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'Wicked Little Letters' Review March 28, 2024 By: Hunter Friesen What would you rather be: Polite and with a stick up your ass, or vulgar and sincere? To the delight of all stick sellers, 99% of the residents living in the 1920s seaside English town within Wicked Little Letters side with the former camp. It’s an area that is as conservative as they come, with all the men returning from The Great War wanting to settle down and have the women back in their place. “Hysteria and general tears” is what passes for a crime, with the only bit of controversy being the appointment of Gladys Moss (Anjana Vasan) as the first female police officer. That is, until the Irish Rose Gooding (Jesse Buckley) moves in next door to Edith Swan (Olivia Colman) and her strict parents (Timothy Spall and Gemma Jones). Rose and Edith are a tale of polar opposites. Rose is a free-spirit who isn’t afraid to speak her mind and swear like a sailor. She came over with a young daughter and an unmarried love interest. Edith is a Christian woman who never married and is always dutiful to her parents. So, when Edith and several of the town’s residents start receiving exceptionally hateful and foul letters, you can imagine who they all accuse. Writer Jonny Sweet has set the stage for a modern-day (at least when compared to the source material) Crucible . This time, instead of the free-spirits being labeled as witches, they’re barbaric heathens that die the slow death of social rejection. There are several helpings surrounding the debate of gender roles, specifically on women’s freedom during a pivotal moment in the twentieth century. It’s all very surface-level and done with a winking attitude, portraying all the men as domineering buffoons. Also hammered home several times over is the hilarity of swear words, especially within a setting that is the antithesis of vulgarity like Puritan England. The words “fuck,” “shit,” “whore,” and “cock” get more prominent use here than they did in a Martin Scorsese movie. While it’ll likely play like gangbusters at your local AARP-sponsored screening, everyone else not drawing from Social Security will shrug their shoulders after its second or third use. And by the thirtieth scene where the punch line is that someone says “fuck,” you’ll be more likely to say “fuck this” and leave. Colman and Buckley are clearly having fun with the roles, reveling in the opportunity to act together after never being able to share the same space in The Lost Daughter (they played the same character at different ages). The over-reliance on dirty words is made palatable thanks to the deliveries of the two actresses, each salivating at the chance to have characters that are given a modicum of agency during this period. There really isn’t much suspense about who the author of the letters is, with Sweet and director Thea Sharrock spelling it out in as bold a print as possible. It’s all light and fancy-free, almost too much for its own good. But a healthy movie ecosystem needs to offer products for the older crowds (see 80 for Brady and anything else Diane Keaton is doing these days), so take your grandparents out to the cinema before you go see Civil War . Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Maestro' Review November 23, 2023 By: Hunter Friesen “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” This quote by Leonard Bernstein flashes before Maestro commences. It’s a mission statement for writer/director/producer/star Bradley Cooper, who’s made it his life’s work to bring this story to the silver screen. It’s a warning to any Bernstein acolytes who come to this seeking untold answers about the famed conductor’s artistry. And it’s also a blessing to anyone bemoaning another musician biopic, the likes of which have haunted our multiplexes the past few years with their cookie-cutter rise-and-fall stories. There is nothing cookie-cutter about Maestro , which is its absolute greatest strength… and occasional weakness. Cooper is like a high school theater kid who’s just landed the role he’s always dreamed of, so giddy and overstimulated that he’s almost leaping off the screen. It’s almost too showy, making the Old Hollywood aesthetic and mountains of makeup and prosthetics feel like even more of an illusion than it already is. Of course, the creative talent being too passionate about their work is near the bottom of the list of problems a film can have. It’s also how Cooper sees himself tethered to Bernstein: two geniuses who often became overwhelmed with passionate joy in their craft. Lenny is just an upstart assistant conductor at the beginning of the movie, but his legend becomes born when he’s summoned at the last minute to replace the sickly guest conductor. Hearing his name during the loudspeaker announcements is what gives him the most pleasure, a small sign of how highly this man viewed himself. It’s hard to blame someone for seeing himself next to God when he has been blessed with such talent. A wide variety of music constantly pours out of him: musical theater (at one point it’s mentioned he’s working on a Romeo and Juliet story with Jerry Robbins, I wonder what that could be?), film scores, classical pieces, and everything in between. Cooper’s filmmaking is just as confident and classical as Bernstein’s musical arrangements. It possesses great power to evoke a film made during the 1940s, complete with stark black-and-white and technicolor-infused Academy ratio cinematography. Reteaming after A Star Is Born , DP Matthew Libatique is in lockstep with Cooper’s direction, creating sweeping scenes through long takes and impeccable framing. It all crescendos at the Ely Cathedral in 1973 when Bernstein famously conducted Mahler’s second symphony, “Resurrection.” It’s spiritually transcendent, the camera capturing every enrapturing moment as it weaves its way through the choir and orchestra. The inescapable mantra during the film’s press tour is that Cooper prepped for this scene for six years, which is quite evident in the final product. Fortunately for him (and us), Netflix is committed to a substantial theatrical rollout (at least to their standards), offering audiences the chance to see this moment in the proper setting. This moment isn’t all about Bernstein though, as the final camera movement during the impressive long take pans to reveal his wife Felicia Montealerge (Carey Mulligan) standing off to the side, ready for Lenny to walk over and embrace her after his performance. It’s emblematic of how Cooper frames this entire biopic, the music and their relationship always intertwined. The pair are magnificent together at every turn; with a jovial banter during the early stages, and a more mature understanding during the middle periods of their marriage. While Felicia is sidelined later in life as Lenny continues his affairs with younger men, Mulligan maintains her placement front and center through sheer emotion and her ability to elevate past the typical “tortured wife of a great man” role. For something that has and will continue to be labeled as “Oscar bait,” Maestro is, more than anything, a confidently unique entry in a well-worn genre. It makes A Star Is Born seem like only the appetizer, and this is the main course. It wouldn’t be far-fetched to label Cooper as this generation’s Warren Beatty: a movie star interested in grown-up stories whose oversized ambition is matched by their incredible skill both in front and behind the camera. If there’s anything modern cinema needs more of right now, it’s someone like that. