#Fine as a film and a totally acceptable entry to star wars canon

[honeylikewords]

In a perfect world where you were hired to help write and direct the final movie of the new trilogy, how would you want Rise of Skywalker to go? What adjustments would you want made to either address anything from the previous films, or to avoid what has thus far been hinted at in trailers and interviews?

Oh, man, there’s SO much to think about here. Let’s start with, I think, things I’d want to change from previous films (either retconning them in RoS or providing context that makes them fundamentally changed)…

So, to that effect, here’s an itemized list!

Just as a precaution, I make some assumptions or pull from information I’ve seen around the internet. Some of these MIGHT turn out to be close to canon, so if you want to avoid anything, just steer clear of this post. I’m trying not to theorize too hard, and thus avoid spoilers myself, so I don’t know anything with any solid confirmation, so I could be wrong. Just wanted to cover my bases!

Without further ado, here’s the list!

1. I think I’d retcon out the idea that Luke would ever hurt Ben as a padawan. The general characterization of Luke felt very… off in The Last Jedi, and I wasn’t sure why the writers went in the directions they did for that. 

I’m not saying Luke can’t have a darker side– we know he struggled with a call to the Dark side during his training and feared it would overtake him– but the idea that he’d go as far as to even imagine killing a sleeping child, much less the son of his two most beloved people in the universe is… weird. And wrong. 

So I’d retcon that out with it being a false memory planted by, let’s say, Snoke or Palpatine, in order to create a rift between them and bring Ben to the Dark side. I think that would make a great deal of sense, frankly, and bring some much-needed closure and relief to the idea that Luke would ever hurt someone so defenseless.

2. On a similar note, while I understand that the thesis of TLJ was “making mistakes and learning from them”, I felt like most of the “mistakes” engineered into the movie didn’t actually make sense for the characters making them. Poe being “selfish” and “glory obsessed” doesn’t at all match with what we’d seen of him in TFA, nor does it match with any of the extended (and canonical) material about him.

He left the Republic Navy because they were too accepting of the idea of sacrificing their soldiers. In the military, that’s called “acceptable losses”: the amount of cannon-fodder that the military’s willing to wave off and accept as the “expected amount” of dead soldiers. If that idea enraged Poe enough to leave the Republic Navy, why would he be so accepting of the same idea for the Resistance? As far as I’m aware, the only life Poe is ever willing to sacrifice is his own; he wants everyone else safe. So why write him like he doesn’t care?

Here’s a direct quote about him from his official Star Wars Wookiepedia entry: 

“… Dameron developed a strong sense of commitment and duty, but had trouble with the line between his commitment to the Resistance and the commitment to his comrades, willing to disobey a direct order from his superior, General Organa, to make sure that the Millennium Falcon safely left Starkiller Base before its imminent destruction.”

Oh, yeah, that definitely sounds like the kind of guy to blindly let HUNDREDS of his comrades die. Yeah. For sure.

And then to act like he’s a bad person for not trusting a leader who isn’t making themselves clear in a time when clarity is of the utmost importance? To act like he’s a narcissist for trying to take the lead and help as best he can in a chaotic and, for all intents and purposes, leaderless situation? To frame him like he’s a bad guy for not trusting Holdo immediately, or acting like his distrust comes from a place of sexism or self-interest? Absolute rubbish.

So while I can’t retcon the whole “insubordinate bad listener self-obsessed narcissist” behavior that got written into TLJ, I’d try my best to re-contextualize Poe’s frustrations that he expressed in the film by showing why it would make sense for him to take the lead, to demand answers, to do his best to destroy the Dreadnought. 

For example, showing why it was important to take down the Dreadnought: he’s constantly concerned about civilian casualties at the hands of the First Order. With a Dreadnought still active, millions of people could be killed at the First Order’s whims; by taking the ship down, he saved millions of lives.

Another good way to dispell the idea of him as a self-centered hotshot willing to throw away lives is to show just how much he values the lives of others and wants to keep them away from harm; show his own self-sacrifice. Show him being willing to take the damage to protect someone else. Show him telling someone to get behind him, to stay safe, telling them “I’m not going to lose you, too”. I think that would be a helpful step away from the perception of him as a glory chaser; show that his self-sacrifice is genuine.

