BeoBaxter91

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Reviews

The Batman
(2022)

Did we need another Batman movie so soon? No. But don't hold it against this one.
This movie, IMO, definitively answers the question of whether we need another Batman movie. The answer is NO. We didn't. But it's a solid film, a good movie, well acted that at least offers something "gently new" mined out of the well-trod ground and characters, and is, most importantly, entertaining. That matters to me.

I do think if you've grown tired of the dark, grimy DC universe and this take on Batman (which, I'd note is a pretty accurate one) you probably won't find anything new or entertaining enough to justify this watch, so soon after all the other productions. But, if you're up for it, I don't think you'll regret it.

And, yes, like everyone else, I had doubts about Pattinson, but I was wrong. I was completely wrong. The greatest Batman? Perhaps not. But a worthy one, for sure.

Top Gun: Maverick
(2022)

Imperfect, but an ideal summer blockbuster
This film is not perfect, but I don't fault the reviewers coming out of the theater with a full rush of excitement, nostalgia, and adrenaline for temporarily feeling like it is. For a certain audience, this is the type of film they've been missing. The kind we've not been able to experience in a while, and the kind that brings up great memories and allows us to bridge generations.

It's definitely true that mileage may vary, depending on how stuck you are on accuracy in depictions of military life, aviation, etc. And I personally agree that the writing out of both Kelly McGillis and Meg Ryan's characters in such a way that neither actress even got a cameo, despite being as important to the overall enjoyment of the original film (and Ryan's character being indirectly central to this one) feels "wrong," when you consider how much time and expense was taken to make sure Val Kilmer (who is unable to speak -- his voice was created digitally using AI in the film -- and has other physical challenges -- corrected with a variety of practical and CGI tweaks -- after a nasty cancer battle) would be included. Is it the worst thing that the "surviving" female character is, while largely age appropriate, the one who is most conventionally attractive and young looking of the actresses and was barely a blip in the original film? No, not the worst thing, but it's a legitimate gripe and I don't begrudge others for whom it diminishes their own enjoyment/nostalgia of the film (famously, TOP GUN did shockingly well with women, who were into the romance and Ryan's grief in test audiences, leading them to play up both and shoot additional scenes and sequences, so it's legitimate that many women's nostalgic connection to the source may tie to those characters and scenes as much as it does to Cruise and Kilmer.)

But note I still gave it an 8, because at the end of the day, this is an extremely entertaining film.

Sunset Blvd.
(1950)

Fascinating what holds up and what doesn't
I can't say much that's bad about this film. The truth is films of this era had a specific approach to this type of story, the melodrama inherent in it, and a style. All of that, while it may not hold up the same way today, is beautifully executed here in a story that is as universal and heartbreaking today as it was then.

There's a lot to be read into the text, context, and subtext of this film, which is interesting because elements of it are newly brought to it by current audiences because of our current understanding of Hollywood. Other elements are lost, no doubt, because we can't go back to the place and time, when THOSE audiences may have had a different set of assumptions and biases re: Hollywood. But it most definitely works either way, and that's saying something.

I still recommend it, as an exercise in empathy exploration and building, if nothing else. But I do believe there is "something else" -- a lot of "else" -- to be found, but that it may be different for each audience.

North by Northwest
(1959)

The best of Hitchcock's "conventional" thrillers
I always say Hitchcock mostly made two different kinds of films. Hitchcock had masterpieces of horror and suspense (Psycho, Rear Window, etc.), but he also had a run of more conventional thrillers with less artistic suspense and "big swings" in unique directions. Torn Curtain, The Man Who Knew Too Much, etc. Of these, I believe North by Northwest is the best of the bunch.

While a more conventionally told, presented, and depicted story -- linear, conventional love interest, conventional twists and turns in just the right places, big location shifts, and tentpole scenes, etc. -- this is just a cracking thriller up there with the best of the breed in any era. It's marvelously cast and acted, and a truly fun watch. There's a reason it's so beloved, and it's all on display here, as is the obvious influence it had on later films, similarly beloved.

I like the lightness in the film, most of all. It adds something tonally you don't always get (even in similar Hitchcock films like The Man Who Knew Too Much). For this I credit Cary Grant, who brings all of his charm and then some, and knows exactly how to deploy it for this story.