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Indiana Jones and the Dial of Destiny' Review June 29, 2023 By: Hunter Friesen For each new movie I’m reviewing, I bring along a mini journal that’s used to jot down small observations. Most of these scribblings turn out to be near illegible due to writing in the dark while still looking at the screen. But I can still recall them well enough once I piece a few of the letters together. On average, I fill up about one page front and back, equalling about 15-20 bullet points. But for Indiana Jones and the Dial of Destiny, I was only able to muster just six bullet points. Nearly half of those observations were made during the film’s opening set piece, which finds Indiana Jones hurtling aboard a Nazi train as World War II is coming to a fiery conclusion. I was perplexed at the moment as to why I couldn’t think of anything to write, and I’m still perplexed right now as I attempt to formulate my thoughts in an informative and entertaining manner. It was the same problem I had with Murder Mystery 2 and The Super Mario Bros. Movie a few months ago. But I always knew those two were airless junk. This is Indiana Jones for god’s sake, a franchise that has set the bar that no one else has come close to passing within the action/adventure genre! How is it possible that I could watch this finale and not have anything to say about it? To be fair, I was never bored, nor did I ever think that I was watching something that wasn’t worth my time. But I also never felt like I was watching something I hadn’t seen before or something that I hadn’t seen done much better. Some of the blame can be put upon director James Mangold, who’s placed himself in the unenviable position of taking over the reins from Steven Spielberg. Mangold has proven himself to be an above-average studio director, most notably in the past few years with Logan and Ford v Ferrari . But being above average doesn’t mean a whole lot when you’re being compared to God himself. Mangold’s use of a semi-convincing (at least when he’s standing still) de-aged Harrison Ford during the opening is deliriously entertaining. The meaty whack of a Nazi being punched and the cracking of a whip is music to my ears, as is hearing John Williams’ famous score as Indy leaps further into danger. But that introduction ends up being the peak, with all the other set pieces - of which there are many across this slightly bloated 154-minute movie - going through the motions. This adventure finds Indy going after Archimedes’ Dial, which is believed to be able to open and locate time fissures (just as the movie does for about ⅔ of its runtime, I will liberally dance around saying what those fissures mean). Also desperately pursuing the artifact is the Nazi doctor Jürger Voller (Mads Mikkelsen). Unfortunately for both him and Indy, they’re going after only one-half of the dial, with the latter portion still lost somewhere in the world. Twenty-five years go by, with the opposing forces facing each other again as they try to unlock the mysteries of the ancient world. Considering the fate of Kingdom of the Crystal Skull , it shouldn’t be viewed as a surprise that The Dial of Destiny does its best to stick to the tried and tested franchise formula. Any combination of a train, car, motorcycle, boat, plane, and horse is used across the several chase scenes that take place in identifiable locations. Ford is still as lively as ever during these moments, moving with great freedom for an octogenarian. It’s just that the script can’t keep up with him as all it wants him to do is don that fedora and whip, even if that means sacrificing the potential for something unique to happen. There’s also the addition of Phoebe Waller-Bridge as Indy’s goddaughter Helena and her kid sidekick, both of whom add more weight than they carry. Maybe I was asking for too much from this movie. But I also feel like a brain trust composed of Ford, Mangold, Spielberg, and George Lucas would be able to come up with a compelling reason for this character to return other than to just go through the motions. It seems like this old dog can’t (or won’t) be taught new tricks. I watched this movie, had a pretty decent time, and will likely forget about it come next week. That’s a destiny I’d like to turn back. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'A Star Is Born' Review October 8, 2018 By: Hunter Friesen A Star Is Born is one of those classic Hollywood films that has stayed close to each generation that has experienced it. Whether it be the original from 1937 or the remakes in 1954 and 1976, people have adored the timeless story that preaches the value of hope and perseverance in the face of adversity. Now in 2018, the film is being remade for the third time, this time with director, writer, and star Bradley Cooper teaming up with Lady Gaga to tell the classic tale to a modern audience. The film follows the relationship between music superstar Jackson Maine (Cooper) and aspiring singer Ally (Gaga). They quickly fall for each other after meeting and set out to share their love and music with the world. Because of this, Ally’s career starts to take off, while Jackson’s begins to crumble beneath his feet as he battles alcoholism and addiction. From this point, their lives begin to irreversibly change. They try to hold onto each other, but it becomes more and more difficult as they go down their own separate paths. Bradley Cooper is a natural director and it is astonishing that this is his debut feature. It probably helps that over the past decade, he’s had the opportunity to learn from veteran directors like Clint Eastwood and David O. Russell. Cooper possesses a ton of confidence and a queen eye for great visuals. The concert scenes are the highlight of the film as they bloom with bright colors and original music. It feels like we’re right there on stage with the main characters as they profess their love to each other while pouring all their emotions into the songs. Cooper uses a high amount of close-ups of the character’s faces in order to tell the story. He also does well at letting scenes play out in a natural order rather than cutting them up. This creates a feeling of authenticity and rawness as the characters are allowed to feel like real people rather than the fictional stars that have been seen so many times before. It’s well known that Cooper is the director and star, but what’s most surprising is that he also contributed to the script along with Eric Roth and Will Fetters. The dialogue between Cooper and Gaga is some of the most authentic speech you’ll find today. Every