Honestly, I’d put so much effort into fixing the fallout from the Poe mischaracterization that I could go on forever about it, but I’m sure you all want to read other stuff, too, so let’s move on for now.

3. Absolutely retcon the shit out of the idea that the Force connection between Rey and Kylo was anything more than platonic or an intervention of Snoke. Sure, you can indicate that there’s still a lingering connection, but clarify that it’s more about the battle between the Light and the Dark, and the inherent connection that such mirror images will have to each other, but don’t get it twisted as some kind of galaxy-spanning love story. 

I’d put a lot of emphasis on Rey clearly expressing frustration with Kylo and saying “He’s failed himself. His pain is his own choice now; I tried to help him, but he rejected it, so it’s up to him to stop himself or we’ll do it for him” or something to that effect. And having her definitely avowedly denying any kind of “attraction” out loud. That’d be nice.

4. In a parallel train of thought, we gotta talk about Rey’s parents. While I’m certainly fine with the idea of Rey Nobody, because it’d be so great to have a Star Wars story where someone NOT from the Skywalker bloodline is just as strong as one of them, and is just as worthy and important, regardless of their bloodline or heritage, I’m also concerned that leaving her a Nobody would give credence to all that bullshit Kylo was spewing about her “not mattering” to anyone but him, ugh.

And it’d leave a door open for R*ylos to be like “WELL THEY’RE NOT RELATED SO OBVIOUSLY THEY CAN HAVE SEX!”, ew. 

So we’d have to give her some kind of actual backstory, and finally clear up what that is. It’s not something I actually want to do all that bad– I’m genuinely totally happy to not know everything about Rey’s parents, and the story would be fine without ever knowing anything about them– but I feel like so many people would demand it, and ensuring that Rey and Kylo are somehow related would finally put a cork in that insufferable bottle.

I don’t really have any great suggestions for how to deal with it, but I think there’s definitely the potential for a cool twist where Ben isn’t actually Leia and Han’s biological son, but Rey is their biological daughter. A sort of switched at birth idea, if that makes sense, and while it might be hard to believe (wouldn’t a mother know if she gave birth to a boy or girl?), there are lots of ways to work around it, and I think it could be a cool twist, though it does leave the loophole of them still not being related…

Hm. Well, at any rate, I’d have to iron it out with some other brainstormers, but I’m sure there are ways to fully cap off and prevent R*ylo from ever happening. Don’t worry, I’ll name some later in the list.

5. I’d also do my best to take away any lingering ideas about Finn being “goofy” or “cowardly”. TLJ decided to present him as this selfish weirdo more interested in wealth and himself than in the greater good, which was… odd. While he’s certainly careful about self-preservation, he also has a good heart, so I’d do a lot to emphasize his strong, heroic nature, and not just use him as a guy for all the gags to bounce off of. He deserves serious, thoughtful moments, heroic moments, AND silly, light-hearted moments. 

6. While on the topic of Finn, I’d also put FinnRose to rest and just… not have that be a ship. I’ve talked about it before, but I’ll summarize my basic issues with it: they just didn’t have any chemistry, it was a very forced and hasty relationship, and it didn’t make sense for either party.

Rose has a problem with hero worship; that much is evident. So why indulge her in it by pairing her with someone she childishly idolizes? Why not have her character arc be about finding her own personal bravery, not being reliant on others or their stories, but forging her own?

As for Finn, I’d love to see him end up staying close to Rey, possibly even beginning to walk the road towards their own relationship (though I do also value the idea of Rey not needing to have any romantic relationship in the saga at all), at the very least as friends. 

The whole “what we love” line in TLJ made no sense (except as a shoehorn to explain the validity of R*ylo in future films?), so I’d just have her explain in RoS that she was talking about “what we love” being belief systems that we fight to protect, like defending human decency, freedom, and peace, and that the kiss was a weird, juvenile decision that she’s embarrassed about in the same way one might be embarrassed about a childhood diary entry about a crush. It was just a fleeting moment of weirdness, but now that she’s more grown up and sturdy in her own personality and life, she doesn’t have to rely on the childish ideas of heroes and romance to keep her going.