Martin Landau and Hitchcock's decision to play that character as gay and in love with his partner has very little effect on story, but adds another layer that is just exceptional in the film, that makes the world feel real. Kudos for that decision, as well.

Psycho
(1960)

Still perfectly unique
One of the things that always impresses me when I rewatch this film is how marvelously unique it is--it looks, feels, and plays like a work of art into and of itself. It doesn't feel like a work of a director who admires other directors and fills their work with references or (depending upon your interpretation and how charitable you are) an homage to/rip-offs from past iconic work. This feels like a film that couldn't be made by anyone else, in any other way.

Of course, that's not true (probably, the shot-for-shot remake several years ago makes the case that it could be) but what PSYCHO offers -- and I'm intentionally avoiding spoilers, as requested in the original showings of the film, and for anyone from a new generation trying to decide whether to watch it -- is an experience that not only feels fresh for the time, but also feels like it hasn't been seen in quite that way since. Again, I come back to the word "unque," as a mystery, yes, as a thriller, yes, but also as a film itself.

I also love how the (from today's vantage point) mild and merely suggested approach to violence and horror is as or more effective than the graphic stuff today.

Rear Window
(1954)

A true classic. A masterclass in how to do this type of film.
There's a reason this film is so often imitated, but never duplicated. That phrase is applied to so many things, sometimes correctly, sometimes not, but it is most aptly applied here. To borrow another cliche, Alfred Hitchcock truly broke them old with this particular film. It took the "voyeur witnesses a crime" trope and blended it with THE LADY VANISHES style "or did they?" subgenre of thriller to marvelous effect.

Interestingly, this is neither Jimmy Stewart nor Grace Kelly's best work. They don't have a particularly sizzling type of chemistry, and the material is no more suited to them than any other star of the time (or any of Hitchcock's other work starring them), but somehow when it all comes together under Hitchcock's excellent direction, it just works. 1 + 1 = 3 here and it's an incredible watch.

Intouchables
(2011)

The Acting!
This film is great and a long, complicated dissection is hardly needed. What makes this film, put simply, are the performances. The story is straightforward, familiar with just enough unique elements to give it a freshness. But even if it was a retread (and there are parts of the film that keep it from being a perfect 10) the acting would still make it a must watch. I highly recommend.

Death on the Nile
(2022)

Just not well done
The film was mildly enjoyable, and perhaps even more so if you are unfamiliar with the source material or any of the previous adaptations, but I don't think I can say it's well done, because it really isn't. It's exceptionally beautiful but no more so than the far superior Branaugh adaptation of Murder on the Orient Express. Many of the same cinematic and directorial tricks are employed here to slightly lesser effect.

But the real son of this film is that it is clearly and unapologetically a Branaugh vanity project. He makes no real intent to embody the legendary and iconic Hercule Poirot. In fact, he casts off and dismisses many if not most of signature characteristics of the character. He explicitly gives the character self-serving characteristics as well as backstory that contradict everything Agatha Christie so carefully built in creating and fleshing out the character. He makes the character an avatar for Kenneth Branaugh and it serves no one.

The same can be said for the changes to the plot and details, the less said about those, the better.

Memento
(2000)

Still works, but no a casual watch!
I was reminded of this phone a few weeks ago and decided to give it another watch. It is still amazing. It's a sheer feet of organization to see the way Nolan and company twisty, recursive thriller, and managed not to leave a dozen or more gaping potholes along the way.

Just as I remembered, it still feels very much like an independent film; definitely a low budget one. But the viewer is not the worse for it. In fact, that's part of its charm.

My advice is to s watch it when you have the time to pay attention . You won't enjoy it if you can't keep up with it.

Uncharted
(2022)

Strangely joyless
Towards the end of the film I realized something it was missing the joy that normally comes with Blockbuster fair, particularly when it features stars of this caliber. What joy and excitement the film does have come specifically from that generated by Tom Holland, Mark Wahlberg, and the cast.

Yes there are the requisite numbers of explosions, CGI feats, and pounding music, but it all feels like we've been there before seen it before, and frankly, better. That doesn't mean this isn't what it seem ing relax it's a fun diversion it's probably even more fun on a television, but don't go in expecting anything groundbreaking, was feel the way you did the first time you saw glasses like Indiana Jones or even Pirates of the Carribbean.

