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TIFF23 Dispatch - Part 1 September 17, 2023 By: Hunter Friesen All of the films were screened at the 2023 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. Dream Scenario Nicolas Cage has never been funnier (at least in an unironic way) than he is in Kristoffer Borgli’s English-language debut. The famed madman actor plays a dorky professor who inexplicably appears in everyone’s dreams, making him the most famous person on the planet. The fame quickly gets to his head, but it also brings unintended consequences once the dreams start taking darker turns. Borgli's examination of cancel culture isn’t all that skillful, with most of the insights being surface-level. Cage is what sells this whole premise and covers any of the minor problems. While he’s still appearing in VOD garage more often than he should, there have been just enough auteur-driven projects to keep him an icon to the Letterboxd generation. Being that this specific film is an A24 production, be prepared for the ensuing meme frenzy come November. (3.5/5) The Critic While writer Patrick Marber and star Ian McKellen are having a delightfully catty time with The Critic , director Anand Tucker takes the material too seriously, making it uneven, yet still enjoyable. McKellen plays the internet's stereotypical version of a critic: mean, smearing, and always out to make himself the star of the show. Times are changing in London as the newspapers are merging, threatening McKellen’s job, and the fascists are becoming more radicalized. Marber’s script is a little too scattershot, never developing its numerous plotlines and characters outside of the central McKellen story. The glossy production values make this a decent package as a whole. A perfect piece of entertainment to get a spring theatrical release as counterprogramming to a superhero blockbuster. (3/5) Memory Two people with memory issues come together in writer/director Michel Franco’s newest film, which doesn’t wallow in mystery as his past filmography would suggest. Sylvia (Jessica Chastain) is a mother who can’t seem to forget her past drug and alcohol struggles, while Saul (Peter Sarsgaard) has dementia and can’t seem to remember much of his past life. These two troubled souls are attracted to each other, even if the forces of the world, notably their families, would like them to stay apart. The script places all its priorities on these two performances, both of which reach near perfection. There’s sadness and pain in their stories, but they unlock small linings of hope when they appear in each other’s lives. Franco doesn’t offer much in terms of answers, not that anyone should expect struggles of this magnitude to be so easily solved. (3.5/5) One Life No modern movie has had a more significant fourth-quarter comeback than One Life . The first 90 minutes of James Hawes’ feature directorial debut has the same dry cracker texture as many other British WWII period pieces you’ve seen over the years. An immediate 180° is made in the climactic scene (you'll know it when you see it), leaving me and the rest of the audience in tears. Anthony Hopkins stars as the older Nicholas Winton, with Johnny Flynn playing the younger version that made it his mission to rescue children out of the Holocaust ghettos of Eastern Europe. It’s Hopkins’ segments in the 1980s that give the film the spurts of life it needs. Recently minted Oscar-winner Volker Bertelmann provides a sweeping score, accenting the epic work done by this humble humanitarian. (3.5/5) Quiz Lady By far the broadest film TIFF programmed this year, Quiz Lady is your typical streamer comedy. The generic story follows Anne (Awkwafina) and her rowdy older sister Jenny (Sandra Oh) as they go on Anne’s favorite game show to win the $80,000 needed to pay off their mom’s gambling debts. Will Ferrell, Tony Hale, and Jason Schwartzman fill out the supporting cast. Director Jessica Yu has helmed episodes of prestige television as well as both feature and short documentaries (winning an Oscar for Breathing Lessons: The Life and Work of Mark O'Brien ), yet you’d never be able to tell based on what she delivers here. Everything is filmed with basic competence, with the actors filling much of the empty space with hit-or-miss jokes. It’s fun to see Oh cut loose, and Ferrell’s wholesome game show host turns out to be his best role in years. You can have some decent fun with this on a Friday night, forgetting all about it when you wake up the next morning. (3/5) Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Sundance 2023 - Ranked and Recapped February 10, 2023 By: Hunter Friesen The Sundance Film Festival has officially come to a close, with several films and filmmakers making their impact both in-person and online. I've compiled a ranking of all the films I watched as part of the virtual portion. You can go more in-depth about each film by reading my review for it on the page. And you can also look forward to several of them this year as many have been picked up for distribution by major companies. 6. Bad Behaviour Bad Behaviour would at least be tolerable if the problems it had were interesting. But mostly it comes across as tedious and frustrating, making it far worse than it has any right to be on paper. Full Review Run Rabbit Run It's almost a surface-level cliché at this point to compare this film to The Babadook , but the parallels are so on-the-nose that I feel like I wouldn't be fulfilling my professional duties if I didn't. Plenty of good horror movies have been copies of those that came before them, but they had to earn their keep through inventive ideas surrounding well-worn topics. Run Rabbit Run doesn't do any of that, pedaling the same "elevated" scares that we've partially become numb to at this point. Full Review 4. The Starling Girl If not for Scanlen’s performance, The Starling Girl would fall much further into the realm of obscurity its middling writing and direction had it heading for. If not for anything else, Parmet’s film has given one of our brightest young talents room to shine. Those with a deeply religious background may find more depth to it, but they may also find it dryly conventional. Full Review 3. Theater Camp Theater Camp is by theater kids for theater kids. Those that have never found themselves stung by the acting bug may not come away with a huge smile on their face, but they will be given an enjoyable peek into this world of make-believe and harsh reality. Full Review 2. Fair Play The carnal influence of Adrian Lyne is apparent, with Domont blending the dower and gleeful to semi-positive results. There's a hearty (and unhealthy) amount of excitement you get out of people taking down one another, even if the reasoning behind all of it is morally corrupt. Things do come off the rails alarmingly quickly during the climax when the theatricality of the situation greatly overpowers the reality. The messaging is obvious in volume, but a bit murky in tone, leaving things not as nicely wrapped as the presentation would signal. Full Review 1. Sometimes I Think About Dying Sometimes I Think About Dying is a small movie with a small scope, buoyed by some intriguing visuals and a standout performance from an actress who looks ready to take on this new side of her career. As a twelve-minute short film, it’s a bit too short. And as a ninety-minute feature film, it's a bit too long. Somewhere out there is a perfect 45-60 minute version of this story. Full Review Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Awards Update: Making Sense of the Fall Festival Frenzy September 21, 2023 By: Hunter Friesen Welcome to an ongoing series where I cover the 2023/2024 awards season. On a regular basis, I will update my Oscar predictions, taking into account the new information that has been received since the last update. Full predictions in every category can be found on the Home and Awards page. In my previous awards update , I was having trouble predicting The Color Purple to amass enough nominations to get into