force Awakens. At the same time, this is new territory; I really wasn’t sure how I would react to the first non-Skywalker Saga film despite being versed in books that do just that. I’ve accepted that this was also somewhat of a testing of the waters to see if audiences would respond to one-off cinematic adventures in this galaxy for potentially larger tales. Regardless, Rogue One is still an interesting focus on the Rebel Alliance beyond the Skywalker clan while it presents a grittier atmosphere that is certainly impressive. The story leads to very expected ending, but not before delivering quite a few memorable characters and dynamics. It fleshes out what we know with little additions that not only intrigues (Vader’s presence and location in between the prequel & original trilogies for instance) but solves some details from A New Hope as well. The biggest praise I can give is that director Gareth Edwards delivers perhaps the most visually stunning Star Wars film, between big beautiful shots, scenes that at times evoke the exactlook of the original classics, and a CGI Tarkin that to be quite honest I did not mind as much as others did. It’s a good, strong film that while it may not reach certain heights personally, may grow on me even more among repeat viewings.

April 8th: 47) Kubo and The Two Strings* - Streaming (Netflix); Laika has managed to rise impressively over the past nine years as its four feature films have presented intriguing stories that certainly gain popular word of mouth. Coraline impressed in a creepy supernatural tale with heart, while similarly Paranorman took a genre adventure tale and flipped it on its head with a very heartbreaking climax. Likewise, Kubo takes elements Laika has presented before and utilizes it in a new way. An adventure with fantastical elements here, but blending in dealings of grief, some great comedy, a feudal Japan backdrop and the legends that come with it. And such as Laika’s peaks, that emotional thread works wonders throughout the film. Perhaps not as far reaching to all demographics as the aforementioned movies, Kubo still showcases exceptional visual imagery and isn’t afraid to tackle some more complex pieces while fully embracing the more magical sides of the story it’s trying to deliver. If you can also accept those more farfetched archetypes as honorable to the landscape it’s tackling, then this may be up your alley.

48) Schindler’s List* - Streaming (Netflix); An award winner with an important legacy, I’d never seen this movie before for a small number of reasons. Among them, the 3 hour & 15 minute runtime always seemed overwhelming and the subject material in this format is something you have to be personally prepared for. Man what a powerful film. Unflinchingly brutal yet accurate to life, heartbreaking, and an extremely notable story to discover in the midst of absolute horror. Liam Neeson, Ben Kingsley and Ralph Fiennes give exceptional performances; to see Neeson’s Schindler break down in the “I could’ve saved more” scene evoked my own tears. And despite the length of the film, it never feels too long; between the shocking imagery and the tension that develops, your attention is demanded through it all. The genre of WWII films have presented no shortage of stories to tell, and it’s clear to see why this one has stood strong for the last 25 years.

April 14th: 49) The Fate of The Furious* - Theater; A fan of the franchise since my preteen years, it’s no secret The Fast and The Furious has gone through a number of transitions in its run. The series first changed four films in, shifting from a focus on racing to include more over the top action while also centering on the characters & the “family” that are now a signature part of the continuing story. In the wake of the loss of Paul Walker and the departure of his character Brian, the franchise finds itself at another crossroads. For myself, the core dynamic that gave the series an interesting focus was the yin & yang that were Brian & Dom; both intelligent in cars but differing with backgrounds in law enforcement and living on the edge. It’s why the second and third films didn’t quite work as well as the original, but excited an audience upon reuniting for a fourth; serving as a solid foundation for more fun adventures to build off of. Now with Brian gone, my main concern was wondering if his absence ultimately affected that core. In Fate, it’s clear there’s no replacing him. But thanks to Mr. Nobody and his new protege, played by Scott Eastwood, there is a feeling of balance once more as our family gains some structure while venturing out into an entry that not only entertains but captivates on multiple levels. Yes, there is still some very farfetched action; yet the one-liners & characters make it enjoyable despite plausibility. The story behind Dom’s betrayal to those closest to him counterbalances that, presenting some surprising connections and shocking twists that rewards fans who have stuck with the series so far. Jason Statham is a scene stealer, especially in the third act; Charlize Theron delivers an intimidating villain through her actions despite the fact she’s less hands on than previous antagonists. Without giving any spoilers away, I’ll say that what transpires blends together impressively to not only honor at least the three films prior but combats hesitance of shifting gears with a thrilling blockbuster that easily put it in the top tier of Fast and Furious installments.

April 15th: 50) Quiz Show* - Streaming (Netflix); My third based-on-a-true story film this month took me out of WWII and into the 1950s with another Best Picture nominee from the mid-90s. Here director Robert Redford tackles the cheating scandal from the early days of television, a controversy I had no clue even existed. What is presented is a solid film that takes many aspects and decides to run with them for an intriguing package, tackling a moral center, event entertainment vs. transparency, and the growing notion as to whether or not the same thing could be happening today in an era where game shows have only expanded. Ralph Fiennes dazzles as the lead torn between right and wrong, while John Turturro does an exceptional job playing an obsessed former champion that serves as a foil you can’t quite root for despite being in a justified camp. Though it doesn’t make it into the top tier of biopics for me, it’s an intriguing focus if you’re an entertainment lover.

April 22nd: 51) The Finest Hours* - Streaming (Netflix); As the title of this feature suggests, I found it to be just fine but not great. This drama from last year recounts a risky Coast Guard rescue in the early 50s out of Chatham, Massachusetts in the middle of a terrible winter storm. And while the story is interesting to learn and the actual rescue itself is harrowing, the film has a handful of problems. The first act, about 40 minutes long, throws so many characters at you and they are primarily pessimistic towards our protagonists that it actually gets a bit annoying. And a good handful of the pessimism on one side comes from an elephant in the room that is vaguely described through expositional dialogue that just feels out of place. An opening five minute scene depicting the event or even the fallout could’ve helped solve at least some of these scenes that simply come off sluggish. Additionally, characters and performances come up short because we jump around to SO many of them. Chris Pine and Casey Affleck lead their respective storylines well; Holliday Grainger is an absolute scene stealer and makes the central relationship believable. Ben Foster finds his groove later on, but disappointed me in the first half because of how good of a role I know he can deliver (if you haven’t seen it, he’s EXCEPTIONAL in The Program). The more interesting aspects of the film are Affleck’s story as we see how a ragtag crew manages to stay afloat in half of a sinking tanker as they await for rescue to hopefully come. Once rescue ventures out, the movie gains some real gravity; it’s just the very hesitant start and the crowded screen time that fails to get the motor going off the bat, rippling through the movie.