Fantastic Beasts: The Secrets of Dumbledore
(2022)

A shame the film is linked to real life issues
It is a shame this film is linked to the real life own-goal that is J. K. Rowling's combative intransigence regarding trans issues, and the circus of the Johnny Depp scandal, because it absolutely works, and well, as a middle entry in this franchise and extension of the Harry Potter universe.

Milken and Law are in fine form and the film plays well. Does it have the magic of the Harry Potter films? No, but that's okay. I still recommend it and highly.

The Harder They Fall
(2021)

Different and visually stunning, but so good too
I watched this one at home after finally returning to the theater for the recent blockbusters and worried it might dissapoint. It didn't. This is a really good movie and continues the trend I've seen and noted in both a recent festival indie and major global blockbuster lately...namely, the much ballyhooed diversity and comendable outside of the box thinking is indee awesome, but it's no longer the first thing you notice or want to talk about. It's just something that adds beautiful texture and originality to the film, but don't get me wrong, the film is darn good. The new (sadly) elements are just what make it soar higher, it was already up there and together you get perfection. I really, really liked this film. I have nothing of note to say negative about it.

The French Dispatch of the Liberty, Kansas Evening Sun
(2021)

Exactly what you go to see it for
This was my fourth film back in the theater and like the others, I saw it because I thought I'd regret not doing it if I waited for TV. I was right. Just like the blockbusters played so well on a big screen, the signature Wes Anderson visuals just pop in what is a really good, enjoyable film, IF that's what you're already into.

I rated the film a 9 but waited to write my review and I am glad I did. I just revised it down to an 8 because the movie feels a little less magical when it isn't right in front of you and fades quicker than I like from a great film. But the truth is there's no mystery here. If you like Wes Anderson and this style of film, it will be enjoyable to you.

No Time to Die
(2021)

Not a perfect movie, but fitting send off and I loved every minute
It's really hard to meet the expectations built in for a film like this. End of a chapter, end of an era or whatever you call it, plus a beloved franchise people have strong feelings about and the addition of new elements, but I am so glad I made this my third film back in theaters after Eternals and Dune, because, like those movies, I felt like I was AT the movies, sharing a big experience with everyone in my city at night. It was a true blockbuster experience and I think that was its #1 job, and that's a good 7 points of my rating alone!

The other two are the genuinely good acting and committed performances from everyone involved who totally understood the assignment. Daniel Craig can be proud of this as a final film and newcomers like Lashawna Lynch are very welcome additions, IMO. Ralph Feinnes is settling in nicely with the established cast, too.

The running time is largely why it gets a 9 not a 10 from me. I think it could have been a tighter film, but I can live with that when I am genuinely having fun!

Dune: Part One
(2021)

A 7 as a film, but potentially a 9 as the first in a series
This was very well done, but a lot of what made it so good and exciting was imagining how all the cool things we saw here will play out over the length of the franchise.

Which is not to say the film isn't good. It's really nice, and compared, for example, to the earlier film, it serves a different purpose. This feels truer to the book, but doesn't work quite as well as a stand-alone film, possibly because it isn't meant to be and never was.

And in a way I like that. So definitely recommend seeing, but don't expect that full film exerperience. It feels incomplete, but in a good way, anticipating what will continue to play out.

Station to Station
(2021)

Not what you think it is, but something much better
I am not sure what I expected going into the movie (I was asked to be a test audience member two months ago) but it wasn't what I thought, in all really good ways. It's really hard to describe this movie without either giving too much away or giving people the wrong impression, so I think I'll just say it's a really well-done drama about a young man who has a lot of growing up to do, and a bit of a chip on his shoulder, who runs to Las Vegas rather than face his issues at home, only to find and create new issues there.

The film kind of follows him for 6-9 months as he interacts with friends/lovers/colleagues/family, and while he learn a lot about them, the audience learns a lot about him (and wonders if he's actually learning, too). In that way, the film is a lot like Richard Linklater's Beyond trilogy, and I think some reviewers have said that. But I think the other comparison they make, to Paul Thomas Anderson, is better.

Mostly because of the way the film makes all the psychological drama really watchable instead of depressing or boring. The two hours mostly flies by and it does a neat trick because by the end, you realize you had no idea where the movie was going, pretty much at any time, let alone somewhere so powerfully dramatic. I think that made it really satisfying to me. I am glad I didn't assume the end in the first half because the setup was for something else.