emotion possible is put on display as their contrasting journeys play out. They always feel like a real couple as they try to manage their relationship and the strain that fame has put on it. In addition to the main plot, there is also a subplot between Maine and his older brother Bobby, who has acted as Jackson’s caretaker all his life. The brothers share a strong bond as they look back on their rough childhoods and re-examine how their relationship has changed over the years. While the subplot provides a good break from the main story and packs an emotional punch, there just needed to be more of it. The interactions between the brothers are few and far between, and by the end, it feels like a lot more could have been explored. The legacy of A Star Is Born has been built on great acting from the leads. Cooper and Gaga more than live up to expectations and will surely be compared to the greats that have come before. Cooper probably gives his career-best performance as the country star fighting his own personal demons. With his lowered voice and grizzled face, Cooper’s character is a sad spectacle that exudes sympathy as his journey takes him lower and lower. He also lends his voice to some great music as he and Gaga light up the stage together. While Cooper is terrific, the show belongs to Lady Gaga as Ally. Even though she’s a superstar singer in the real world, Gaga hides all of that behind her transcendental performance as every girl trying to get ahead. She's the heart of the film as she delivers each line with perfection. Her chemistry with Cooper is second to none as they simultaneously explore the effects that fame has on a person. Lastly, Sam Elliott also gives a career-best as Bobby. He doesn’t get much screen time, but he makes every second count as he plays a character battling his past and the effects it has had on his life. A Star Is Born has everything going for it; great directing, a powerful story, amazing original songs, and two leads who couldn’t be closer. It’s the best film of the year (so far) and will become an instant classic, one that will be played and remembered by this generation for years to come. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Sonic the Hedgehog' Review February 20, 2020 By: Hunter Friesen It’s been almost a year now since we were exposed to the horror that came with the first trailer for Sonic the Hedgehog . The blue furball we loved as a kid was turned into a monster with human teeth, small eyes, and freakishly long legs. After the overwhelmingly negative reactions, Paramount Pictures announced they would be delaying the movie and taking time to redesign Sonic to better fit his classic video game look. Now in February 2020, Sonic the Hedgehog has been released with improved visual effects. The story takes place in the small town of Green Hills, Montana. Sonic is living his best life there as he causes mischief for the residents and partakes in other fun activities. On one night, Sonic’s actions get the better of him and he attracts the attention of the US Government, who hire the insane Dr. Robotnik to track him down. Needing to go on the run, Sonic recruits the help of local police officer Tom Wachowski. The two set out on the road, getting into hijinks along the way. Directed by Jeff Fowler, Sonic the Hedgehog doesn’t have enough originality to warrant its existence as a movie. The structure of the story is eerily similar to E.T. the Extra-Terrestrial as an alien creature gets stuck on our planet and must rely on an unassuming human to help him return to his homeworld. The only difference here is that after the initial setup, the story turns into a bit of a buddy road trip movie. But the road trip structure here also apes other computer-effect character movies such as Looney Tunes: Back in Action and The Adventures of Rocky and Bullwinkle . Fowler does impress slightly as two moments pop up that make for great fun, which are the moments where time slows down to account for Sonic’s super speed. It’s a nice comedic bit that shows off Sonic’s powers, even if it plays almost shot for shot the same as Quicksilver’s scene from X-Men: Days of Future Past . It’s also important to point out that the decision by Paramount to redesign Sonic turned out to be the right move. The new look is very well done and is more appropriate to the character. While also being a ripoff of E.T. the script for Sonic the Hedgehog also takes a few too many ideas from the playbook of other kids' movies, most notably the self-referential humor found in The Lego Movie and its sequel. But while the Lego movies were able to catch lightning in a bottle, Sonic's attempt is impeded by a less-than-talented committee of writers. The producers must have needed money to fund the character redesign as it seems they sold off some of their jokes to corporate entities. Many recurring gags surround Amazon, Uber, Zillow, and Olive Garden. None of these jokes land and only get more shallow as the movie goes on. There are also quite a few pandering pop-culture references to the likes of Keanu Reeves and the floss dance. Yes, Sonic flosses in this movie not once, but on two separate occasions. Ben Schwartz voices the titular blue speedster. For better and worse, Schwartz is the definitive voice of the character, supplying a sly, sarcastic tone. He can be quite grating at times, but it’s also not entirely his fault due to the poor material he’s been given. James Marsden as Tom Wachowski fares the best out of the human characters. His performance solely consists of him reacting to his furry sidekick’s antics. You can tell that Marsden isn’t interacting with a real object, making for some awkward scenes. Lastly, generational talent Jim Carrey plays the oddball villain, Dr. Robotnik. Carrey falls into his usual schtick of thinking that high energy equals great comedy. He’s begging you to like him as he bounces around in a similar fashion to his earlier roles. Sonic the Hedgehog is about as bad as I was led to believe, but not as bad as I feared it would be. What’s ironic is that the best part of the movie, the visual effects, used to be the worst part. If only Paramount had decided to redesign the whole movie and turn it into something worthwhile instead of this needless cash grab. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Broker' Review May 31, 2022 By: Hunter Friesen Broker premiered at the 2022 Cannes Film Festival. Neon will release the film at a later date. Revered Japanese auteur Hirokazu Kore-eda has been on a sort of international tour since he won the Palme d’Or for Shoplifters during the 2018 edition of the Cannes Film Festival. Before then, he’d remained tied to his native Japan beginning with his 1995 directorial debut, Maborosi . But after the golden laurels, he set his sights on making his English-language debut, The Truth , with Catherine Deneuve, Juliette Binoche, and Ethan Hawke. Also uncharacteristic was the film’s debut at the Venice International Film Festival, away from Cannes where four of his last five films premiered. While it couldn't be considered a failure, the film was seen as a lesser work from a dependable master. So, as a possible rebound tactic, Kore-eda has returned to familiar territory with Broker , debuting in competition at this year’s Cannes Film Festival. But Kore-eda hasn’t made a full return as he stops just short of Japan by setting and supplying his film with top-tier talent from South Korea. And with the help of his crew, many of which come from Parasite including lead actor Song Kang-ho, cinematographer Hong Kyung-pyo, and composer Jung Jae-il, Kore-eda has crafted a touching, if familiar, story about families forming in the most unlikely of circumstances. A baby has been left in a deposit box used by mothers who can’t, or won’t, keep their babies. Two of the employees at the facility, Sang-hyun (Song Kang-ho) and Dong-soo (Gang Dong-won), have formed a partnership to circumvent the rules of the establishment by taking the babies into their protection and selling them under the table to needy couples. The act itself isn’t just about the money, even though it does help since the going rate for a child is nearly $10,000. The pair see themselves as saviors for these kids, as selling them off gets them to a proper home much quicker than the laborious state-run system. 1 in 40 mothers that drop off their babies never return, but So-young (Lee Ji-eun) is that one. She comes back to discover that her baby has been snatched by the pair, whom she labels as simple “brokers” looking to make a few extra dollars under people’s noses. Needing to keep her quiet, and to lend some legitimacy to the sale (which So-young is still okay with), the brokers decide to cut her in on the deal. Purely based on this introductory premise, Kore-eda has laid a field filled with moral quandaries. Is it right to break the law and sell a child if it means they will potentially have a better life? Who is worse, the mother that disposes of the baby, or the people that sell the child? Who’s responsible for the child once the mother has disowned them? Kore-eda doesn’t stop there, as the plot thickens those arguments with supporting details and rationalizations from each character. So-young is revealed to have a troubled past, lending some credibility to the usual selfish act of giving up your child. Sang-hyun has had run-ins with the law, and Dong-soo grew up in a run-down orphanage where the chances of being adopted are slim to none. But even with all these character developments that should create an ethically questionable story, Kore-eda’s direction never makes you feel as if any of this is wrong or dangerous. Throughout the film, the gang is being tailed by two female police officers looking to catch them in the act. That danger of being caught never comes to the surface, with the cops being more of a humorous nuisance than a threat. Similar to his previous Cannes entry, Shoplifters , Kore-eda does make plenty of time to instill lessons on how we don’t often get to choose the family we have. A direct reference to Paul Thomas Anderson’s mosaic Magnolia , tells all how the best-laid plans never truly turn out the way we envision. Even though each character may have their agenda behind the act, their shared journey is what binds them together. Dong-soo and So-young’s symbolic journey atop a Ferris wheel, coupled with the ivory keys of Jung Jae-il, make for a tear-inducing moment. With a lighter tone and more melodrama, Broker doesn’t contain the precision of Kore-eda’s previous works. But that lightness makes for an accessible and emotionally rewarding experience. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Nyad' Review October 20, 2023 By: Hunter Friesen Nyad screened at the 2023 Toronto International Film Festival. Netflix releases it in theaters on October 20 before the film streams on November 03. It’s not hard to see why documentary directors Elizabeth Chai Vasarhelyi and Jimmy Chin found themselves attracted to the story of Diana Nyad. With their Oscar-winning documentary Free Solo , the duo introduced (at least to the public at large) the character of Alex Honnold. He’s reckless, charismatic, and someone polite people would call a “free spirit.” Having that much of a personality dangling on the side of a rock hundreds of feet in the air is a combination made for the cinema. It was a film you had to see on the big screen, with the stunning imagery and stakes making it a thrill ride to rival even the most high-octane blockbuster. Diana Nyad seemed to cut off the same cloth as Honnold. She came to prominence in the 1970s, setting several world swim records such as the fastest time ever in the 22-mile Gulf of Naples race and swimming the 28 miles around the island of Manhattan in just under 8 hours. She’s someone who doesn't understand the word “no,” which does make her quite the asshole to her friends and trainers as they often beg her to see the consequences of her illogical actions. For all her trophies and achievements, one thing has always alluded her: The 101-mile swim from Havana, Cuba to Key West, Florida. She wasn’t able to do it in her 20s, she’ll be damned if she can’t get it done in her 60s. It doesn’t feel like a coincidence that four-time Oscar nominee Annette Bening plays Nyad, who finally accomplished her treacherous swim after four failed attempts. There’s no denying, or shame in admitting, that this is a role tailor-made to get Bening her overdue trophy. It’s an extremely challenging role, both physically and emotionally. She’s not that nice of a person, being bossy and always pushing everyone around. But Bening never lets you outright hate her as you’re always aware that she can do something no one else can, and the only way to accomplish it is to break a few eggs. Much of the film is set in the water during Nyad’s various attempts. The problem is that swimming is a bit like running in that it’s not the most cinematically engaging sport to watch. I’m oversimplifying things quite a bit (like all movies), but there’s not much of a visual difference between Nyad’s failures and success. You see her in the water pushing herself to the extreme, yet you don’t feel it deep down like you should. Much of that has to do with the flatly competent direction by Vasarhelyi and Chin, who are making their feature narrative debut here. Outside of the somewhat jarringly stitched-together sizzle reels that feel lifted right from their documentaries, the pair never can bring this story out of the water, which is quite the shame considering the talents of Claudio Miranda (Life of Pi, Top Gun: Maverick ) were at their disposal. There’s a hollowness to the story and characters. Writer Julia Cox can’t find more within the character of Diana Nyad that Bening doesn’t do herself. It’s impressive to see Nyad make these attempts but at some point, we all ask ourselves why she’s doing it, and the answers are both unclear and unsatisfactory. Helping carry Bening’s baggage is an excellent Jodie Foster as her best friend and trainer, Bonnie. It may be because she’s always sharing scenes with a person who seems like a fish out of water, but Foster/Bonnie is the unexpected heart and soul of the film. Nyad is stuck in an awkward middle ground. It doesn’t possess enough cinematic spectacle to be a Netflix original that deserves to be seen in the theater. It also doesn’t have enough energy or interesting characters to hold people’s attention as they watch it on the couch. There will be some that get a lot out of this, but for most, me included, this feels like an untapped opportunity for almost everyone involved. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Avatar: The Way of Water' Review December 14, 2022 By: Hunter Friesen You know how video games have tried to be more cinematic these past few generations? Works from Rockstar Games with Red Dead Redemption and Grand Theft Auto , or Naughty Dog with the Uncharted and The Last of Us series, have pushed the envelope in terms of making video games into playable movies. Now, James Cameron has taken that path in reverse with Avatar: The Way of Water , making it one of the first movies that truly feels like a video game. Of course, if The Way of Water was a video game, it would be the most polished and best-looking game in history. Thirteen years of waiting was well worth it from a technical standpoint, as Cameron has once again taken special effects to a new level, just as he did with 1989’s The Abyss … and again with T2: Judgment Day … and again with Titanic … and again with Avatar . I’m starting to sense a pattern here. You owe it to yourself and your senses to see this in the highest setting you can, whether it’s IMAX, 3D, 3D IMAX, 4DX, or if you’re really lucky, 4K HFR. Regular 2D will not do this movie justice. You are not just paying to see a movie, you’re paying for a theatrical experience. That statement may be overused at that point since the reopening of theaters from the pandemic, but nothing has symbolized it more than The Way of Water . Saying all that, the experience of watching the original Avatar is more of what people remember than the actual story and characters. The same thing can be said for The Way of Water , as Jake Sully and his Na’vi family of Neytiri and four kids are now living fully within the world of Pandora. Death is not the end of the road for some of the original characters, as Sigourney Weaver’s Dr. Augustine and Stephen Lang’s Colonel Quaritch have returned, just in different physical forms. Both have been cloned as Na’vi avatars, with Augustine being Jake and Neytiri’s adopted teenage daughter (yes, the 73-year-old Weaver plays a character 60 years younger than her), and the Colonel being the leader of a new paramilitary force tasked with hunting down Jake. From here, the story pretty much repeats itself from the original, with Jake once again learning how to interact with this magical planet. There is the caveat, which the title alludes to, that the majority of the action takes place not in the forest, but in the coral reefs, which are inhabited by the Metkayina, a more fish-like species of Na’vi. Even with bringing in Rick Jaffa and Amanda Silver, the screenwriting pair behind the most recent Planet of the Apes trilogy, Cameron still has never been able to crack the code for writing just as he has for directing. It’s easy to forget that despite a combined 23 Oscar nominations for Titanic and Avatar , neither of them received nods for Cameron’s scripts. A few tin-eared lines come up now and again, mostly from the children, who are the main narrative focus for much of the runtime. Luckily, the performances are not inhibited by what’s on the page, with the cast of new and returning principal actors being more than up to the challenge of motion capture performing. The life-like facial animations capture every movement, with real heart and emotion pouring from moments that you normally would find hokey coming from a ten-foot-tall talking alien. But if there’s anything Cameron has been known for, it’s beating the odds of what has always been deemed impossible. At a reported cost of $350 million, the scale to which The Way of Water plays is unmatched, making many past and future blockbusters look quaint in comparison. Just as it was with Titanic , the final hour of this 192-minute behemoth plays out during a ship-sinking, with tons of crystal clear action and tense moments. It’s a real shame that Cameron’s regular composer James Horner died in 2015 because the work here by Simon Franglen can’t quite match the epicness of what’s on the screen. I wonder if James Wan and Warner Bros are shaking in their boots about Aquaman and the Lost Kingdom because I don't know how they’ll be able to beat what Cameron has done here for water-themed special effects. The two movies were originally supposed to share a release date, but that all changed once the DCEU film was pushed back another year. That move won’t save it from endless comparisons, as it’ll now be sandwiched between The Way of Water and Avatar 3 in 2024, which I’m now anticipating infinitely more than Arthur Curry’s next imitation. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Dear Evan Hansen' Review September 23, 2021 By: Hunter Friesen Besides the expected superhero films, the genre that seems to be all the rage in 2021 is musicals. This year sees several different variations of the movie musical, featuring original concepts ( Annette ), musical variations of classic tales (Amazon’s Cinderella ), Broadway adaptations (Lin-Manuel Miranda’s In the Heights , and Miranda’s directorial debut Tick, Tick… Boom! ), and even remakes of Broadway adaptations (Steven Spielberg’s West Side Story ). Slotting right in with the rest of the Broadway pack is the film adaptation of the modern stage musical sensation: Dear Evan Hansen . Riddled with social anxiety, depression, and a cast on his left arm, Evan Hansen is a teenager who can never seem to fit in. He writes letters to himself for motivation, in which one haphazardly falls into the hands of the troubled Connor Murphy, who takes his own life shortly after. The Murphys believe the letter to be Connor’s suicide note, with Evan being his best friend. Rather than admit the truth that Connor was his bully, Evan goes along with this opportunity, netting him a newfound sense of popularity and affection from those that never once passed him a glance. He also becomes an unofficial member of the Murphy family, with the parents taking him under their wing and their daughter, Zoe, developing a relationship with him. But like all charades, the lie begins to spin out of control, tangling Evan and those he cares about in a web of deceit. Tasked with bringing the stage play to cinematic life is director Stephen Chbosky, who recently had success with Wonder , about a boy with facial disfigurement, and the soon-to-be cult classic/greatest movie ever according to Tumblr, The Perks of Being a Wallflower . Unlike the musicals mentioned in the beginning, Dear Evan Hansen doesn’t feature large group numbers on sweeping sets. Much of the action occurs in smaller, domestic locations, with the most exotic sets being a school gymnasium and a run-of-the-mill apple orchard. And even when a song features more than