April 25th: 52) Moana* - TV (Rental - On Demand); I was worried how I would like this one given the hype built up from social media and award nominations. But as it turns out, it lives up that hype. Moana does an impressive thing by focusing on three key relationships that drive the emotional undercurrent: the title character & herself (torn between family and passion); the title character & her grandmother (doubting your passion, having someone support you and losing a loved one); and the title character and Maui (a comedic chemistry that also showcases independent strength, resilience and determination). All of these blend to deliver a powerful heart against a solid adventure tale that takes advantage of legend and fantasy, much in the way that Kubo had with its atmosphere. The villains are a bit weak, serving mostly as simple hurdles instead of the memorable antagonists from the Renaissance era. But there’s just something Moana does so well among establishing lore and relatable bonds in the first act that elevates the rest of the film. It’s even clear to see why “How Far I’ll Go” is the breakout song, as it perfectly captures and reflects everything being presented in the first half hour. Moana is a movie that wears its heart on its sleeve and is all the better for it, while the comedy and odyssey that follow cement it among the recent string of animated Disney films crafting their own legacies.

April 26th: 53) Central Intelligence* - DVD (Rental - Library); My second movie starring Dwayne Johnson in as many days, let’s say I didn’t love this one as much. It’s enjoyable, sure, but a little too goofy with a handful of problems. Kevin Hart and Johnson play off each other fantastically and are a lot of fun as a duo, but the character dynamics threw me a bit too much. Here, Hart is more or less the witty, taken aback foundation while Johnson is the wackier one as a repressed former high school loser who can’t quite let go of his past. And it’s there that the absurdity kind of grows more and more even if it tries to stay grounded in some respects. It requires plenty of disbelief and my expectations ultimately just were not there. Furthermore, the central story presents evidence to potentially distrust Johnson’s character well until the third act, and he’s such a wild card throughout that I actually bought the notion. The surprise cameos add an additional treat, but I’m also kinda happy I simply rented this one instead of outright buying it.

April 29th: 54) The Lincoln Lawyer* - Blu-Ray; My final film of the month is a legal thriller adaptation that squeaked in just before the “McConaissance” took shape. Matthew McConaughey leads a surprisingly star studded feature that spends the first hour setting up a premise, only to take an incredibly sharp turn halfway through and send the film in an entirely different direction. Though this twist allows for a complex spinning of plates that impressively all ties together in the end, it was a bit too jarring for me to roll with and I still felt a bit off center as the story continued to deliver turn after turn. Regardless, McConaughey and Ryan Phillippe give great performances; Marisa Tomei is just fine but has great chemistry with McConaughey; Michael Pena shines in the very small screen time he’s given; Bryan Cranston is under used with just a few scenes in a rather minor role. Ultimately it doesn’t hit as hard as past entries in its genre despite the impressive talent roster it builds and a break from cliche that should be refreshing. Then again, perhaps it was just my unprepared mindset to the narrative shift that left me with a sour note.

And that concludes part three of my year in movies! What blockbusters will I have seen after Memorial Day? See you in a month to find out!

What movies did you see in April 2017? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!

[maczazind]

FILM DIARY 2017: March - "Another Slow Month"

Spring has sprung and with the changing of the seasons comes a plethora of new films arriving everywhere. A busy month in theaters for sure, it seems to be just the start as we gear up for the blockbuster season ahead. But with a few notable tentpoles of the year arriving in the past four weeks, which did I add to my list? And what did I think of them?

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along!

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total.

March 3rd: 34) Mother’s Day* - DVD (Rental - Library); What turned out to be Garry Marshall’s final directorial effort, Mother’s Day closes out a loose trilogy known for a rotating cast of big stars. And while I find all three simply harmless, this final entry isn’t even the best of THAT group. Scenes that feel they should naturally go one way pivot into a different direction and jump elsewhere or sometimes even linger a bit too long before they cut. While the other holiday entries had some decent connected twists at the end, this one lacks that and you can see everything coming from a mile away. Its heart can be in the right place sometimes and some of the cast does have great chemistry with each other, but I just found it mostly falling flat.

March 4th: 35) Logan* - Theater; In the current state of superhero features, Logan felt like something fantastically different: unflinchingly violent and emotionally raw. That’s not to say I don’t enjoy the MCU or the DC slate of films, but this goodbye to a character embedded into pop culture for the past 17 years was something that felt right in so many ways. For those who grew up with the character, we received a more adult tale that at the same time feels truer to the comic book character with no restrictions in place to appeal to a PG-13 rating. He is every bit the previously tortured soul, even more so now given events that unfold, with an additional desire to avoid any new loyalties or attachments to newcomers, and the western-like tone drives home that personality even more. You feel for every relationship in the film, whether it be one that has developed for years or one with a young mutant he just became responsible for. Every bit of action is hard hitting. The central plot even has ties to Wolverine at his beginning that feels fitting, while also introducing us to a new central character Laura that shines just as brightly as he does – hell she even steals the show at various points. All of this combines into a farewell to Jackman’s portrayal that is as memorable as it is touching.

36) Woman In Gold* - Streaming (Netflix); You could probably lose track of how many “based on a true story” films there are in a year and this 2015 release fell through the cracks for myself. It starts off rather slow as the movie establishes how the story is going to be told, which frequently jumps back and forth between main storylines that start in the 1940s and the late 1990s while also visiting the 1920s as well. But once things settle and the characters start to actually grow close, an emotionally driven plot takes form and brings out fantastic performances from Ryan Reynolds, Helen Mirren and Tatiana Maslany. It never escapes some cliches nor its delayed start, but the backstory of Mirren’s character demands attention as the flashbacks unfold. It is a mixed effort, but one that has some impressive elements difficult to ignore.

March 11th: 37) Kong: Skull Island* - Theater; It’s been 12 years since King Kong’s last cinematic endeavor and the iconic movie creature is back on the big screen. I went in expecting a fun action movie and that’s exactly what I received. It’s not perfect; I do wish some characters were fleshed out better than their archetypes. But there was something about the fantastic visuals from director Jordan Vogt-Roberts, the strong war movie atmosphere battling the action-adventure aspects and the reinvention of the classic Kong story that left me feeling impressed. For a character around for the better part of a century, of course it can’t shake some familiar beats from previous installments. But for everything it tries to do and can do, I left the theater satisfied.

38) Hands of Stone* - Streaming (Netflix); In the decent handful of great boxing movies, this one doesn’t exactly touch the classics. Hands of Stone certainly tells an intriguing tale about a big name in boxing with a solid cast, but there is a number of times the film doesn’t know how it wants to tell the events. Often, we change perspectives from our central character of Roberto Duran to that of trainer Ray Arcel and to a smaller degree Sugar Ray Leonard, which crowds up the man under the magnifying glass. While we start from Ray’s point of view, we then shift to Duran’s while volleying back and forth for nearly two hours. This can leave the movie feeling out of focus from the career it wants to tell, while at the same time never quite shedding the typical story skeleton this genre tends to follow. As a whole, the feature doesn’t tend to hit as hard as it wants to even if it does have its moments.