Best Picture on account of Warner Bros. already having a majority of their weight behind Barbie and Dune: Part Two . That problem has now been solved with Denis Villeneuve’s sci-fi epic being punted to March of next year, opening up opportunities in all eleven of the categories I had it predicted to be nominated in. The Color Purple stepped in for many of those spots, raising its overall nomination tally from four to seven. But that bump wasn’t the biggest improvement a single film got, as that title goes to Poor Things , which added an additional six nominations thanks to its overwhelmingly enthusiastic reviews and Golden Lion win at Venice. It’s taken over the spot of Dune: Part Two in the upper tier of films that have a viable path to winning Best Picture. The biggest hurdle it now has to cross is the box office, as this modern landscape offers no promises of success to anything outside the mainstream. The film would be out in theaters at this very moment in a just world where the studios paid their writers and actors a fair wage. Although this year’s Venice Film Festival featured fewer American titles than normal, it still solidified the status of a few high-profile contenders. Bradley Cooper’s Maestro flew a bit under the radar, something awards strategists prefer instead of being the film with a target on its back. The reviews were great (but not enthusiastic), with particular praise going towards Carey Mulligan and Cooper’s lead performances. Another performer showered with positivity was Priscilla star Cailee Spaeny, who walked away with the Volpi Cup for Best Actress. It’s hard to predict the newcomer to be Oscar-nominated as several other actresses emerged out of the fall festivals, including Venice attendees Jessica Chastain ( Memory ) and Aunjanue Ellis ( Origin ). We also got the bombshell that Lily Gladstone will be campaigning in Lead Actress for Killers of the Flower Moon , the same move Michelle Williams did last year for The Fabelmans . While Gladstone and the film itself have received rave reviews, it's not enough (at the moment) to make her a contender to win on Oscar. She's a sturdy contender and will most likely be nominated. Annette Bening (barely) maintained her placement within the predicted Best Actress nominees as Nyad premiered respectably at the Telluride Film Festival. The same can be said for Colman Domingo and Rustin . These films hinge entirely on their lead performances, placing them at a disadvantage compared to other performers in Best Picture nominees. Searchlight continued their Venice dominance at Telluride with the premiere of All of Us Strangers , nabbing the best reviews of the festival. Andrew Haigh’s quiet film probably won’t be a big contender, but I feel that Searchlight can push it into the weaker Adapted Screenplay category. It wasn’t sunshine and rainbows for everybody though, as Emerald Fennell’s Saltburn crashed out of the race after a relatively poor premiere. The love-it-or-hate-it breakdown of the reviews doesn’t bode too well for any hope of repeating the success of Promising Young Woman . Toronto provided the next stop for a few Venice and Telluride titles, most notably Alexander Payne’s The Holdovers , which nabbed the first runner-up position for the People’s Choice Award. The winner of that award has gone on to be Best Picture nominated every year (except for 2011) since the expansion of 2008. I don't know if this year's winner, American Fiction , will be able to continue that streak, but it could follow the same path as All of Us Strangers and get into Adapted Screenplay. Unfortunately for TIFF CEO Cameron Bailey, none of the other world premieres he booked have the goods to be viable contenders in any categories. Next Goal Wins and Dumb Money were met with mildly mixed-positive reactions (Waititi’s film could be aided by the Golden Globes), while stuff like Lee , Pain Hustlers , and Les Indésirables received little attention. Our eyes now shift over to the regional festivals, where titles like Poor Things and Maestro will tour the country throughout October gaining support. The New York Film Festival and AFI Fest will be the two biggest stops for each. There’s also the box office performance of Killers of the Flower Moon and the start of the next phase with the Gotham Awards and FISA nominations. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

2023 Oscar Nominations Winners and Losers January 24, 2023 By: Hunter Friesen It was a wild day on nominations, with plenty of surprise inclusions and omissions. Now that the dust has settled (for now), let's break down who the big winners and losers were on the day. Of course, some of these are relative, as some losers could still have nabbed a few nominations. It's all a matter of context and expectations. Winner - Triangle of Sadness Many were predicting Ruben Östlund’s social satire to be this year’s token lone screenplay nominee, similar to the role of The Lobster, Knives Out , and The Big Sick . But the Academy couldn’t be quelled, awarding the film surprise Best Director and Best Picture nominations. It’s odd that Dolly De Leon didn’t come along for the ride in Best Supporting Actress, but distributor Neon will consider this a major victory. Loser - The Woman King On its best day, The Woman King would have walked away with 4-5 nominations, including ones for Viola Davis’ lead performance and Best Picture. Unfortunately, today turned out to be its worst day, as it went home empty-handed. It still received a respectable amount of attention during the precursors, but I’m sure Gina Prince-Bythewood and co. were expecting a much better turnout here at the final stop. Winner - Andrea Riseborough The To Leslie star has practically revolutionized Oscar campaigning with her successful grassroots effort that solely targeted Academy voters at just the right time. Her film only grossed $20,000 at the box office during its minuscule release back in October, which would end any hopes of a nomination for 999/1000 actresses. But Riseborough stuck to her guns and muscled her way in. Don’t be surprised if this tactic becomes more widely used in the coming years. Loser - Guillermo del Toro's Pinocchio Guillermo del Toro’s adaptation of the famed fairy tale had the potential to mightily overperform considering it had a healthy haul from various guilds and received additional nominations at BAFTA for Alexandre Desplat’s score and the production design. Alas, this was not going to be the second coming of Nightmare Alley , with the film only getting in for Best Animated Feature. Del Toro probably isn’t that sad, as he’s still the frontrunner to win, making him the first director to win both Best Animated Feature and Best Picture. Winner - TAR Many were wondering how much the Academy would embrace such an enigmatic film. The common consensus was that Todd Field’s film was going to nab four nominations on the day: Picture, Director, Original Screenplay, and Lead Actress. The film managed to get all of those in addition to surprise nominations for Cinematography and Film Editing. It just goes to show that the work doesn’t always have to be showy to get the recognition it deserves. Loser - The Fabelmans Sure, it still got in for Best Picture, Best Director, Best Original Screenplay, and Michelle Williams and Judd Hirsch, but The Fabelmans missed some key nominations below the line. Both veterans Janusz Kaminski (cinematography) and Michael Kahn (editor) missed in their respective categories, which spells trouble for the film’s chances for a Best Picture win now that Everything Everywhere All at Once led the day in total nominations. It seems like Spielberg’s film is our usual “early frontrunner that can’t sustain the momentum throughout the whole season.” Winner - Everything Everywhere All at Once It’s not every day that a small-budget A24 film leads the pack in total nominations. The film by Daniels got in pretty much everywhere it could have, even getting less-than-secure nominations for Stephanie Hsu and for its Score and Original Song. With both The Fabelmans and The Banshees of Inisherin having good, but not great days, it seems like Everything Everywhere All at Once has pulled strongly ahead in the race for Best Picture. Winner - All Quiet on the Western Front This readaptation of the classic anti-war novel was seen as the “best movie nobody is talking about” for about two months after its world premiere at the Toronto International Film Festival in September. That narrative quickly shifted toward the new year, with some major momentum built once the film overperformed at the Oscar and BAFTA shortlists. Netflix widely put all its resources behind Edward Berger’s film at the last minute, resulting in eight total nominations, including Best Picture. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