I think that’s a long enough list of the retcons for now, so I’ll move into things I’d like to see happen in the movie and things I’d rather NOT see in the movie (i.e. things from the trailers that are being hinted at that I want GONE).

1. I’m just gonna get out in front of this: I don’t think I’m gonna like Zorri Bliss. I don’t. I’m really tired of “badass female characters” in that “badass female character” is such a boring stock trope by now. Skinny white woman who engages in violence and is flippant and emotionally removed, oh, joy, I’ll hold for applause. But what I’m really concerned about is the angle they’re trying to push with her and Poe; specifically, that Poe may not be “that good of a person” because he used to hang out with her, and she’s implied to be a smuggler or mercenary of some sorts.

Look, I get it. We don’t like “perfect” characters. I know that I love characters with oddities and quirks and flaws, and who make mistakes. But there’s a difference between that and fundamentally re-working a character so that they’re “not so nice” anymore. 

Poe already has flaws to work with and explore. Why make him have a “dark” backstory when he’s already interesting enough? And why make it connected to a “past relationship” with this random new woman?

I’m also concerned about them pushing a romance, which we simply don’t need, especially because it looks like it’s being done to finally quash any perceptions of Poe as queer. Which is just so shitty on so many levels, but I don’t have time to unpack them all.

So what I would do is probably just… cut Zorri altogether. We’re already introducing new characters in this film, and specifically adding Jannah to the roster, and tossing in new characters to an already crowded roster won’t really help. None of them will get enough screen time to properly reach catharsis in their arcs, so we just have to nip the least helpful bud, and Zorri’s seems like it’d be the first one to go, in my opinion. 

Maybe she’ll turn out to be great in the film. Who knows. But if it was up to me, I’d drop the whole subplot of her, and making Poe’s backstory a sullied one. I don’t need that.

Instead, I’d use that time to allow the main trio to DO THEIR THING. We need to see THEIR character journeys: not random newcomers.

2. No Bendemption.

This is gonna be a slightly controversial take, I guess, but I think a redemption for Kylo would be kinda hackneyed and forced.

That’s not to say I don’t think villain redemptions are possible, fun, interesting, or worth exploring. But I’m saying that I think this particular one just… wouldn’t work. 

Kylo doesn’t seem to be at all legitimately sorry for the things he’s done. He seems to be aware of his choices and capable of making them independently. Sure, the writers might force the idea that “oh, it was PALPATINE controlling him all along!”, but I feel like that would be so counterintuitive to the point of these stories.

The whole point is about choice: who we choose to be, what we choose to do. We can all choose to be kind, or we can choose to be cruel. We can choose to put others first or serve ourselves. We choose the Light or the Dark, and we get to decide what we do with that. Everything we do is a choice, and the Star Wars saga is about becoming out better selves and choosing to help those around us because it’s right.

So making the baddie secretly mind controlled would be… dumb. And hollow. And devoid of substance. So that’s out, not an option (if they want to tell a valid story).

So that just leaves us with Kylo Ren, Ben Solo, whatever, has been CHOOSING to be this way. And while he’s certainly felt pained by it, he also keeps making his choices; he’s now Supreme Leader, and he could choose to destroy the whole thing, leave, fight for good, but he doesn’t. 

So he can’t BE redeemed. Because he doesn’t want to be.

I mean, I’d honestly have to write a whole essay on just this singular topic to accurately convey my point, but here’s a shortened version of it:

I think a Bendemption wouldn’t be prudent at this point because he just doesn’t have the time to make a satisfying arc in one movie without it feeling forced, rushed, and out of character. So, to tie off the saga, he has to go out like Vader did: he has to die to be redeemed.

He can either die a villain or die a hero, but regardless, I think he just… needs to die in order to properly close the book on him. It needs to end with sacrifice, and either he sacrifices himself or someone else makes a sacrifice of him. Only then do we reach the catharsis.

And, look, I know the Bendemption is gonna happen. But if I was writing it, I wouldn’t let it happen: he’d have to have his Vader death. At the very best, it could be a noble one. At the worst, he’d die as he deserved to. But it would finally be over.