March 16th: 39) Pete’s Dragon* (2016) - Streaming (Netflix); I was raised as a Disney loving child from an early age and yet the original Pete’s Dragon was never a staple in my household. I’ve always tended to shy away from its weirdness (for which I shall leave Practical Folks’ Drunk Disney to highlight here) but was drawn to the live action/animation blend. However, with Disney knocking it out of the park in regards to remakes lately, I was intrigued by this retelling of the cult classic despite just an okay box office opening stateside. And what transpires is a solid, kid-friendly adventure film that shines brightest when focusing on the friendship of Pete and Elliot. There’s something wonderfully heartfelt between the two throughout that David Lowery captures beautifully, evoking similar tones to that of Hiccup and Toothless’ bond in How To Train Your Dragon. The adults serve well and the fish out of water story is fun, but the true weight of the story is best felt with the aforementioned. While not my favorite entry in the remake era, Lowery does an admirable effort of turning a zany musical comedy into an emotional mix of fantasy, comedy and character-driven drama.

March 23rd: 40) Burnt* - DVD (Rental - Library); A comforting watch for those versed in the world of cooking entertainment. Burnt explores the art of fine dining and the passion behind it, even if it’s not a completely riveting journey along the way. Boasting an all-star cast, don’t completely buy into everyone who is on the box art; Lily James and Alicia Vikander, for example, show up for all of two scenes. Once you get past its eccentricities, there is a central cast of about four or five characters that can really shine - with Bradley Cooper giving it his all as lead. Whether or not you can get into the movie, however, lies on your interest about Cooper’s main pursuit. Perhaps a bit too clean of a story in the end and definitely quite crowded, it was still a valid viewing that simply did not come close to my favorites this month.

March 27th: 41) Independence Day: Resurgence* - Streaming (HBO Go); People tried to warn me, didn’t they? What I didn’t expect was to like the first part of the movie ,though. It sets up an interesting introduction and I was actually into it. But the most ironic thing is that once the aliens attack again is where I found the movie to lose itself. It makes dumb decision after dumb decision, killing off people you were surprised made it out of the first film. The mix of practical and computer effects are gone, drowning you in a sea of special effects and CGI sets that really feel out of place the closer you reach the end credits. Add in some unnecessary subplots and characters, and I finally understand why many were complaining last summer. Sure the first one is a popcorn film, but it manages to find a find balance of its premise, campiness and action. This one simply makes too many bad choices, with a majority of the invasion tactic being “do what we did last time” and scrambling/failing to bounce back when it inevitably doesn’t work. Though it was intriguing to see what became of this world, the end result takes a steep nosedive.

March 31st: 42) Anastasia - Streaming (Netflix); It’s been at least a decade since I’ve seen Anastasia and between the upcoming Broadway adaptation and my friend Lily’s long standing love for the film, on a whim I decided to check it out again. From what I recall, I saw the feature in theaters when I was really young, owned it on VHS, but it never hit home as an all-time favorite of mine. Revisiting it now, it was more of a pleasant surprise as the fairy tale motif really focuses more on our characters than anything. There are the kid-friendly cliches of a comedic relief animal, songs and even some magic but all of it tends to fall to the wayside when comparing to the central stories and relationships. Upon the big reunion the film leads up to, I actually got goosebumps despite knowing it was bound to happen. There’s something fantastic in the deliveries of Meg Ryan, John Cusack, Angela Lansbury and others that boost what could have been a basic tale. The only fault I tend to have is that the villain of Rasputin feels incredibly tacked on, being kept at an arm’s length for the entire plot and creating hurdles that could honestly exist without him. And while the CGI does not hold up nor is the high definition transfer as crisp, the animation has something to admire in the fact that it’s incredibly fluid as there is rarely a moment where the characters’ lines or mannerism are resting. All in all, I’m really happy to have rediscovered Anastasia at an older age as it helped give perspective and appreciation for various elements that I really believe went over my head as a child.

And that was my month of movies for March. April is already starting to look up with a handful of first viewings, with much to share next month. See you then!

What movies did you see in March 2017? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!

[maczazind]

Film Diary 2017: February, AKA "The Month I TRIED To Watch Only Nominated Movies"

The biggest awards show of the year for film has now officially passed and Moonlight has walked away with the top prize of the night. Meanwhile, my February leading up to the event has primarily revolved around previously nominated or victorious entries from years gone by. I have seen a decent handful of movies that were nominated before and own an even smaller chunk of them, but this month I wanted to explore some of those that have fallen through the cracks for myself. But not EVERY film I saw was nominated. Needless to say, it was an interesting mix.

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along!

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total. This month, if an entry was nominated for/won an Academy Award, the details of its highest achievement and the year of the ceremony are added prior to my reaction:

February 2nd: 22) Nine (2009)* - DVD (Rental - Library); Nominated for 4 in 2010, Including Best Supporting Actress (Penelope Cruz) and Best Original Song (“Take It All”) – Note to self: if you want to go on a Daniel Day Lewis kick after watching him in There Will Be Blood, maybe don’t start with this one. Though this was an askew devotion to older filmmaking and the process of developing a feature, it’s the musical aspects that come up mixed for me. A majority of the songs fall flat and forgettable in my eyes; Fergie and Marion Cotillard’s outings being the ones that really come to life. There are the impressive moments, such as the major ensemble introduction presented less through the lyrics and more the intriguing interactions with each character. But it’s relatively easy to see why this one hasn’t necessarily stood the test of time.

February 8th: 23) Frost/Nixon* - DVD (Rental - Library); Nominated for 5 in 2009, Including Best Picture, Best Actor (Frank Langella) and Best Director (Ron Howard) – At times while watching Frost/Nixon, I couldn’t help but feel I was watching a tennis match. There were times that, admittedly, went over my head but there were also moments in which the tension and wit that builds strictly through dialogue is something to fall in love with as two men battle it out for their own reasons. Even supporting characters played by Kevin Bacon, Oliver Platt, Sam Rockwell and more are played with great dedication to the situation and yet still allowing for some comedic pauses to shine when the moment calls for it. As someone who wasn’t born yet to experience the scandal nor was taught much about it in school, this seemed like a great companion piece to All The President’s Men to help fill the gap of the era.

February 9th: 24) Blazing Saddles* - TV (DVR - Turner Classic Movies); Nominated for 3 in 1975, Including Best Supporting Actress (Madeline Kahn) and Best Original Song (“Blazing Saddles”) – As someone who loves The Producers and Spaceballs, its no surprise I would love this one for all its comedic achievements. It’s certainly more adult in certain regards, but at the same time that reflects the nature of the setting. Cleavon Little is absolutely charming from the minute he steps on screen and holds the lead role fantastically. Gene Wilder is fun and adds some additional comfort in a supporting role. And while the ending feels like an out of left field turn, it’s a true Mel Brooks conclusion at its core and I wouldn’t have had it any other way.

February 10th: 25) The Prestige* - DVD (Rental - Library); Nominated for 2 in 2007, Including Best Cinematography (Wally Pfister) – I’m just full of surprising “wait, you haven’t seen THIS film either?!” moments, aren’t I? Now I do have some explanation behind this: 1) Albeit not a very good reason, my dumb teenage brain at the time of it’s initial release always paired together The Prestige and The Illusionist as “those magician movies” in 2006. It took me a few years to realize one stood stronger than the other. 2) One of the two MAJOR twists presented in this film I already knew of and thus some of the allure had been taken away from me. That being said, I now see how wrong I was in the fact that The Prestige found ways to not only surprise me multiple times but capture my attention as well, with the main rivalry, Tesla, where the story was leading and so much more. It’s tense, intriguing, sly when it needs to be but powerful in the central plot of its two leads. Not my favorite Christopher Nolan feature but certainly far from the bottom of the list.