Top 10 Films of 2020 February 18, 2021 By: Hunter Friesen For the past two years, I’ve led this article by saying how crummy the year has been. Well, 2020 doesn’t even deserve to be joked about as it was such a terrible year that I’m glad has passed, even though I don’t have much hope for 2021. Even with the pandemic shutting down theatres and several tentpole films being delayed indefinitely, there were still quite a few movies worth celebrating. In an effort to give praise to those that deserve it, here is my list of the ten best films of 2020. Honorable Mentions Possessor Tenet The Truth On the Rocks Let Them All Talk 10. Ammonite What can be considered dull to some is romantic to others. Set in 1840s England, writer/director Francis Lee tells the story of a forbidden lesbian romance between a lonely fossil hunter and a young woman burdened by a loveless marriage. Ammonite has all the tropes of the romantic drama genre, but none of its clichés. Lee avoids these traps by trusting his leads in Kate Winslet and Saoirse Ronan, who are a winning combination as they give amazing performances with little dialogue. Everything comes from just a look or a glance, enough to describe a whole scene and carry a film. 9. One Night in Miami After many successful years in front of the camera, Regina King proves she’s just as skilled in the director’s chair. What could have been an overly stagey experience is turned into a fiery character drama featuring some of the most influential figures in history in Muhammad Ali, Malcolm X, Jim Brown, and Sam Cooke. Screenwriter Kemp Powers takes these four larger-than-life figures and brings them down to Earth and connects their lives to the present-day African-American experience. Special praise goes to the performances by British-born Kingsley Ben-Adir as Malcolm X and Hamilton star Leslie Odom Jr. as Cooke, as well as his contribution to the song “Speak Up." 8. The Prom The cinematic equivalent of a sugar rush, director Ryan Murphy assembled an all-star cast for his Netflix adaptation of the hit Broadway musical. The story of a lesbian teen who is denied the ability to tale her girlfriend to her conservative town’s prom is told exuberantly through flashy song & dance numbers. While it does have its cake and eat it too, the guilty pleasure that this film brings is in the wonderfully campy performances from its main troupe and its earworm-inducing tunes. 7. Wolfwalkers Hailing from Ireland, this fantasy adventure beat Pixar’s Soul to be the best-animated film of the year. Aspiring adventurer Robyn stars as our hero as she befriends a free-spirited “wolf walker” named Mebh, who has the power to become a wolf at night and defends the ever-shrinking forest. Beautifully animated in various styles and boasting a great lyrical soundtrack, Wolfwalkers also touches our minds with its authentic philosophical message about deforestation and the bridging of cultural differences. 6. The Nest Similar to the calculated and observational style of Stanley Kubrick and Yorgos Lanthimos, Sean Durkin’s newest feature is a drama/horror tale about the dangers of greed and ambition. Jude Law and Carrie Coon each give career-best performances as a couple that is forced to come to terms with their increasingly meaningless lives. With the gap between the haves and the have-nots becoming wider every day, this social critique is timely in the present and I suspect it will continue to be in the future. 5. First Cow First Cow is the most gentle “bro movie” out there. Writer/director Kelly Reichardt calmly guides us through this frontier-set story of friendship and opportunity. As unpredictable as it is gorgeous, Reichardt balances various genres as the film eventually spins itself into a heist film with high tension and stakes. Even with all these changing elements, Reichardt never loses the emotional connection with her characters. I’m still hoping Evie the Cow can get an Oscar nomination for Best Supporting Actress. 4. The Trial of the Chicago 7 The words “the whole world is watching!” still ring in my head even after six months since seeing Aaron Sorkin’s newest Netflix film. The Trial of the Chicago 7 is a nostalgic old-school courtroom drama bolstered by strong modern filmmaking and terrific performances from its cast. The timeliness and importance of its message make it a must-see as our nation faces a turbulent path of healing after a disastrous year. Full Review 3. Nomadland With Nomadland , writer/director/editor Chloé Zhao has crafted something special, something that pulls you in and never lets you go. Many times you catch yourself just basking in the imagery. The plains, the mountains, the natural landscapes. It doesn't feel like a movie, but a feeling that just carries you all the way through. With a lead terrific performance from the legendary Frances McDormand and a supporting turn from the reliable David Strathairn, Zhao combines so many complex things to create a true piece of art. 2. The Vast of Night Amazon’s The Vast of Night is a director's showcase for Andrew Patterson. With long takes and tracking shots that are near Cuarón level, Patterson fully immerses us in this 1950s-set small-town alien invasion mystery. Spookier than any conventional horror movie and brimming with an abundance of talent from its cast and crew, The Vast of Night is a startlingly well-made debut that will surely lead to fruitful careers for all those involved. 1. Never Rarely Sometimes Always Written and directed by indie-darling Eliza Hittman, Never Rarely Sometimes Always is an authentic and upsetting coming-of-age story. Taking place over a trip to New York City to abort an unwanted pregnancy, Hittman did an impeccable job of exuding sympathy and connecting me to a process I am biologically unable to relate to. The title of the film comes full circle near the end in a scene that left me with no dry eyes. Newcomer Sydney Flanigan is a star in the making with her lead performance. Her career will be one to watch. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

The Influence of Howard Hawks in John Carpenter's 'Assault on Precinct 13' April 5, 2023 By: Hunter Friesen Bridging over the changes of New Sentimentality in the late 1960s, the early 1970s was a time of seismic cinematic change. It was a time when a new batch of filmmakers was looking to create something new while also honoring those that came before them. This new group, better known as The Film School Generation, consisted of names like George Lucas, Steven Spielberg, Brian De Palma, Francis Ford Coppola, and Martin Scorsese. They were heralded around for making films such as The Godfather, Carrie, Taxi Driver , and Star Wars . Each of these films took clear inspiration from its predecessors. Lucas mentioned the influence of Akira Kurosawa’s samurai films, Spielberg was indebted to David Lean and John Cassavetes, and Scorsese revered Federico Fellini. This same period also saw the rise of the career of John Carpenter, who broke onto the scene with his action crime-thriller, Assault on Precinct 13 . Like those in The Film School Generation, Carpenter lovingly borrowed several elements from those that influenced him to be a filmmaker. But he also wanted to be an auteur, reimaging and adding new aspects to classic stories. Carpenter’s