one performer, they hardly share the same location, such as “Requiem,” where the Murphys are crosscut and folded on top of each other. The film hangs its heart on the musical numbers, many of which have become anthems to a generation, especially “You Will Be Found,” which has become so iconic that it gets a special Sam Smith treatment during the credits, along with the familiar showstopping rendition that occurs at the midpoint. Schbosky shows middling prowess for the staging of these numbers, opting for the actors to sing live, filming them through extended takes and slower camera movements that accentuate the emotional pull of the material. That stillness also acts as a double-edged sword, as there is a distinct lack of energy that makes the 137-minute runtime feel a lot longer than it is. Ironically, the main problem that keeps this version of Dear Evan Hansen from being a sensation is not the cinematic qualities, but the story itself, which won Best Book of a Musical at the 2017 Tony Awards. The problem with the story is systematic, with Evan’s actions being steeped in selfishness. Screenwriter Steven Levenson tries too hard to have his cake and eat it too as he attempts to scorn Evan’s actions while also finding the silver lining with a ploying message about friendship and grief. The stage may have been able to cover this with its overpowering emotional tunes and acting, but the slowness of the film adaptation allows for that problem to fester until your sympathy for Evan has completely dried up and you just want him to get caught. Fortunately, the actors aren’t too affected by the script’s problems. Reprising his famous role, Ben Platt proves once again that he was born to play Evan Hansen, despite his 27-year-old face and gangly body signaling that he should have stayed retired. Kaitlyn Dever, who broke out in 2019 with Booksmart , often steals the show as Zoe. Dever finds the right amount of vulnerability as her character deals with the death of a brother she never had much respect for. She and Platt make their relationship seem believable, despite the glaring age difference and underwritten romantic development. Misguided, but not without its merits, Dear Evan Hansen aims for the heart with pinpoint accuracy. There’s an emotional and sweet lesson buried under the creepy candy coating that is the central premise. Once that obstacle is overcome (which is a big task), then there are enough powerful songs to connect with those that sometimes feel alone. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

'Mean Girls' Review January 11, 2024 By: Hunter Friesen “This isn’t your mother’s Mean Girls ” is one of the taglines Paramount Pictures has used to promote their newest version of the Tina Fey-penned high school comedy. It’s a mantra that’s used beyond just the trailers and posters, as the film opens with a TikTok video. But then a character quips that “we’re Cloverfield -ing!,” alluding to a franchise that any TikToker would struggle to identify. That clash of old and new within the first thirty seconds carries over throughout the next two hours, almost as a constant question of why this 2024 version exists and who it was primarily made for. The former question isn’t a hard one to answer. 2024’s Mean Girls was developed for that sweet, sweet cash; specifically in the form of brand recognition of Paramount+, which was where this film was supposed to debut before the strategy was changed in September of last year. It was the right decision to make, as the popping musical numbers and one-liners play infinitely better in the theater than they would/will at home. You also have to factor in the fact that Paramount+ is known for CBS procedurals, Yellowstone , and Top Gun: Maverick , none of whom overlap in terms of this property's audience. The latter question is a bit harder to pin down. I guess you could claim this Mean Girls as a sort of soft remake, a version that provides easy nostalgia to Millenials and an introduction to this overall narrative to Gen-Z. But it’s not like the 2004 version is some ancient relic that needed to be translated for modern audiences. It’s a timeless member of its subgenre, with several quotes living on forever within pop culture. It doesn’t really matter how good a cover version is, as no one would (or, at the very least, “should”) choose to listen to that instead of the undeniable original. But for what this Mean Girls lacks in originality, it makes up for in energy. An interesting long take from a TikTok video, to Africa, and then to high school sets up the basic plot of Cady Heron (Angourie Rice) moving from Kenya to North Shore High. She’s an outsider almost immediately, just a little too much of everything to properly fit in with any of the cliques. Two of the other “weirdos” - Janis (Auli’i Cravalho) and Damian (Jaquel Spivey) - agree to take Cady under their wing. But “queen bee” Regina George (Reneé Rapp) has other ideas, inviting Cady to sit with “The Plastics,” comprised of Regina, Gretchen (Bebe Woods), and Karen (Avantika). Cady is now caught in the crosshairs of a good old-fashioned high school feud, playing both sides as she tries to find her place in all of this. While it would be daunting to replace such likable performers as Lindsey Lohan, Rachel McAdams, and Amanda Seyfried, the cast assembled here does enough to prevent this from being a total downgrade. Rice brings an overall level of likeability, which sometimes makes her “bad girl” heel-turn later on unconvincing. Reprising her role from Broadway, Rapp is the lioness that everyone gets out of the way for in the hallway. Most of our star names come from the adult cast members: Tina Fey, Tim Meadows, Jon Hamm, and Ashley Park. Apart from a few lines from Fey and Meadows, there’s not much there to warrant discussion. First-time directors Samantha Jayne and Arturo Perez Jr. provide several splashy moments of zippy musical interludes. The camera bobs and weaves around the hallways, with the aspect ratio and lighting matching a high-end poppy music video anytime someone breaks out into song. You’d be hard-pressed to remember the lyrics to the majority of the songs, but at least you’re eyes will be dazzled. 2024’s Mean Girls is a different flavor from 2004’s Mean Girls , although it’s about as drastic a change as shifting from Vanilla Bean to French Vanilla. It’s harmless, fun, and will probably be forgotten within due time… kind of like a piece of plastic. Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