February 11th: 26) Ali* - Blu-Ray; Nominated for 2 in 2002, Best Actor (Will Smith) and Best Supporting Actor (Jon Voight) – Much like Steve Jobs, this isn’t necessarily a biopic that chronicles every aspect of the title character’s life but rather tackles years that were among the most important for the central figure. And man is this one a fascinating watch. I knew the events, I knew the legends, but never the full details of it all. Will Smith is electric as Ali, and truthfully I had no clue that Jon Voight was Howard Cosell until 45 minutes prior to the ending. He blends into his role and makeup exceptionally. Though I feel Ali isn’t as talked about as it once was, it certainly deserves to be.

February 14th: 27) Casablanca - TV (DVR - Turner Classic Movies); Nominated for 8 in 1944, Winning 3 Including Best Picture and Best Director (Michael Curtiz) – What is left to say about a film that’s stood the test of time as one of the all time greats? I queued it up on my DVR Valentine’s Day evening, curled up with a blanket and just got sucked into the iconic atmosphere. All the often quoted highlights don’t nearly do the allure of the movie justice. It had been a long time since I’ve seen this one and it recaptured me all over again.

28) Deepwater Horizon* - TV (Rental - On Demand); Nominated for 2 in 2017, Best Sound Editing and Best Visual Effects – Another gripping torn-from-the-headlines film courtesy of the directorial/actor duo of Peter Berg & Mark Wahlberg, Deepwater Horizon is an unflinching look at the massive oil rig that resulted in not only the largest oil spill in U.S. history but the loss of multiple workers on the rig as well. While there may be some faults here and there (thankfully not for the same reasons I walked out of Sully mixed), it never takes away from the absolute horror of events once they unfold. A rock solid “based on a true story” piece that definitely deserves more attention than it seems to have received.

February 18th: 29) When Harry Met Sally… - TV (Bravo); Nominated in 1990 for Best Original Screenplay (Nora Ephron) – Man, I forgot how much I loved this movie for all its wit and charm. A simple channel surfing trip led to sitting down for this one again and I really should own it by now. A classic for all the right reasons, even if it’s a rom-com. And yet it still manages to elevate itself above the genre by tackling love in a real sense that isn’t afraid to shy away from the pitfalls nor the complications or differing perspectives on it all.

February 19th: 30) Doubt* - DVD (Rental - Library); Nominated for 5 in 2009, Including Best Picture, Best Actress (Meryl Streep), Best Supporting Actor (Philip Seymour Hoffman) & Best Supporting Actress (Amy Adams, Viola Davis) – Doubt is in the same format of recent awards season contenders such as Fences or August: Osage County: a film based on a play that each respectively won the Pulitzer Prize for drama. Likewise, Doubt is a story that feels like a play in certain regards. A character drama that tests the ideas of perception and certainly plays up its title message & tone well, its the performances that boost the script as a string of confrontations and conversations make up the action. While it may have struck me as a solid one-time watch, its a film I’m not exactly clamoring to watch again anytime soon but also deserving of all its acting nods.

February 20th: 31) Unbreakable* - Streaming (HBO Go); Another one that I put off for the longest time for multiple reasons: One being I knew the twist ending; two was that after actually going to see The Last Airbender in a theater resulting in an absolutely awful moviegoing experience, I swore off new Shyamalan movies. In light of recent news, I figured now was the time to embrace it and the hype certainly was justified. Evoking his earlier signature style which has seemed to shift in recent years, the character focus/strength still stands tall above all and leads towards a very satisfying emotional climax for the relationships involved. It doesn’t remove Signs from the top of my Shyamalan list but certainly earned a spot near the top.

February 27th: 32) A Good Day To Die Hard* - Blu-Ray; And we go from one Bruce Willis movie to another. I originally picked up this movie in the middle of a Black Friday sale but never got around to watching it. Finally doing so, I can absolutely see why this was panned upon release. Sure it’s an R-rated return to the franchise but it’s a movie that struggles with its identity at times. It doesn’t know if it wants to be a John McClane movie or a Jack McClane movie in which John plays a supporting role. The set up for the first 15 minutes is solid enough; somewhere along the first major action sequence is where I began to take fault not just in the ridiculous climax but that John felt more of a wrench in the works than a solution. I always believe Die Hard is at its best when it’s restricted to one location and has to get creative with its action. When you turn it into a multi-city sprawling epic with little consequence such as this, then it’s just a mindless action movie by any other name. Not to mention we’ve seen the “McClane kid mad at dad but bond over this mishap” already and it seemed to mean more the first time around along with a far better villain than in this installment. Ultimately, I’m glad I finally crossed it off my list but still wish it could have been a more pleasant surprise as it certainly met the low bar I set for it.

February 28th: 33) Strangers On A Train* - TV (DVR - Turner Classic Movies); Nominated in 1952 for Best Cinematography, Black & White (Robert Burks) – I’m someone who considers Hitchcock’s Rear Window to be in my top five films of all time, but Strangers On A Train was one of the entries from him I had yet to see. And admittedly I walked away a bit mixed. The concept and suspense is certainly executed well, and Robert Walker is a scene stealer as the psychopathic Bruno. What I didn’t quite care for was Fairley Granger’s Guy Haines. Clearly the every man in a complex situation, there were just times where the events rest on his shoulders and it drags. It’s better to see Guy and Bruno share the screen as they bounce off each other well rather than Guy try to ignore his end of the impromptu deal. It doesn’t take away from the high points of the film, but in my opinion what results in a mixed bag is a protagonist that is far from the strongest of Hitchcock’s filmography.

And that was my month of movies for February! Things certainly got busy and led to a shorter list as opposed to January; but hopefully in March I can carve out some time to set aside and rebound.

What movies did you see in February 2017? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!

[maczazind]

Film Diary 2017: 'Blair Witch' Extended Thoughts

The following is an extended take on my feelings of Blair Witch (2016). It is an expansion of my monthly film journal for January 2017, the full post of which you can see here. This is simply my opinion and trying to have fun discussing entertainment on Tumblr. Feel free to agree or disagree; I welcome all takes and perspectives with an open mind.

Spoilers follow for 1999’s The Blair Witch Project and 2016’s Blair Witch. What follows is also strictly MY OWN OPINION.

As a child of the 90s, I very much recall the hype of The Blair Witch Project from the perspective of a youngling. While I didn’t necessarily realize the internet tie-in standpoint of the film itself nor how nearly unprecedented the found footage aspect was, I definitely remember how massive of a phenomenon it was. People discussing it, video store conversations by adults at the checkout counter debating the ending. And even seeing it myself…to an extent; it was the movie of choice at a sleepover at the time but I fell asleep out of a mix of boredom and fear after the creepy tone that was set by friends. Since the release, I’ve revisited it removed from the bubble that was the late 90s and admittedly The Blair Witch Project is far from my favorite horror film. My first time rewatching left me feeling jaded and disgusted at what people considered a classic, but multiple times since I’ve come to respect the simplicity, character focus, the mythology slowly expanding through dialogue and the ambiguous moments that fueled the aforementioned conversations all these years later.