film took inspiration from a few different sources, most notably the works of Howard Hawks. Hawks was one of the most prolific filmmakers of the 40s and 50s, churning out top-notch John Wayne westerns and a few comedies. Carpenter took particular interest in Hawks’ Rio Bravo when finding inspiration for his film. Hawks’ Westerns were always known for how they branded their heroes through a rite of passage. The good guys had to prove to the other characters, and the audience, that they were good. Dean Martin’s character in Rio Bravo isthe central character who goes through this arc. Carpenter directly uses this within his film, having his characters prove their heroicness through acts of valor against the odds. We as the audience identify and lift these characters who are good at their job and do it in the name of honor. Physically, Carpenter also uses Hawks’ model of staging his film within a limited number of locations. A fact that can be hinted from the title of the film, the majority of the action takes place within Precinct 13. The setting becomes familiar and we understand why the police are protecting it. The precinct almost becomes a castle that must be defended from invaders. Speaking of invaders, Carpenter directly took a page out of another filmmaker's book when he decided how to portray the gang members. While Hawks was the older teacher, Carpenter’s contemporary George Romero was the inspiration for that element. Only a few years earlier did Romero make waves with his independent horror film, Night of the Living Dead . Like how Romero dehumanized the zombies in his film, Carpenter adopted that style for his villains. By not giving them any dialogue and never showing their faces, Carpenter strips the gang oftheir humanity, creating them into a pack of remorseless killers. At the same time being indebted to Hawks and Romero, Carpenter was still able to add his spin. Hawks also had the trademark of the “Hawksian woman”, often a tough character who acts more like “one of the guys” rather than a pure damsel in distress. Most of the women in Hawks films were progressive for the time, but still often seen as weaker than the men and needed saving from time to time. Carpenter took that idea a step further, making his women characters equal to the men. In Precinct 13 , Leigh is an equal badass compared to her male co-stars. She shoots bad guys, takes charge of situations, and even takes a bullet for her troubles.She even gets her moment at the end of the film when she walks off without medical help. By honoring the past and blazing a trail for the future, John Carpenter's Assault on Precinct 13 is a timeless classic. Its handling of themes, setting, depiction of villains, and women stereotypes make it a perfect example of how movies can be inspired by the past and how they can inspire the future. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

The Best Military Movies for Veterans Day November 11, 2022 By: Hunter Friesen With America’s lengthy involvement in armed combat over the past century, it’s no surprise that there is a bountiful supply of war films, ranging from small-scale character dramas to epic recreations. To honor those that have served, I’ve compiled a list of war films that I recommend you check out. All of them pertain to war from an American point-of-view (so don’t expect Come and See or 1917 ), with each doing it in their special way. They’ll be listed in chronological order according to their release date. The Longest Day (1962) The Longest Day is an interesting piece of military and cinematic history. We have plenty of movies about the American perspective of landing on Omaha Beach, but we don't have any that tell the entire macroeconomic story relating to that fateful day. Through a style that has long been abandoned, three different directors each tell a side of the story: American/British, French, and German. We get unique perspectives because of this tactic, with an all-star cast of John Wayne, Henry Fonda, Richard Burton, and Robert Mitchum providing larger-than-life performances. Patton (1970) Patton is a film caught between two time periods of both Hollywood and real-life history. In 1970, the golden age of Hollywood was coming to an end as studios were moving away from lavishly epic productions and leaning more into auteur-driven stories that reflected the harsh realities of life. That year also was the height of the unpopularity over the war in Vietnam. Protests occurred regularly, and patriotism was no longer seen as a virtue. The brilliance of Patton is that it can appeal to everyone. Francis Ford Coppola's script sees Patton for who he was, warts and all. He was a genius on the battlefield, achieving victory with historical speed and precision. The Germans feared and respected him. He was also a tyrannical brute. He berated soldiers both verbally and physically (an act that nearly cost him his career), and pushed his men to the absolute limit. He got the nickname "Old Blood and Guts" for his bloodthirsty campaigns that, while successful, were incredibly dangerous. George C. Scott's performance is one of the finest biographical portrayals ever. Because the film has no side plots or heft supporting characters, Scott's electrifying performance is what drives the three-hour runtime. But Scott isn't alone as director Franklin Schaffner assists him with well-composed battle sequences and startling imagery. The film is epic in scope like in the past, but it is also intimate in detail and character. It's a balancing act that entertains the viewer with production and theatricality but also educates them about one of the most complicated men in American history. Born on the Fourth of July (1989) Centering on the loss of innocence and the façade of the American dream for the Vietnam-era youth, Oliver Stone returns to his Platoon roots. There's even some of the original crew returning here, like Willem Dafoe in a small role that doesn't occur until almost 2/3 through the movie. Stone crafts several ingenious individual scenes with his might behind the camera. The prom, the Vietnam battle scene, the protest at Syracuse, and Tom Cruise playing the loudest game of chicken by exclaiming the word "penis" are some of the great moments. John Williams' score supplements the sweeping nature of the story. Cruise makes you forget about those problems from time to time as he effortlessly runs the gamut of Kovac's life from wide-eyed patriot to battle-weary realist. His performance is a reminder that he is a real actor, even if we tend to disagree with that sometimes. Saving Private Ryan (1998) The firm ideals of bravery and good ol' American patriotism are not traditionally found within Saving Private Ryan . Instead, Steven Spielberg , along with screenwriter Robert Rodat, offers something not usually found within a war film: humanity. While still an action film at its heart, the mind of the film is centered on philosophy, as opposed to pure entertainment. The titular mission of extracting Pvt. James Ryan isn't an honorable one. It doesn't take a genius to see the flawed math of risking the lives of eight men to save one. Spielberg and Rodat don't dance around that thought, and also find time to analyze the themes of doing your duty and the futility of war. None of this is to say that the men in this movie aren't brave. It takes a lot of guts and courage to do what they did, which is why we have a day to honor them. But they don't carry out their mission out of their love for the stars & stripes. They do it because they have to. It's an order, and orders must be followed. There's a character named Upham in the film. He's the squad translator and doesn't have the same fighting spirit as the rest of his fellow compatriots. There are times when you get mad at him for not being tough or getting the job done flawlessly. But I would bet many of us would be more like him than John Wayne when the time comes. Within the film, there are no individual heroes, only real men fighting to keep themselves alive for just another