3. No grey Jedi Rey.

I don’t really love this whole cultural direction we’re taking with our movies where “the bad guys are secretly good and the good guys are secretly bad and the real truth is just to be in the middle!” because it’s so unhelpful.

Yes, extremism is bad and blindly believing any one group is the best and most moral, without ever questioning that, often prevents people from critically analyzing their choices, but it’s not that there isn’t an objective truth in the world; there is. There are objectively good and evil things to do. So we can’t pretend that relativity is universally applicable, because it isn’t.

So having Rey “accept the Dark and the Light” would be… difficult without seeming clownishly college-philosophy-student-y. 

While it would be important for her to accept that the Dark can exist in all of us, and that it’s not inherently evil to be tempted or to acknowledge it, the difference is in choice. She shouldn’t be allowed to have the best of both worlds because that isn’t how it works in real life, either. 

Indulging in our worst impulses, darkest desires, or lowest cruelties doesn’t make us more “real”, it makes us worse people. So having her “use the Dark side” would also just feel like this weird attempt to allow her to love Kylo or accept evil as “alright because we’re all bad inside”.

This isn’t to say she has to live in a world of harsh absolutes, but rather that she should, ultimately, choose the Light, kindness, and a journey towards making sure that she is keeping herself in check, as well as making sure that she is doing her best work for herself and others. 

So I’d write a clear moral line in: anyone can change, yes, but the important part is to change for the better, not just to accept the worst and stagnate in one’s most awful, darkest qualities. 

The idea would be lenience by extending kindness, which anyone can choose to accept, not just “you’ve been evil but I love you anyway”. Nah. We can’t just tolerate people’s evil behavior and let it continue: we have to extend the possibility of mercy and tell the person they can come to the Light if they so choose, but we won’t descend to them. They rise, or they fall, and it’s in their own hands.

4. On a less philosophical note, DON’T make Finn, Jannah, and Lando all related. 

A lot of the content I’ve seen circling for them seems to imply a familial relationship, possibly that Finn is Jannah’s lost brother, and that Jannah is Lando’s daughter. And, yes, while I’d love to see Finn reunited with his family and given a chance at a happy life… it’d be kinda cringey and bad to imply that the few black characters in Star Wars are all related.

I get that Star Wars is a dynastic story centered on families and genealogies and inheritances. But holy shit, it’s kinda racist to imply that the, like, only three black people in the series are going to be related.

It’s a galaxy full of people.

Not all of them have to be related just because they have similar melanin.

5. As for the overall plot, I think what I’d just want is the final triumph of good over evil. I really need to see that. I don’t need an ambiguous ending, I don’t need a dark one, I need one where the Light wins out, because that’s what we need to see, what we need to believe, and what we need to strive for.

The First Order NEEDS to fall. Kylo NEEDS to be out of power. And there NEEDS to be an emphasis on the value of lives, on the importance of taking care of the people in our universe, and on the belief that good does prevail, even when it doesn’t necessarily seem like it will. 

I’m not too bogged down with details– planet-hopping is fine, traveling to new worlds and seeing new people is all cool– but more concerned about the overall message. The MESSAGE is what I’m most interested in. And we all know what my message would be.

6. Oh, and just focus on keeping the trio together. Structurally, I’d just need to see them working as a team; we’ve had way too much time of them apart, so it’d be nice to see how they interact and function as a group. I’d like that.

Anyway, this is just a short-list of things. If I were to actually talk about this, I’d need, like, a whole essay just to unpack my thoughts. Oh, and I’d probably prepare a full alternate script. Just because.

I have plenty of other ideas for things I’d love to see happen, but this is just a list of things I don’t want or things I’d do to prevent things I don’t want. LMAO.

I’ll come back to this idea, this list-ish format of thoughts, after the film is out and after I’ve seen it, in order to talk more about things I’d have done differently or changed (provided there’s anything I would have done differently or changed), but for now, this is just a handful of my ideas about things I’m concerned with. 

Let me know what you guys are thinking; I’d love to be able to discuss this and kinda get a feel for what other people are thinking about, concerned about, worried about, or excited about. 

[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!