I think there will be lots of comparisons to Boogie Nights, but I think that's mostly due to surface similarities. Boogie Nights was bigger, more salcious for show, and wrapped up in a really predictable and old-fashioned way. This does a bunch of stuff I wasn't expecting and treats its characters as unique, not tropes and that's a movie lovers dream, in a way.

In a different review, for a different film, I said you could just watch the acting only and still be ertained, because all the leads were so good. That is 100% true here. The casting on this film, especially for all the main characters or the ones with big moments is incredible. I wouldn't be surprised if any of these new faces break out, but I hope if they do, they don't lose the raw parts of their performances in this film.

I don't usually give 10s, so I gave the film a 9, mostly because it's amazing they made this to this level of quality, on both a limited budget and during the pandemic. Without those challenges, it's obvious this would have been a 10, and that's a pretty big compliment from me. But maybe the more useful compliment is that I spent money to buy a ticket to see it again at a festival tonight when I already got to see it for free!

Evergreen
(2020)

Lovely film! Tech challenges, but a net positive you should watch.
This is a lovely movie with a nice premise, likeable actors, gorgeous scenery. I really enjoyed it.

As a film, it leaves a little to be desired, as the sound and some other technical and practical issues, all that will be resolved when this team get a little bit more budget and/or experience. It didn't take away from my enjoyment of the film itself, so please don't let it keep you from watching, though, but I did find myself wishing they'd had more money for sound, so it could match the potential shown by all the other factors, especially the cinematography.

I gave it an 8 because I think you should watch this film. But don't prejudge it by your first impression of the tech. You'll enjoy this.

Mare of Easttown
(2021)

Impressive showcase for all the actors, good story
This is a pretty strong mystery and it's well plotted. But the real selling point is the amazing acting on display, especially from all of the show's leads. Each has a different and very specific part to play and they do such a wonderful job making those characters, their different POVs, and VERY difficult accent to learn and hold in place.

Even if the show had been weak, this alone could have carried it.

But it IS a good show and a good mystery. With any multi-parter, there is filler, but actually less than you often see on these shows. And while I eventually figured out who did it, I didn't until the end, and the excecution of the revelation was still so watchable, I wasn't disappointed.

I finally felt like we had an equivalent to Broadchurch and those great British limited mysteries.

Eternals
(2021)

Blown away, (it's not what people say it is at all)
I like movies that make me think, keep me guessing, have real stakes and suspense, and great characters. This had all of that. I don't know what the negative reciews are banging on about as a lot of the stuff they say is in there (a long passionate gay kiss? Nope, just a normal kiss like a spouse sending a husband off to war...no tongue, no head movement, no repositioning of the lips, no passion, just a kiss and it's done) and the film did change the formula up, but in really good ways that made me so excited because I couldn't guess what would happen. Definitely lots of jokes and action, too. It's in my Top 5 Marvel for sure. See it and make your own judgement.

The 24th Day
(2004)

An unexpected, pleasant surprise--a great, intimate, movie.
I initially had serious reservations about this movie...most of them stemming from the fact that this was originally a play. Movie adaptations of plays are often problematic because the comfortable movie "tricks" of scenery and special effects are not available to the director, and "name" actors often replace the seasoned theater actors who first brought the words to life.

Also, like most plays, 24TH DAY is really talky. This is okay in a play because of the intimacy developed between play actors and playgoers--something nearly impossible to replicate in a movie. When you hear "Cyclops from X-Men" and "Ben from TV's 'Felicity'" you don't exactly sense that the acting chops will be there to make up the necessary lost ground.

This is why the movie was an unexpected revelation, as the director and two actors committed fully to the complicated material, claustrophobic set, and see-sawing intensity. All the right choices are made and no one chews scenery. Extraneous scenes and locations were not added to "open" up the material. It was presented largely "as is" and the viewer challenge is pretty much all psychological. The tension really ratchets as your allegiances to each character shift back and forth in this claustrophobic apartment. Interestingly, I also thought I had the ending nailed (down to how the final scene would end and fade to black) and was proved very wrong--that was a pleasant surprise.

(A Note: The "gay" content is never used to shock or titillate and there are no gratuitous kissing or sex scenes (even in a series of artistic flashbacks used to solid effect). In fact, I was taken with the restraint used by the actor and director...the easy choices are rarely made in this movie and that's a good thing. I certainly intend to watch it again, and hope to see a play mounted some day nearby so I can experience it live.)

I very much recommend this movie.

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