moment. The opening set piece is one of the greatest ever produced, with chaotic camerawork, editing, and sound design. It's no wonder no film has attempted to portray D-day since, as Spielberg has set the bar at an unassailable height. The Thin Red Line (1998) While released in the same year and covering the same war, Terrence Malick’s The Thin Red Line and Steven Spielberg’s Saving Private Ryan could not be any more different. Marking his return to filmmaking after a 20-year absence, Malick imbues the film with his usual philosophical ruminations on life and the futility of violence. “What difference do you think you can make, one single man, in all this madness?” is a line that is often repeated, sometimes with brutality and sometimes with lyrical beauty. Of course, Malick still excels at giving action fans what they came for. With one of the most stacked casts ever assembled - including, but not limited to, George Clooney, John Travolta, Adrien Brody, Sean Penn, Jim Caviezel, and Nick Nolte - the action set pieces are awe-inspiring in their ability to convey the confusion and hopelessness within combat. Soldiers weep as they know they are taking their last glances at the living world, and others question the ethics of killing someone in the name of your country. Some war films claim to have more on their mind than just action, but none pontificate and leave with as much to chew on as Terrence Malick does with The Thin Red Line . Black Hawk Down (2001) Each great director has quite a few stinkers that blemish their track record. But each great director also has a few or many great movies that perfectly showcase why they are great. Case in point, Black Hawk Down is one of the finest works by Ridley Scott and his tactical style of direction. In real-time, the Battle of Mogadishu rages on with bullets whizzing, men screaming, and the overall frenzy rattling everyone down to the bone. It's amazing how Scott and his team, which includes an amazing score by Hans Zimmer and genius editing by Pietro Scalia, were able to take this daunting puzzle and piece it together. The Hurt Locker (2009) Kathryn Bigelow won the Oscars for Best Director and Best Motion Picture for this Iraq War thriller. Screenwriter Mark Boal, who won the Oscar for Best Original Screenplay, based much of the story on his experiences being an embedded journalist on the front lines. Jeremy Renner stars as a bomb defuser who seems to have a death wish, much to the distress of his squad mates that just want to make it to the next day. Bigelow’s full-throttle direction lends itself to some incredibly tense action set pieces. It’s an exhausting experience enduring the 130-minute film, which, to Bigelow and her team’s credit, puts you right in the mental and physical shoes of the characters. Causeway (2022) Shifting away from the battlefield and towards the home front, first-time director Lila Neugebauer sensitively delivers a personal story that avoids much of the PTSD/trauma clichés we’ve come to expect. Jennifer Lawrence and Brian Tyree Henry each deliver powerfully subtle performances, with their characters striking up an interesting connection that goes deeper than something purely platonic or romantic. For viewers that tend to steer away from violence, this new film on Apple TV+ will offer a semi-fresh take on the well-worn genre. Full Review Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

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Awards November 29, 2023 Awards Update: No More Contenders in the Shadows Everything has either been publicly unveiled or has rumors swirling around that it has been seen by a select number of people. October 26, 2023 Awards Update: The Eye of the Awards Season Hurricane We’re at a fascinating lull in the awards season, past all the fall festival premieres and before the onslaught of precursor nominations. September 21, 2023 Awards Update: Making Sense of the Fall Festival Frenzy The first phase of the race has officially started Oscar Predictions *These rankings only reflect the likelihood of being Oscar-nominated.* Last Updated: 11/29/2023 Next Update: 12/23/2023 1 Oppenheimer 2 Killers of the Flower Moon 3 Poor Things 4 The Holdovers 5 Maestro 6 Barbie 7 American Fiction 8 The Color Purple 9 The Zone of Interest 10 Past Lives Best Picture 1 Christopher Nolan (Oppenheimer) 2 Martin Scorsese (Killers of the Flower Moon) 3 Yorgos Lanthimos (Poor Things) 4 Jonathan Glazer (The Zone of Interest) 5 Alexander Payne (The Holdovers) Best Director 1 The Holdovers (David Hemingson) 2 Barbie (Greta Gerwig & Noah Baumbach) 3 Past Lives (Celine Song) 4 Anatomy of a Fall (Justine Triet & Arthur Harari) 5 Maestro (Bradley Cooper & Josh Singer) Best Original Screenplay 1 Oppenheimer (Christopher Nolan) 2 Poor Things (Tony McNamara) 3 Killers of the Flower Moon (Martin Scorsese & Eric Roth) 4 American Fiction (Cord Jefferson) 5 All of Us Strangers (Andrew Haigh) Best Adapted Screenplay 1 Bradley Cooper (Maestro) 2 Cillian Murphy (Oppenheimer) 3 Leonardo DiCaprio (Killers of the Flower Moon) 4 Paul Giamatti (The Holdovers) 5 Jeffrey Wright (American Fiction) Best Lead Actor 1 Carey Mulligan (Maestro) 2 Emma Stone (Poor Things) 3 Lily Gladstone (Killers of the Flower Moon) 4 Sandra Hüller (Anatomy of a Fall) 5 Fantasia Barrino (The Color Purple) Best Lead Actress 1 Robert Downey Jr. (Oppenheimer) 2 Robert De Niro (Killers of the Flower Moon) 3 Ryan Gosling (Barbie) 4 Mark Ruffalo (Poor Things) 5 Willem Dafoe (Poor Things) Best Supporting Actor 1 Da’Vine Joy Randolph (The Holdovers) 2 Danielle Brooks (The Color Purple) 3 Emily Blunt (Oppenheimer) 4 Jodie Foster (Nyad) 5 Taraji P. Henson (The Color Purple) Best Supporting Actress 1 Oppenheimer (Hoyte van Hoytema) 2 Killers of the Flower Moon (Rodrigo Prieto) 3 Poor Things (Robbie Robertson) 4 Maestro (Matthew Libatique) 5 The Color Purple (Dan Lausten) Best Cinematography 1 Oppenheimer (Jennifer Lame) 2 Killers of the Flower Moon (Thelma Schoonmaker) 3 Poor Things (Yorgos Mavropsaridis) 4 The Holdovers (Kevin Tent) 5 The Killer (Kirk Baxter) Best Film Editing 1 Oppenheimer (Ludwig Göransson) 2 Killers of the Flower Moon (Robbie Robertson) 3 Poor Things (Jerskin Fendrix) 4 Elemental (Thomas Newman) 5 The Boy and the Heron (Joe Hisaishi) Best Original Score 1 Oppenheimer 2 Maestro 3 Killers of the Flower Moon 4 The Killer 5 Napoleon Best Sound 1 Poor Things 2 Killers of the Flower Moon 3 Barbie 4 Oppenheimer 5 The Color Purple Best Production Design 1 Poor Things 2 Barbie 3 The Color Purple 4 Killers of the Flower Moon 5 Napoleon Best Costume Design 1 Maestro 2 Poor Things 3 Guardians of the Galaxy Vol. 3 4 Nyad 5 Oppenheimer Best Makeup & Hairstyling 1 Oppenheimer 2 The Creator 3 Guardians of the Galaxy Vol. 3 4 Napoleon 5 Poor Things Best Visual Effects 1 Spider-Man: Across the Spider-Verse 2 The Boy and the Heron 3 Elemental 4 Chicken Run: Dawn of the Nugget 5 The Peasants Best Animated Feature 1 The Zone of Interest (UK) 2 The Taste of Things (France) 3 Perfect Days (Japan) 4 Fallen Leaves (Finland) 5 Tótem (Mexico) Best International Feature 1 Beyond Utopia 2 20 Days in Mariupol 3 Stamped from the Beginning 4 The Deepest Breath 5 American Symphony Best Documentary Feature 1 Oppenheimer (13) 2 Poor Things (13) 3 Killers of the Flower Moon (12) 4 Maestro (7) 5 Barbie (6) 6 The Holdovers (6) 7 The Color Purple (5) 8 Anatomy of a Fall (3) 9 The Zone of Interest (3) 10 Napoleon (3) Nomination Leaders