While Book of Shadows is a mindfuck in quite a bad way, the Blair Witch hysteria died out never to capitalize on its fame again as the world moved on. For years, rumors popped up in the depths of the internet that maybe Blair Witch could come back in some form and those ideas seemed to be just that: ideas. That is, until Comic Con 2016. In one swift surprise, what was a horror feature previously teased & titled The Woods was revealed to be a continuation of the franchise all these years later simply titled Blair Witch. But while there was a solid reception out of the con, I was disheartened to see not only a negative reception from critics just two months later upon release but a soft opening weekend box office as well, despite a reportedly small production budget as well. At the time of writing this, Blair Witch has a Rotten Tomatoes critics score of 36%, an audience score of 31%, an IMDB average score of 5.1, a MetaCritic critics score of 47 and an audience score of 4.8. So…what the hell happened?!

Missing it the first time around, Blair Witch has hit Blu-Ray & DVD and I finally picked it up to check it out for myself to see exactly what I would think.

Let me start first by prefacing that in the last decade, I was unabashedly a fan of the Paranormal Activity franchise. Even through the upsettingly bad installments (*waves to PA4 and The Ghost Dimension*), I was enthralled by the mythology growing with every movie to a presumed climax that frustratingly never came (I have an idea on how it should end, but that’s a whole other topic for another day). But much like the “torture porn” fad of horror that came as a result of the success of the Saw franchise, the “found footage” aspect that was popularized again with the emergence of PA has clearly worn people out. While there were some very notable films to have utilized that method, there were PLENTY of bad ones that were shot in the style, made on a very low budget, made its money back but at the same time kind of burned audiences (*waves again to the URL ending of The Devil Inside). And to a certain degree I think Blair Witch may have been the very last straw for many in that respect.

Another footnote to consider in this entire ordeal is that Blair Witch had only TWO MONTHS from title reveal to theatrical premiere. That, in my own opinion, did not allow it to build up the positive hype it needed to stay afloat. I saw many tweets online and even knew a few friends who because of the naming and unfamiliarity thought the film was simply a cheap remake and not a continuation. If the film had a bit longer to establish itself in the casual public eye, I think there wouldn’t necessarily have been as big of a blowback as there was. Then again, that’s more than likely just the optimist in me.

But what did I think of the film itself? I walked away liking it…with some reservations.

Some of the initial complaints I’ve seen since the release are that Blair Witch is more remake than it is sequel and I can’t argue with the certain point of view of that. Yes, the path we find our characters on is incredibly similar. The source of found footage serves a greater purpose, they venture into the woods, get lost, start fighting a bit and it all ends at the infamous house. But at the same time I found it to be an expansion with different motivations that served intriguing. The adventure of the first isn’t eclipsed nor forgotten but the additional material thrown into the mix here helps expand the concept for some of the vague moments in the original. In addition, when you believe a scene starts to feel a bit familiar I thought that there was always something fresh to take away to subvert your expectations. The campsite, the tents, the house, the popular symbol of the witch; they all have something presented that at least adds something.

Taking a step back from that, though, the characters prove to be a mixed bag. It doesn’t help that as the plot goes along it burns the bridges of at least two members of the group. There are small details you can grasp onto for each character to flesh them out a bit but not really enough for their personalities to overly shine as the intense circumstances grow and take center stage. A blooming relationship pops up in spots between who you would consider the two leads of the group and it helps to care about that development as we lead into the finale. But with the threat of an unseen supernatural force lurking around, it’s also hard not to try and distance yourselves from these characters in order to prepare for what may be the inevitable.

Similarly the beginning approach feels a bit different with our resident film student Lisa actually going all out to prepare in very reasonable conditions. The arsenal of technology this time includes earpiece cameras and a drone that upon presentation interested me in how exactly they would be used. Likewise to the same problem with the characters however, there was always this feeling in the back of my head that any of this tech can simply malfunction and prove ultimately useless. Some of that does happen but at the same time it kind of feels like a lifeline for the characters being cut off to give it impact to the events unfolding.

With a sequel of this magnitude, it’s hard not to think that somewhere along the way questions from the first film be addressed. Namely the biggest one people have is exactly what happened to Heather in the closing moments. Here the answer is never quite given but can be assumed as much given how our new cast of characters close out their journey. And it’s just the first in a handful of additional material supplied. Before this, through dialogue we learn more about the legend of Elly Kedward - a piece of the mythology presented in tie-ins after the original - that leads to a eureka moment in the climax finale, as does an even more supernatural solution as to how Heather and company exactly got lost in the woods as well as the footage that serves as the catalyst for the entire film.

I do have to commend director Adam Wingard and writer Simon Barrett. To resurrect a franchise so embedded in a certain era of pop culture is no easy feat but I feel they provided what could have been a solid landing pad to have expand upon even more had the film been a bigger hit. Wingard presents plenty of memorable imagery that I can still call back to with such clarity as it took a dormant world and added some fresh air into it. Barrett as well took what we knew about the mythos so far and pushed it even further to get me thinking without ever quite rocking the boat of the entire established story as some horror sequels can unfortunately achieve.

Blair Witch is carried out with such respect and love for what came before it, but audiences and critics simply didn’t bite. Perhaps it was the similarities and the shortcomings along with the lack of an open mind that caused the backlash. Or maybe I’m just glancing at this as more supplementary rather than the intense elevation that others truly wanted. It never tops my list of favorite horror movies nor is it my favorite Wingard/Barrett film (that would be The Guest) but it’s far from a number of frustrating features the genre has pumped out in the past.

[maczazind]

Film Diary 2017: January

Now that my 2016 film diary is FINALLY published, I wanted to try something different with my 2017 version. With this blog now up, I wanted to post this year’s entries in monthly installments as opposed to one massive list. Since it won’t be a single post I wanted to do something I wish I had done more with my 2016 list, which is detail my thoughts a bit more on the entries involved. Some admittedly may warrant their own separate post because I feel so passionately about said film, but at least a monthly breakdown now will allow for a more detailed film diary going forward.

If you’d like to see them as the year progresses, however, each installment will be given the tag “Film Diary 2017” so feel free to follow along!

That being said, here is the list of films I saw in the month of January 2017 - including how each feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. All reactions are strictly MY OPINION:

January 4th: 1) Into The Woods* - DVD (Rental - Library); As a fan of movie musicals, I have to admit this one kind of disappointed me. I really like the other fellow Sondheim adaptation of Sweeney Todd, but this one fell flat in my eyes because it doesn’t quite take advantage of its capabilities. Though it does revamp the stage version with some solid visuals and an impressive cast, it’s in the third act where there are multiple scenes that don’t quite take the liberty of being transformed, ultimately feeling like they’re more or less the carbon copy from the original and don’t expand given that they have the capability to. Not to mention, the cast at times feels so large and we spend time jumping around between all of them, it doesn’t really allow us the time to grow overwhelmingly connected to some of the characters.