Ranking the Films of James Cameron August 16, 2024 By: Tyler Banark Since his breakthrough in the 1980s, James Cameron has been dubbed one of the most innovative and bold filmmakers to work in Hollywood. He’s added classic entries to beloved franchises such as Alien , The Terminator , and his very own Avatar . Even in his non-franchise outings in The Abyss , True Lies , and Titanic , he never ceases to find new ways to push the boundaries of filmmaking. Always looking to make new ground for special effects and crafting some of the most brilliant blockbusters of all time, he’s made a knack for telling audiences one thing: never to doubt him, as he will prove you otherwise. Cameron is an unapologetic filmmaker and even though his career spans four decades, he has no plans to slow down. As he turns 70 years old today, it’s time to look back at the audacious filmography of Big Jim. 9. Piranha II: The Spawning (1982) Easily the most forgotten movie in his filmography, Piranha II: The Spawning sees Cameron helming the sequel to the 1978 cult classic. Not only is it an absolute mess in every corner, but Piranha II has a terrible ensemble, with no one doing anything special to avoid every cliché one would come to expect from a horror flick of this caliber. The effects on the piranhas are cheap and tacky, barely doing anything to bring any sort of life into this mess. I don’t blame Cameron, though, as he got fired during production and later disowned the movie. But just like David Fincher with his debut effort in Alien 3 , Cameron is still the credited director, so it unfortunately counts for this ranking. 8. The Abyss (1989) Surprisingly, one of Cameron’s most obscure works, The Abyss, sees him relying more on the technicals than a concrete narrative. Understand me, The Abyss ’ technicals are marvelous, especially the visual effects. Aside from that, the movie isn’t as strong despite Ed Harris and Mary Elizabeth Mastrantonio turning in noteworthy performances as the two leads. The plot isn’t memorable, even though the final act picks things up when the group discovers the aliens and returns to the surface. Alan Silvestri’s music helps tremendously in making a memorable impact on these moments, even the water tentacle scene. He captures the wonder and awe the characters experience when witnessing a spectacle such as the tentacle. With these moments, Cameron paved the way to build himself further as a filmmaker and innovator. 7. Aliens (1986) The fact that Cameron walked into the pitch meeting for Aliens , wrote the word out, and made the dollar sign just tells you how gutsy the man is. Aliens could’ve been a massive crash for him and Fox as it shifted tones from the all-out horror show of the original to a survival action flick. As a sequel to Ridley Scott's Alien , this film successfully expands the universe while maintaining its predecessor's intense, claustrophobic atmosphere. Sigourney Weaver delivers a powerhouse performance as Ellen Ripley, bringing depth and resilience to her character as she confronts the terrifying xenomorphs once again. The film excels in pacing, gradually building tension before unleashing relentless action sequences. The practical effects and creature designs are exceptional, creating a visceral sense of dread that excels alongside Weaver’s career-best line delivery. Unfortunately, Aliens has proven to be the last genuinely solid film in the franchise as every movie onward has been a divisive hit or miss. We’ll see if Alien: Romulus ends that streak. 6. True Lies (1994) True Lies is a wildly entertaining blend of action, comedy, and espionage. Arnold Schwarzenegger shines as Harry Tasker, a seemingly ordinary husband who leads a double life as a secret agent. All of the charisma that audiences have come to know from him is on full display, from the cheeky one-liners to thrilling action. Jamie Lee Curtis delivers a standout performance as Helen, Harry's unsuspecting wife, whose transformation from bored housewife to action heroine is hilarious and empowering. The chemistry between Schwarzenegger and Curtis adds a refreshing dynamic to the film, balancing the intense action with moments of genuine humor and warmth (take their whole “the bridge is out” exchange as an example). It's a testament to Cameron's ability to mix genres and deliver a blockbuster that's as charming as it is thrilling. 5. The Terminator (1984) Another Schwarzenegger starring movie and the one that put Cameron on the map, The Terminator is a groundbreaking sci-fi thriller. Schwarzenegger is unforgettable as the relentless, nearly indestructible cyborg sent from the future to assassinate Sarah Connor (Linda Hamilton), whose survival is crucial to humanity's fate. With only $6.5 million at Cameron’s disposal, the film is a masterclass in low-budget filmmaking, using practical effects, tight pacing, and atmospheric tension to create a sense of unstoppable dread. Cameron ensures that every scene is packed with suspense, making the Terminator's pursuit feel genuinely terrifying. Hamilton's portrayal of Sarah Connor is both vulnerable and strong, setting the stage for her character's evolution in the sequel. 4. Avatar (2009) One of the biggest movies to ever grace the silver screen (for better or worse), Avatar sees Cameron boldly ringing in his first movie of the 21st century. Avatar is a visually stunning joint that redefined what was possible in cinematic technology. Set in the lush alien world of Pandora, the film immerses viewers in a breathtakingly detailed environment brought to life through groundbreaking 3D effects and motion capture technology. The vibrant landscapes, intricate ecosystems, and the Na'vi, the planet's indigenous people, create an immersive experience that feels both fantastical and real. While Avatar doesn’t break new ground in storytelling, its execution is so grand and visually compelling that it elevates the familiar narrative. 3. Avatar: The Way of Water (2022) Avatar: The Way of Water is a visually mesmerizing return to the world of Pandora, expanding on the original with even more breathtaking sequences and stunning visual effects. The film continues the story of Jake and Neytiri as they protect their family from new threats, this time focusing on the vast, mysterious oceans of Pandora. Cameron’s mastery of world-building is on full display, with the underwater environments being a standout feature, showcasing intricate details and vibrant marine life that are nothing short of awe-inspiring. The advancements in CGI and motion capture technology elevate the immersive experience, making every scene a visual feast. Contrary to the first movie, The Way of Water sees a standout performance from Britain Dalton as Jake and Neytiri’s second son Lo’ak. He’s the heart and soul of the movie as he breathes life into his character that the ensemble from the first film missed. 2. Terminator 2: Judgment Day (1991) If Terminator 2 proved anything, it’s how to make a sequel and have it properly be a step up from its predecessor. The movie delivers a gripping mix of action, sci-fi, and emotional depth. Cameron elevates the franchise with groundbreaking special effects, particularly in the form of the liquid-metal T-1000, played menacingly by Robert Patrick. The visual effects, revolutionary for their time, still hold up today, making the T-1000 one of the most iconic villains in film history. Schwarzenegger returns as the reprogrammed Terminator, now tasked with protecting a young John Connor (Edward Furlong). His transformation from ruthless killing machine to protective guardian adds a compelling layer to his character, while Furlong gives one of the best child performances of the 90s. It’ll make you say nothing other than “hasta lavista, baby” when the credits roll. 1. Titanic (1997) There are few filmmakers who have made a movie about a specific historical event so good that no one else will ever attempt it again. James Cameron became one of those people in his Best Picture-winning epic Titanic , one of the most rewarded films by the Academy with 14 total nominations and 11 wins. Titanic is a testament to blockbuster filmmaking and awards season prestige, with some considering it to be the perfect date night movie. It also helps that Leonardo DiCaprio and Kate Winslet are the leads and have clockwork chemistry. As for Cameron, he made sure he was working with the best as Titanic makes for an impressive feat in not only the effects and acting, but in its design, music, and writing. Like Jack, Cameron rightfully cemented himself as the king of the film world with Titanic . You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP

Ranking this year's Best Picture Nominees March 3, 2022 By: Hunter Friesen For the first time in 11 years, the Academy Awards nominated 10 films in their coveted Best Picture lineup. The lineup is a full spectrum of scope and scale, ranging from domestic family dramas to sci-fi epics. Apart from being the most important category at the Oscars, best picture is also the only category that gets voted on by a preferential ballot where voters rank their choices in order from least favorite to favorite. While I don’t specifically get to vote on what wins at the Oscars, I can have a little fun and illustrate to all of you how I would rank my hypothetical ballot. And if any of these films catch your interest, I have provided the location of where you can stream them (if possible) in the parentheses next to the title. 10. CODA (Apple TV+) A genre I am allergic to is the coming-of-age indie. Unfortunately for me, the Sundance bowing CODA is the perfect model for that. It’s a crowd-pleaser that plays the same notes as those that have come before but has enough emotion and heart-tugging performances to make it worthwhile. If you’re not like me and find comfort in that sort of thing, this will surely be a fine watch. 9. Dune (HBO Max) It’s big, it’s grand and it’s empty. Dune is an odd case of style over substance, in that the substance is there but was intentionally left out for another time. It’s a gamble that may pay off once Part 2 is released, but until then it leaves this first part as a desert-sized disappointment. Full Review 8. Don't Look Up (Netflix) Does it count for anything if the feeling a film is intended for you to have is the same one you feel every day? Don't Look Up is fan service for the people that already agree with McKay's politics. It doesn't really matter that he's right about the climate situation, because his film is too antagonistic to convert anybody from the other side, and not insightful enough for everyone else. 7. Nightmare Alley (HBO Max, Hulu) Heavy on atmosphere, light on substance. I'm happy Guillermo del Toro got to indulge himself once again in the macabre material that he so lovingly adores. I actually wish he would have indulged himself more! It's all a little too pristine for my tastes. Almost as if he's cognizant that he needs to appeal to Oscar voters now that he's in the club. But, that restraint worked in getting the film nominated, so the egg is on my face. 6. King Richard (HBO Max) A huge thanks to Will Smith for keeping this by-the-books sports biopic from being completely boring. You know this story (in a general sense) and how it's going to play out. But you keep watching and stay invested because of Smith and Aunjanue Ellis, both of which give their best work here. 5. Drive My Car (HBO Max) Too dense for a single watch, Ryûsuke Hamaguchi's film can often be a tiresome and frustrating endeavor. Its methodical pacing and setting, much of which takes place in real-time within the confines of a Saab 900, does not make for an easy viewing experience. The simplicity of the filmmaking is made up by the complexity of the emotional throughline. I may not have been able to connect all the dots and have the same soul-affirming experience as others, but I was invested for all 179 minutes. 4. Licorice Pizza At this point, Paul Thomas Anderson’s camera operator has to be an Olympic athlete. Turning away from the youthful chaotic energy of his earlier San Fernando Valley films of Boogie Nights and Magnolia , Licorice Pizza marks PTA's shaggiest film to date, which is truly something considering the aloofness of Inherent Vice . It's often a meandering film where you never truly know where it's going. Sometimes you like where you've ended up, and sometimes you don't. Maybe that's just what PTA intended for, because sometimes in life - specifically in the area of love - you never truly know where you're going to be. 3. Belfast Would you look at that, Kenneth Branagh finally directed a great film! Despite being autobiographical and about a specific place, Branagh's film tells a universal story with sweet simplicity. There's true passion behind every frame and performance. It's not a perfect film, but it hits nearly every emotional beat it sets out to accomplish, with much of the credit going to the incredible cast, especially the discovery of the young Jude Hill as the Branagh stand-in. 2. The Power of the Dog (Netflix) The Power of the Dog doesn’t stray too far from director Jane Campion’s other work as she tightly wounds this surprise psychosexual drama. There’s a cutting edge to each frame, epicly lensed by Ari Wegner. From the directing, writing and the acting, it all combines to make this a grand return to feature films for the New Zealand auteur, who crafts an enigmatic, modern take on the well-worn genre of the Western. It’s the film equivalent of fine wine, as it’s near-perfect at the moment, and will only get better with age. Full Review 1. West Side Story (Disney+) With so many stars in the making, Steven Spielberg is able to harmonize the past and the present, making this remake feel like a Golden Age musical made with modern craftsmanship. With The Great Musical War of 2021 coming to a close, Spielberg has emerged as the predictable winner. Perfectly melding the work of Bernstein and Sondheim with the newfound acting talents of Ariana DeBose, Mike Faist and Rachel Zegler, this new West Side Story makes the case for why some remakes should be allowed to happen. Full Review Must Read 'Dìdi' Review It will become a hidden gem in time, much like the Microsoft tubes screensaver and iconic Windows XP background. SHOP 'The Deliverance' Review It takes a lot of skill to assemble such a stacked cast and crew for a project this uninspired SHOP 'Blink Twice' Review Even with all the devilish debauchery at play, fun is still the name of the game SHOP 'Alien: Romulus' Review It doesn’t have the benefit of being ambitious, which is why it can count itself lucky for executing well on its surface-level objectives. SHOP 'It Ends with Us' Review Readers of the book will no doubt be satisfied with what Baldoni has crafted SHOP