Top 10 Steven Spielberg Films November 23, 2022 By: Hunter Friesen Like The Mad Titan Thanos, Steven Spielberg has seemingly made it his mission to collect the stones of nearly every genre known to cinema. Throughout his nearly fifty-year feature film career, he’s already conquered monster movies ( Jaws ), science-fiction ( E.T. the Extra-Terrestrial ), adventure ( Indiana Jones ), war ( Saving Private Ryan ), musical ( West Side Story ), and biopics ( Schindler’s List & Lincoln ). He’s also been dubbed The King of Entertainment and remains the highest-grossing director of all time with a cumulative global box office gross of $10.62 billion. In honor of the nationwide release of his newest film, The Fabelmans , here’s a look at my ten favorite Spielberg films, all of which hold a special place in my heart and mind. 10. Raiders of the Lost Ark Honestly, I'm pretty sure this movie was just a series of bets between Spielberg and George Lucas to see if they could film a certain set piece, and I don't think they lost a single one. Taking inspiration from the Saturday morning matinees of his youth, Spielberg captures the youthful spirit of adventure and danger through ingenious practical action sequences that still tower over anything crafted today. Ranked #2 behind Atticus Finch in the AFI’s list of Top 100 Heroes, Harrison Ford’s Indiana Jones is a modern-day swashbuckling pirate who finds himself in over his head but is just iron-willed enough to live for another adventure. 9. The Fabelmans The Fabelmans is a collection of Spielberg's greatest hits, all delivered to their greatest effect Just as he’s done with nearly every genre, Spielberg conquers the recent trend of directors making autobiographies and how they fell in love with cinema. There’s laughter, tears, and wonder as Spielberg recounts his early days growing up in Arizona with his artistic mother and scientific father. Newcomer Gabriel LaBelle acts as the Spielberg stand-in, with his great performance likely being the first of many. Full Review 8. West Side Story Spielberg emerged as the predictable winner of The Great Musical War of 2021. Perfectly melding the work of Bernstein and Sondheim with the newfound talents of DeBose, Faist, and Zegler, the new West Side Story makes the case for why some remakes should be allowed to happen. Because sometimes, they can meet or surpass the original, such as how this one does by bringing classic cinema into the modern world. Full Review 7. Indiana Jones and the Last Crusade A sequel ranked over the original? Blasphemy! There is one clear reason why I am ranking The Last Crusade over Raiders of the Lost Ark (and obviously above Temple of Doom ): Sean Connery. The addition of the original James Bond provides a nice familial fold against the usual ruggedness of the Indiana Jones character. We only hear the voice of the old man in the film’s magnificent opening sequence, just enough to get us excited for his later introduction. The film also gets the slight edge because of its ability to scare the hell out of me as a child, with the “He chose…poorly” scene having a rent-free space in my head for eternity. 6. Catch Me If You Can As the latter in a double-bill with Minority Report in 2002, Spielberg’s caper is an infectiously entertaining time that sneakily lays claim as one of the best Christmas movies. A central theme throughout Spielberg’s filmography is the strained relationship between fathers and sons, and no film has that more in the foreground than Catch Me If You Can . Christopher Walken’s Oscar-nominated performance is one of the finest Spielberg ever directed, with DiCaprio providing the necessary emotional arc of a kid finding his way in the world. It also helps to have a top-notch Tom Hanks, complete with the best knock-knock joke known to man . 5. The Post Effortlessly entertaining and ever-timely, The Post is another showcase on each level of directing, writing, and acting. At the helm of this self-important tale is Spielberg with his endlessly maneuvering handheld camera. Like his nimble work at the beginning of Saving Private Ryan , Spielberg careens around corners and peers into meetings, placing us as a fly on the wall within The Washington Post. It may be the best of the partnership of Spielberg-Hanks-Kaminski-Williams-Kahn. It's perfect as a history lesson and a modern-day allegory, invigorating the message that democracy dies in darkness. 4. Saving Private Ryan The firm ideals of bravery and good ol' American patriotism are not traditionally found within Saving Private Ryan . Instead, Steven Spielberg, along with screenwriter Robert Rodat, offers something not usually found within a war film: humanity. While still an action film at its heart, the mind of the film is centered on philosophy, as opposed to pure entertainment. The titular mission of extracting Pvt. James Ryan isn't an honorable one. It doesn't take a genius to see the flawed math of risking the lives of eight men to save one. Spielberg and Rodat don't dance around that thought, and also find time to analyze the themes of doing your duty and the futility of war. Within the film, there are no individual heroes, only real men fighting to keep themselves alive for just another moment. The opening set piece is one of the greatest ever produced, with chaotic camerawork, editing, and sound design. It's no wonder no film has attempted to portray D-day since, as Spielberg has set the bar at an unassailable height. 3. Schindler's List Like The Father and Requiem for a Dream , Spielberg’s often regarded magnum opus is a film that will only ever want to watch once. Its morally serious story of the Holocaust is one of the most upsetting cinematic experiences ever created. But it is so incredibly well done and engrossing that it demands to be seen. And with the seemingly recent rapid rise of antisemitism, it now demands to be reseen by all. 2. Lincoln Just as Martin Scorsese did with Casino , Lincoln is part biopic, part history lesson on what it takes to pass anything in Congress, especially one of the most important amendments in our nation's history. Screenwriter Tony Kushner pushes past our preconceptions of the nobility that is involved in lawmaking. DP Janusz Kaminski and Production Designer Rick Carter take that rat's nest saying and apply it to their visual style. Instead of grand marble and strong architecture, the White House and House of Representatives are dingy, dimly lit, and a mute brown swamp full of colorful characters. At the top of the pedestal is Daniel Day-Lewis's performance. Day-Lewis doesn't play Abraham Lincoln, he is Abraham Lincoln. Even for one of the most recognizable actors in cinema, it's nearly impossible to see Day-Lewis in the role. There isn't a moment that you're not in complete awe of what you're seeing on the screen. 1. Munich Dare I say that this is Spielberg's best movie? Yes, I shall dare. For 165 minutes, Spielberg has both our hearts and minds engulfed in this story of vengeance. Or is it justice? The thrills come from the multiple assassinations as Spielberg and co. show off their master craftsmanship. Even though it's a thriller at its core, Munich carries much more than just bullets and bombs. The script by Kushner and Roth is filled with moral ambiguity and ethical conundrums that can be savored for the entire runtime, and then some. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

The New Hollywood of the 1970s May 4, 2023 By: Hunter Friesen In the late 1960s and early 1970s, many American filmmakers sought to revolutionize Hollywood cinema. For the past several decades, American films were built upon prestige and spectacle, drawing millions to see wondrous images and famous faces on a gigantic screen. Largely influenced by the French New Wave and Italian Neorealism, a new batch of American filmmakers created a movement called the “American New Wave” or “New Hollywood.” This movement defied the nostalgic standards of yesteryear and created a more innovative and artistic style of filmmaking. With the meteoric rise of television and inflated production costs, studios were in a state of financial ruin when this movement was beginning to form. Coupled with the disbanding of the Motion Picture Production Code in 1967, these filmmakers had a golden opportunity of artistic freedom and expression. Two of the most prominent filmmakers in New Hollywood were the Italian-American duo of Martin Scorsese and Francis Ford Coppola. They modeled their filmmaking process around the auteur theory and did whatever they could to break and reshape the rules of Hollywood. The two films that broke new ground were Coppola’s The Godfather in 1972 