2) I Am Big Bird: The Carol Spinney Story* - Streaming (Amazon Prime); Not the best documentary I’ve seen, but still an interesting and emotional one. Worth a look.

3) Edward Scissorhands* - DVD (Rental - Library); Yes, yes – it’s my first time seeing this and to be quite honest it’s not my favorite Burton movie. Knocking it off my film lover’s bucket list, it was good! Funnier than I thought it would be; an intriguing story with plenty of fun elements. But at the same time, it certainly doesn’t knock Beetlejuice off its top spot in my eyes.

January 9th: 4) Scouts Guide To the Zombie Apocalypse - Streaming (Amazon Prime); While the opening scene set up a Zombieland-like tone and actually had me excited for a bit, this flick crosses a point midway through where it never quite exceeds its B-movie status. Mindless fun, entertaining but nothing over the top to gush over. It may surprise some out there; still, just an ok watch.

January 12th: 5) Alice Through The Looking Glass* - Streaming (Netflix); Having enjoyed the odd tone I’ve come to expect from Alice in Wonderland, the live action remake from 2010 lands in a solid spot for me. This sequel, however? Well it depends on your suspension of disbelief as the movie goes on. Alice as a ship captain? Actually cool. Time travel? …sure, why not. It elevates the supporting character of the Hatter and admittedly adds some backstory to it all. The play on whether or not Alice truly has been imagining this or not in the real world is an intriguing piece for the few minutes it’s presented, but that’s never quite driven home as we’re whisked away more in the Wonderland journey and everything is wrapped up in an all too neat bow. At the very least, its heart is in the right place and the moral undertones drive home. At the same time, it’s an additional voyage that perhaps didn’t need to set sail.

January 13th: 6) Dr. Strangelove* - Blu-Ray; In this….let’s say INTERESTING…political climate, there certainly have been a number of media entries listed by people to reflect the present day events. If anything, this classic satire has something for everyone to love. Peter Sellers is fantastic in multiple roles, the scenes range from tense to intriguing, and if you’ve never become acquainted with the work of George C. Scott then this is the perfect introductory. While not my favorite classic feature from decades passed, it’s one that has stood the test of time for good reasons.

January 14th: 7) Big Trouble in Little China* - Streaming (Netflix); I think i finally understand the obsession with Jack Burton. Besides being a total badass, Jack was easily the most relatable in all of BTILC as he is more the audience perspective than anything else. Like us, Jack is swept away in something way larger than he may understand and at times it can be confusing as the story grows to ridiculous size. While a cult classic, I’ll admit BTILC didn’t really grab me. Perhaps it’s one of those films you need to check out in your age of development to have a love for, but really I’ll pass. I adored Jack, but the rest was a crazy visually-strong jumble that I’m glad I at least crossed off my list.

January 15th: 8) Patriots Day* - Theater; Maybe it’s because I’m from New England, but man was this an emotional rollercoaster. While you’ll know the story pretty well given how closely followed this tragic story was when it happened years ago, Patriots Day does a great job of taking that and adding the real world heart, perspectives and details beyond whatever CNN could give you. With visually memorable scenes and strong performances filled throughout, definitely give Patriots Day a watch when you can.

9) Short Term 12* - Streaming (Netflix); I put off seeing this indie for years and after the credits started rolling I was kicking myself for not doing so sooner. It’s rare when I have the urge to see a movie again after having just seen it, but my god Short Term 12 was one of those exceptions. An emotional character driven story revolving around themes of depression, abuse, trying to embrace love in spite of it all, mixed with surprises, genuinely funny moments, heartstring pulling sequences and all pulled together with an outstanding performance by Brie Larson, I absolutely loved it all.

10) Pocahontas - Blu-Ray; It had been awhile since I’ve seen this Disney animated film that has always felt middle tier for me. And rewatching it as an adult, yeah I can see why. There are some plot devices that don’t make sense while the romance is really what needs to be embraced regardless of the shortcomings. Visually stunning, but further cemented as not in my top five favorite Disney films.

January 16th: 11) Hardcore Henry* - DVD (Rental - Library); I went in expecting a fun mindless action movie that played like a videogame and that’s exactly what I received. Sure the plot is a little convoluted. Sure the ending is rather abrupt. But man if Sharlto Copley doesn’t steal the entire show. As questions build up about his character, it all pays off in a fantastic scene that just further drives home the comedic elements of the movie. If you can deal with the videogame campaign first-person POV of it all, give it a chance.

January 18th: 12) Little Sister* - Streaming (Netflix); My least favorite entry this month. An indie flick on Netflix that’s a gothic….let’s go with dark comedy? Though I’d say more family drama. The concept sounded interesting, but I kinda walked away from this one bummed out.

January 20th: 13) The Hustler* - Streaming (Netflix); Turning it back to the black and white classics, The Hustler skyrocketed up my list and landed firmly in a top spot of one of my favorite old movies. Paul Newman is charming as ever while the action is so incredibly tense in the best way. While the movie is a bit long and may drag in the middle, George C. Scott once again emerges with an interesting supporting role and has compelled me within two movies to further explore his filmography.

January 21st: 14) The Color of Money* - Streaming (HBO GO); Well if you watch the aforementioned original, you HAVE to see the sequel the next day, right? What I thought was going to be a shift where Newman plays the supporting character turned into a different sort of film where he’s actually the main character yet again. Not nearly as good as its predecessor, it’s a worthwhile expansion of the themes from the first film.

January 25th: 15) Ghost in the Shell* - Blu-Ray; An inspirational anime feature to many creators, this isn’t exactly my first exposure to the franchise (I caught some of the Arise chapter when it was broken up across Netflix, and Stand Alone Complex was around when I was younger). While it wasn’t my favorite film of the genre, it was certainly intriguing to watch. I wanted to experience the original in all its influential glory before the U.S. remake with Scarlett Johansson came along and I’m glad I did.

January 27th: 16) Star Trek Beyond* - Blu-Ray; The second film in the rebooted Star Trek franchise, Into Darkness, left me quite disappointed upon its release because besides the super obvious Khan concealment prior to release, the story to me just felt like a bunch of event sequences loosely strung together. Here, the heart and character is thrust back into the plot while additionally feeling a bit like a traditional Star Trek episode as a majority of the action takes place on a single planet. Even though the opening box office didn’t sound too confident, I’m glad there are plans in motion for another Star Trek film because I felt this was a great course correction that stands strong next to the 2009 reboot.

17) Trainspotting* - Streaming (Netflix); Another film I put off for awhile, its impending removal from Netflix quickly moved this one up the list. And yes, i finally understand the praise. There’s something so simple and yet so interesting about it all. A character driven look at addiction, told in a visually impressive package of comedy, tragedy, heartbreak and growing up.