and Scorsese’s Taxi Driver in 1976. These two films challenged Old Hollywood storytelling through their use of social messaging, complicated central characters, and attitudes towards on-screen violence. The incorporation of social messaging within movies had been around for some time in Old Hollywood, but it was often lightened for audiences. Stanley Kramer spoke about societal issues in many of his films, such as The Defiant Ones and Guess Who’s Coming to Dinner . Despite being released right around the time of the counterculture movement of the 1960s, these films were geared towards older generations of moviegoers, the ones that would better respond to conventionalism and star power. While he revered Kramer, Martin Scorsese didn’t follow in his footsteps when it came to telling his story. Taxi Driver is set in the authentic 1970s version of New York City, filled with pimps, prostitutes, drugs, and murder. In a voiceover, the central character, a lonely taxi driver named Travis Bickle, describes his nightly routine: “Each night, when I return the cab to the garage, I have to clean the c** off the back seat. Some nights, I clean off the blood.” Travis is just a cab driver, and only about three feet separate him from his passengers. And yet, somehow semen and blood end up on his seats. Our imaginations can only run wild with the disgusting things he witnesses every night. Seeing these horrific events nightly slowly pushes Travis to his breaking point, which he was already a bit too close to due to the undiagnosed PTSD he carries with him since his discharge from the Vietnam War. He has no contempt for his fellow man and only sees them as the worst versions of themselves. In one of his monologues, Travis describes the cities residents as ”animals coming out at night – whores, skunk p*****s, buggers, queens, fairies, dopers, junkies, sick, venal. Someday, a real rain will come and wash all this scum off the streets.” This quote shows the mental downfall of Travis and how he decides to take matters into his own hands. Scorsese, and screenwriter Paul Schrader, give the audience an honest and unsensitized depiction of what New York City is like. Gone are the days of the glimmering bustle of New York in films such as Guys and Dolls and Breakfast at Tiffany’s . Taxi Driver, along with other New Hollywood films like Midnight Cowboy and The French Connection showed New York as a cesspool of crime and villainy that no decent person should visit, let alone live in. Also set in New York City, albeit a few decades earlier, was Coppola’s The Godfather . Adapted from the novel by Mario Puzo, Coppola steeps his film into the rich Italian immigrant culture, one filled with hardships and stresses the importance of family. Vito Corleone is a character that is given immense psychological development. Many of his actions are done to protect his family and strengthen his relationships with the other crime families. He still can be considered a villain, as he orders men to be killed and works in illegal enterprises. With Brando’s method acting, Vito was an unprecedented authentic depiction of Italian-Americans, distancing the image away from the Tommy Gun swinging depictions in earlier films such as The Public Enemy and Scarface . There could also be an argument made that Coppola’s new image became a harmful stereotype, as The Godfather became immensely influential in how Italian-Americans were portrayed in future films. Similar to Vito, it’s difficult to place the character of Travis Bickle on the spectrum of hero and villain. He takes a complicated journey from an outcast to a killer, with almost everything being under the surface. Scorsese and Schrader avoid what director Sidney Lumet called “the rubber-ducky moment,” a phrase that stemmed from the television specials of the 1950s where characters and their motivations could be easily explained. For example, a person’s rubber ducky was stolen as a child and that’s why they became a deranged killer. Lumet criticized this moment for being too simple and preposterous, as nobody’s personality and persona could come from just one experience. Scorsese and Schrader never simplify Travis as a character. Film essayist Matt Zoller Seitz (2016) noticed the initial complexity by writing: “There is nothing spontaneous or natural about this man. He’s deeply damaged, maybe by the war, maybe by his childhood; we don’t know exactly what his problem is, and ultimately it doesn’t matter.” We never truly know what Travis problems are, and we never know exactly what is going on inside his mind. Based on his monologues previously mentioned, we can only imagine what Travis sees and thinks about. Even if we don’t always know everything that’s happening internally, Scorsese does give us glimpses from time to time. The famous mirror scene is an example of Scorsese using his directorial toolkit to illustrate Travis, but not explain him. Using disjunctive editing, a radical departure from classic storytelling, and a technique reminiscent of the French New Wave, Scorsese breaks up the flow of the scene, separating the viewer from Travis. Travis practices confronting someone with a gun, pointing it at his reflection, and uttering incomplete sentences. In his article, "The Last Temptation of Travis Bickle," author Andre Caron (1997) described this technique as a “sudden distancing process in order to separate the viewer from Travis.” The only conversation Travis can hold throughout the film is with himself, and even that is just fragments of threats and taunts. With the cut-up editing, the viewer is disoriented and begins to mirror the paranoia that Travis has in his head. In the mob genre, there are no two more complicated characters than Vito and Michael Corleone. Before them, the genre was populated with more stereotypical and one-dimensional representations by the likes of James Cagney and Paul Muni. Vito Corleone was an immigrant of the United States looking to make a name for himself and secure a future for his family. He doesn’t see the mafia as a glorious lifestyle. He doesn’t want his youngest son, Michael, to be involved in the family business. Michael initially doesn’t play a part in the family and has no intention to do so. At the beginning of the film, he describes his father’s actions to his girlfriend as “that’s my family, Kay. It’s not me.” Throughout the film, Michael becomes more and more embroiled in his family affairs. After his father is gunned down in the street, he takes it upon himself to enact revenge on those responsible. The restaurant scene is the moment that marks Michael’s transition from innocent war-hero to mafia murderer. Michael meets with Sollozzo and McCluskey in a restaurant. Like Scorsese does in his mirror scene, Coppola uses character-driven editing to not explain Michael, but to give us bits and pieces of his thoughts. As the two men try to excuse their actions, Coppola cuts to a close-up of Michael as he stares at his opponents. He has a personal grievance with the men and a sense of duty to his family, but he still doesn’t know if should go through with the action. The sound of a corkscrew and wine bottle being opened add to the tension bubbling in Michael’s head. After some short conversation, Coppola recommits to the close-up of Michael, now slowly zooming in and overtaking the dialogue with the sound of an oncoming train. At this moment, Michael makes up his mind and commits to the deed, pulling out a gun and killing both men. With the power of sound effects, dialogue, and editing, Coppola doesn’t fall into the easy rubber-ducky trap, as he instead slowly exhibits Michael’s transition and demands the audience to feel the pathos behind his actions. Finally, both Taxi Driver and The Godfather feature moments of extreme on-screen violence, often committed by the main characters. They are both unflinching in execution and don’t shy away from the horrors. In Taxi Driver , Travis acquires his weapons through an illegal dealer. He buys more guns than a person could need, including many that are much more powerful than he requires. To him, the ends justify the means. Being a vigilante and having illegal access to firearms doesn’t mean anything if he has good intentions. While there can be an argument for that mode of thinking, Travis also doesn’t seem to care about the consequences of his actions, so long as they are deemed bad in his eyes. After a few outbursts here and there, the film culminates in a shootout at a brothel. Scorsese lingers on the scene with slow pans to show the aftermath but also uses quick edits when guns are being fired. The scene is brutal, with an extreme focus on the physical damage being done to bodies, and the mental damage being done to Iris, who witnesses the whole thing. Unexpectedly, the media portrays Travis as a hero who took matters into his own hands and saved a girl from prostitution. As the viewer, we know that Travis isn’t a prototypical hero and his actions aren’t ones to admire. This cycle of violence and interpretation goes back to the social messaging Scorsese and Schrader instill into the film. There is a disconnect between the true story and the one printed. Who is to blame for this disconnect, the readers of the paper, or the publications glorifying the disturbing act? The answer is both. The audience (the viewers included) crave violence with a morbid attraction. The media lives to meet that demand, writing stories depicting heroes and villains. Scorsese and Schrader emphasize that violence is inherently evil and that it doesn’t solve the worst problems in the world. No character’s situation is improved after the events in the film, as Travis feels empowered to commit more acts and Iris is forever scarred, both physically and mentally. The Godfather came a few years before Taxi Driver when auteurs were experimenting with the relationship both Hollywood and audiences had with violence. Bonnie and Clyde, The French Connection, and Straw Dogs broke into the mainstream, with their heavy use of screen violence being one of the central elements of their success. The violence within The Godfather does not sensationalize the crime lifestyle. Each death is stripped of stylization, often being shown in gruesome fashion. For example, the garrote scene has Luca Brasi’s eyes popping out of his head, and Sonny’s ambush leaves him in a bloody mess. Finally, the ending follows the massacre of several high-ranking mob bosses, including one being shot in the eye and another being gunned down in bed. None of this violence is played to be heroic or produce good consequences, similar to Taxi Driver and the films mentioned before. Taking a page out of their European contemporaries and defying the methods of their Hollywood elders, Francis Ford Coppola and Martin Scorsese became two of the most respected filmmakers of the New Hollywood movement. Because of their attitudes towards violence, character development, and social messaging, the pair revolutionized the role that a director played in the filmmaking process and the connection audiences had with cinema. Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP

TIFF23 Dispatch - Part 2 September 17, 2023 By: Hunter Friesen All of the films were screened at the 2023 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. The Royal Hotel It’s adapt or die for Hanna (Julia Garner) and Liz (Jessica Henwick) as they take jobs as bartenders in the only pub in a remote Australian mining town. The temp agency warned the girls that they needed to be “okay with a little male attention,” which turns out to be quite the understatement as their first night is filled with nasty jokes, unruly stares, and just general douchiness. Choosing adaptation is a death sentence, as there’s no reward for allowing this toxic mob to take control of their mind and body. Director Kitty Green announced her talent with the matter-of-fact The Assistant in 2019 (also starring Garner). This sophomore effort is a leveling up of her prowess behind the camera, lining every scene with a grimy sense of dread. It feels like a thrill ride, except none of the thrills are satisfying. Green greatly elevates her script, written by Green and Oscar Redding, which never packs the depth needed and tends to loop around as it tries to sustain the 90-minute runtime. Garner and Henwick are powerful anchors, “supported” by some convincing creeps. I have no doubt Green will be hitting it big within the next few years. (3/5) The Beast Bertrand Bonello’s The Beast is the pretentious European version of Cloud Atlas , which is a statement that tells you everything you need to know about whether you’ll like it or not. I was all in on this movie, even if its ultimate message and specific story beats are hard to follow. Bonello jumps between 1904, 2014, and 2044, intersplicing the three time periods to tell a story about love conquering time. Léa Seydoux and George MacKay play characters in each period, navigating the unknowable connection they feel for each other. It’s overindulgent and excessive, but Bonello displays a mastery of tone and vision across the 146 minutes. There’s passion, fear, humor, drama, and everything in between. I’d love to see it again sometime down the line. (4/5) Les Indésirables Ladj Ly's sophomore effort is not an answer to a question, but a further examination of it. There's dissatisfaction at the end of the road, both intentionally through Ly's honest depiction of political warfare and unintentionally through the overloaded script that tries to combine too much. Even with this slight slump, Ly's voice continues to grow, and I can't wait for it to click sometime in the future. (3/5) Evil Does Not Exist Drive My Car writer/director and all-around arthouse superstar Ryûsuke Hamaguchi makes his most outspoken work with Evil Does Not Exist . The tranquility of a Japanese village is being threatened by the introduction of a “glamping” (glamorous + camping) site proposed by a talent agency. The site would negatively impact much of the environment around it, with many of the village resident’s livelihoods being forever altered. Despite being clear in his message, Hamaguchi never eviscerates the villains of this story. The extreme slow cinema approach will test the patience of many expecting a return to the leanness of Drive My Car . Those who embrace the molasses will find themselves powerfully transported to one of the few places left that hasn’t been bulldozed by capitalism. Eiko Ishibashi delivers a magnificent score. It angers me that I’ll have to wait several months until it’s available to stream on Spotify. (4/5) Finestkind Writer/director Brian Helgeland told the TIFF audience that he wrote the script for Finestkind thirty years ago, a fact that becomes glaringly obvious the longer the film goes on. The story is stuck in the past in the worst ways possible, soaked with cheesy sentimentality, a laughably underdeveloped female character that Jenna Ortega somehow signed up for (did she owe someone a favor?), and an out-of-nowhere crime plot that undermines all the heart and soul mined in the first half. As per his contract demands these days, Ben Foster goes crazy a few times, and so does Tommy Lee Jones as he realizes he’s appearing in a stinker. It’s a Paramount+ production, meaning it’ll play well to the “guys being dudes” crowd that has been gorging on Taylor Sheridan's diminishing machismo these past few years. (2/5) Must Read 'Maestro' Review Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. SHOP 'Saltburn' Review Its brain might not always equal its bite, but there’s so much self-assured showmanship that I was glad to get lost in this maze. SHOP 'The Hunger Games: A Ballad of Songbirds and Snakes' Review Even with it being unable to promptly say goodbye and bits of desperate fan service, this is still a cut above the rest of the YA genre. SHOP 'Napoleon' Review Scott continues his string of blockbusters propelled by smart filmmaking and collaborative artistry SHOP 'The Marvels' Review Not bad enough to be a catalyst in the downfall of the MCU, nor good enough to be its savior. SHOP