January 28th: 18) There Will Be Blood* - Streaming (Netflix); Yet another viewing influenced by an impending Netflix departure, I was swept away the second Daniel Day Lewis began to deliver his lines as Daniel Plainview. As the man of science vs. man of faith story moves along the tracks, there are so many layers in this film to attach yourself to and love at least some aspect of. The greed, the wealth, the confrontation, the father and son tale, the flexing of ego and so much more. I finally understand not only why people have praised this film for a decade but why it’s remained in conversation for all that time as well.

January 29th: 19) Don’t Breathe* - Streaming (Flixster); One of the many acclaimed horror films from 2016, thankfully I finally had the chance to see this one after picking it up via a short-lived Blu-Ray sale on Amazon. Not nearly as gory as Fede Alvarez’s previous directorial effort in the Evil Dead remake, Alvarez does a great job of establishing a closed space (which I’ve always been a fan of in others such as Die Hard or 10 Cloverfield Lane) and unleashing a number of anxious possibilities that continue to surprise. Relying on an incredibly small cast, the performances count just as much despite not even our protagonists being morally virtuous along with a few secrets up its sleeves.

January 30th: 20) Blair Witch (2016)* - Blu-Ray; Extended thoughts here, but long story short – I don’t believe this one deserved as much hate as it received.

21) No Country for Old Men* - Streaming (Netflix); My final film of the month actually came as a welcome surprise for me. When it comes to Coen Brothers films, I am that rare outcast who kind of feels disappointed because I don’t feel most live up to the hype (well, except for Fargo at least). Thankfully, NCFOM lands on the positive side of my personal preference as it’s a visually incredible movie alongside a story that expands into an edge of your seat showdown the more it goes on. Admittedly, I had to rewatch the third act to really fathom the message driven home as things shift in order to relay a central message and subvert expectations. But at the same time, it’s a bold approach that never takes away from the other two acts while allowing you to sit & think afterwards about what transpired and what is stated.

Furthermore, Best Picture winner No Country for Old Men has prematurely kicked off a successful string of films in February’s 2017 listing that have all been nominated and/or won Academy Awards. But more on that later…

What movies did you see in January 2017? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!

[maczazind]

My 2016 Film Diary

So at the start of 2016, I wanted to try something different. Beginning January 1st of last year, I wanted to keep a list and see how many films I could watch in a single year’s time. I had somewhat done a similar process of this many years earlier; my brother and I for a few years would see how many feature films we could see in theaters during the summer movie season (May-August), take the ticket stubs and proudly tape them to a blank wall. Hence why we called the exercise “The Wall”. That fun experiment gave us plenty of memorable movies….and even more not so pleasant ones (X-Men Origins: Wolverine, The Last Airbender, etc.)

Below is my entire movie journal of 2016, including how I watched said films along with further details if provided. If there is an asterisk by the title of the movie, then it was my first time ever seeing the film in its entirety. Partial viewing experiences never counted so if there was a movie i saw a fraction of earlier in the year (such as Deadpool), it was never jot down until I saw the full production.

Before the full list, however, are things I wrote down and once considered an entry due to their presentation but ultimately considered them to be just “tv movies” or specials that did not truly count:

January 1st: Sherlock: The Abominable Bride - TV (PBS) January 22nd: The Superman/Batman Movie - DVD; Ultimately, it was three episode of a TV series spliced together and thus wasn’t counted. June 25th: Disney’s Adventures in Babysitting; though it DID receive a DVD treatment and IS a remake of a feature film, this one is a TV movie. July 26th: Signed, Sealed, Delivered: One In A Million - TV (Hallmark Channel) October 22nd: Halloweentown - TV (Disney Channel) Hamilton’s America - TV (PBS) November 12th: Love Always, Santa - TV (Hallmark Movies and Mysteries) November 22nd: Dexter’s Laboratory: Ego Trip - Streaming November 26th: Legends of The Hidden Temple - TV (Nickelodeon)

And without further ado, my list of films watched in 2016 (there are SOME formatting errors, so bear with me):

January 2nd: Dragonball Z: Resurrection F* - Blu-Ray January 6th: Good Night & Good Luck* - DVD (Rental - Library) January 7th: Concussion* - Theater January 11th: Army of Darkness* - Streaming (Starz) January 14th: Paper Towns* - Blu-Ray January 17th: The Martian* - Blu-Ray January 18th: The X-Files: Fight The Future* - TV (IFC) January 23rd: The Intern* - TV (Rental - On Demand) The Grand Budapest Hotel* - DVD (Rental - Library) January 28th: Evolution - Streaming (HBO Go)

February 8th: Brick* - Streaming (HBO Go); If there was any film that I saw for the first time this past year that I absolutely loved, this is that movie. A noir film with a modern day setting, fantastic direction from Rian Johnson and a great performance from Joseph Gordon-Levitt. One I would still love to add to my Blu-Ray collection. February 14th: Spectre* Blu-Ray February 19th: Pitch Perfect 2* - DVD (Rental - Library) February 20th: Music & Lyrics - Streaming (HBO Go) February 22nd: Son of Batman* - DVD February 25th: Cruel Intentions - Streaming (Netflix) February 27th: The Candidate* - TV (TCM)

March 2nd: Terminator: Genisys* - DVD (Rental - Library) March 4th: Creed - Blu-Ray March 5th: Blue Mountain State: The Rise of Thadland* - Streaming (Netflix) Before We Go* - Streaming (Netflix) Kiss Kiss Bang Bang - DVD (Rental - Library) March 25th: Batman v Superman: Dawn of Justice* - Theater March 26th: Daddy’s Home* - Blu-Ray

April 8th: The Hunger Games: Mockingjay, Part 2* - Blu-Ray April 15th: Bowfinger* - Streaming (Netflix) April 16th: Young Frankenstein* - TV (TCM) April 22nd: Inside Man* - Streaming (Netflix) April 23rd: Sicario* - DVD (Rental - Library) April 29th: Iron Man - DVD April 30th: Begin Again* - DVD (Rental - Library)

May 1st: Captain America: The First Avenger - Blu-Ray May 5th: Captain America: Civil War* - Theater May 6th: Kingsman: The Secret Service - TV (HBO) May ?: The Replacements - Streaming (Netflix)

June 4th: Hard Ball* - Streaming (Netflix) June 8th: Bridge of Spies* - DVD (Rental - Library) June 9th: Zootopia* - Blu-Ray June 11th: Absolute Power* - DVD June 15th: 10 Cloverfield Lane* - Streaming (Rental - Amazon) June 16th: Man on Fire* - TV (AMC) June 18th: 30 for 30: Four Days in October* - Streaming (Netflix) June 20th: Steve Jobs* - DVD (Rental - Library) June 24th: Room* - DVD (Rental - Library) June 25th: My Big Fat Greek Wedding 2* - TV (Rental - Cable) Jack Reacher* - TV (FXX) June 29th: Waking Sleeping Beauty - TV (AMC)

July 1st: Finding Dory* - Theater July 2nd: The Italian Job* - Streaming (Netflix) July 4th: Independence Day - TV (HBO) July 6th: Sin City: A Dame to Kill For* - Streaming (Netflix) July 8th: The Fundamentals of Caring* - Streaming (Netflix) July 9th: The Big Short* - Streaming (Netflix) July 23rd: The Hateful Eight* - DVD (Rental - Library) July 24th: Me, Him, Her* - Streaming (Netflix) July 30th: The Program* - Streaming (Amazon) The Night Before* - DVD (Rental - Library) July 31st: Batman v Superman: Dawn of Justice Ultimate Edition* - Blu-Ray

August 1st: Jason Bourne* - Theater August 4th: Lazer Team* - DVD August 5th: Suicide Squad* - Theater August 12th: Ocean’s Eleven - Blu-Ray August 13th: Ocean’s Twelve - Blu-Ray Ocean’s Thirteen - Blu-Ray Batman: The Killing Joke* - Blu-Ray Night Owls* - Streaming (Netflix) August 20th: Pompeii* - TV (FX) August 27th: Crimson Peak* - DVD (Rental - Library)

September 2nd: Elvis + Nixon* - DVD (Rental - Library) September 3rd: Lethal Weapon* - Streaming (Netflix) Lethal Weapon 2* - Streaming (Netflix) September 4th: Lethal Weapon 3* - Streaming (Netflix) September 5th: Lethal Weapon 4* - Streaming (Netflix) September 10th: Sully* - Theater September 13th: Christopher Nolan’s Following* - Streaming (Netflix) September 16th: Captain America: Civil War - Blu-Ray September 17th: Hoffa* - Streaming (Netflix) September 20th: Money Monster* - DVD (Rental - Library) September 22nd: Me Before You* - DVD (Rental - Library) September 25th: Hotel Transylvania 2* - Streaming (Netflix)

October 1st: Sleepy Hollow* - Streaming (Netflix) October 3rd: Goosebumps* - Streaming (Netflix) October 5th: Krampus* - DVD (Rental - Library) October 9th: Evil Dead (2013)* - TV (FXX) October 12th: Paranormal Activity: The Marked Ones* - Blu-Ray Paranormal Activity: The Ghost Dimension* - DVD (Rental - Library) October 15th: The Princess Bride* - Streaming (Netflix) October 27th: Keanu* - DVD (Rental - Library) October 28th: Jack Reacher: Never Go Back* - Theater October 31st: Trick R Treat - Blu-Ray

November 4th: Doctor Strange* - Theater November 11th: Sing Street* - Streaming (Netflix) November 12th: Snake Eyes* Streaming (Netflix) November 16th: The Lobster* - DVD (Rental - Library) November 19th: A Hologram for The King* - DVD (Rental - Library) Kung Fu Panda 3* - Streaming (Netflix) November 22nd: Beauty and The Beast - Streaming (Disney Movies Anywhere) November 26th: Eddie the Eagle* - DVD

December 2nd: Beauty and The Beast: The Enchanted Christmas - DVD The Jungle Book (2016)* - Streaming (Netflix) December 3rd: The Santa Clause - TV (Freeform) Yoga Hosers* - Streaming (Netflix) December 9th: Minority Report* - Streaming (HBO Go) December 10th: Prisoners* - DVD (Rental - Library) December 14th: The Invitation* - Streaming (Netflix) December 15th: Blue Jay* - Streaming (Netflix) Deadpool* - Streaming (Ultraviolet/Flixster) December 23rd: Die Hard - Blu-Ray December 24th: Barbershop: The Next Cut* - DVD (Rental - Library) Christmas Vacation - TV (Freeform) December 27th: X-Men: Apocalypse* - Streaming (Ultraviolet/Flixster) December 28th: Hail, Caesar!* - DVD (Rental - Library) The Nice Guys* - Blu-Ray December 29th: Cinderella (2015)* - DVD (Rental - Library) My Blue Heaven* - Streaming (HBO Go) December 30th: Mr. Right* - Streaming (HBO Go) American Ultra* - Streaming (Amazon) December 31st: New Year’s Eve* - TV (TBS)

[maczazind]

Comics Recommendation: Archie - writer: Mark Waid; artists: Fiona Staples, Annie Wu, Veronica Fish, Thomas Pitilli, Ryan Jampole, Joe Eisma.

When your casual soul hears the word “Archie”, the first thought that may pop into their head are the classic designs of the title character and his friends that hadn’t changed for decades. For the younger side of the legacy, for millennials such as myself, the exposure of Archie comics was mostly as the golden age books that sat in the magazine rack of the grocery checkout line. Admittedly, I never garnered enthusiasm for them despite my parents relaying nostalgic fondness for the titles when inquired about what exactly it was.

But with The CW debuting the all new, darker and absolutely grittier tale on the Archie universe in Riverdale later this month, the main Archie Comics line is clearly looking for a reboot on all fronts. And though the exact outcome of the upcoming television series clearly has yet to be determined, the relaunch of the classic books began a year a half ago with the signature title Archie. Since then a small number of companion titles have surfaced, such as Jughead, Betty & Veronica, Josie & The Pussycats and more, with the potential for additional tales to join the mix.

This holiday I sat down and breezed through the first two collected volumes of Archie, in addition to the first three issues of the third arc of the series. And I’m happy to say that my perception of Archie has changed from one with blandness to a fond intrigue.

First things first: this rebooted version of Archie is nowhere as drastic of a change as Riverdale appears to be. Archie Andrews is still the small town popular, optimistic, clumsy yet lovable character with a similar lighthearted and fun tone felt in the same regard.

That being said it’s the personalties of all the familiar faces and the character-driven stories that build Archie up to be a good read. Archie’s history with Betty is a point of interest; Jughead’s grounded wit plays a great anchor to Archie’s extremely positive demeanor; Veronica’s privileged relocation develops into a wealthy girl with a growing heart. This small handful of dynamics, how they cross each other, how they play off of one another all add up to an amusing time where the balance of humor and personal drama really works well together.

Is it as groundbreaking or hard-hitting as a number of other independent titles I’m sure other diehard comic readers can list? No. But at the very least, it’s a feelgood outing that may surprise you in terms of how it’s hooked you or how you previously thought of Archie & friends.

[maczazind]

New year, fresh start.

Happy 2017 to all who read this!

So…what exactly is this blog? For now, even I’m not sure. All I’m quite certain is what i want it to be: a clean slate to be unapologetically me and to mainly share opinions about all the entertainment I consume.

I’ve been a lover of films, tv shows, books, comics and more for longer than I can possibly date. In the past couple of years, I’ve withdrawn away from overtly putting my opinion out there in public because…well to be honest, it seemed 2016 reached a point where fights regarding opinions of things people loved/hated reached a volatile high. I didn’t want to contribute to that. And i still don’t.

Everyone likes, hates and perceive things different ways. All i want to do is throw my two cents out there and, if anything, recommend some things that will be discovered by those out there looking for something new.

At the very least, this is an outlet for something I’ve wanted to do since the age of 10 - write. If you out there like what you’re reading: thank you, and welcome! Hopefully this can be fun for both of us.