josiahliljequist

I wanted this to be good-it turned out great. But really, I shouldn't have doubted Gunn and the Guardians.

The music is great, with both emotional power and inspirational beats. Finally the trailer songs made it into the movie! And I'm so happy they did, as they're both awesome tracks. All the characters get their chance to shine, with closure for pretty much everyone. But lemme just talk about my favorite character, Rocket.

He's the soul of the Guardians, has been for the entire trilogy, and Gunn places all his chips on the emotional backstory of Rocket to carry the movie's narrative and tie together all the thematic threads. It pays off big time. I'm not a very emotional moviegoer, and can't remember the last time I've cried at a movie, but this one had me bubbling with tears several times, all involving my favorite raccoon. His story of being ripped apart, ostracized from everyone he's ever known, and lacking an identity to hinge meaning on, represents all the Guardians in one way or another. It shows in the characters love for him, too. I almost lost it when Rocket revived from his near-death experience with Lylla, and speaks up for the first time since his incident-all the guardians stopped what they were doing, and you could see and feel the great love they shared for Rocket, the love that had been previously torn from him. His journey of healing, learning that that kind of traumatic pain can only be overcome with friendship and camaraderie, completely exemplifies the Guardians of the Galaxy spirit, and it's one of the most satisfying character arcs I can remember for any movie.

Oh also there's that one shot action scene. Oh man oh man oh man. Epic doesn't even begin to describe it. If you've seen it you know exactly what I'm talking about. Damn.

Some films make you step back and think about your own life, your own morality and selfishness-and this one definitely did it for me. I was amazed by the depiction of these characters (who were loosely based on real life women), and the power they had to forgive and keep their faith. To have one of the greatest, if not the greatest, evils perpetrated against you and to be lied about the very crime, and yet to look forward with hope and love is something inspiring to say the least. And I don't think this film is just about gender. When August talks about teenage boys, he explains how they can indeed be dangerous, but that they also have tender and poignant emotions that need time and love to develop and be sustained. He sees hope in those boys. And in one of the most moving scenes in the film, when Ona is asked how she can stand having a rapist's baby inside her and actually love it, she explains how the baby is as innocent as all of us, just as the rapist was at the moment of his birth. Ona represents an undying optimism for humankind, one that is bolstered by her faith and ability to forgive, and I was certainly moved by her portrayal by Rooney Mara.

Some reviewers felt that the movie was slow and stagy, but I was thoroughly gripped with the drama and dialogue of the film. The performances are great, and the cinematography is focused and efficient at setting a somber mood with rays of beauty (like the time lapse of the setting sun, the children playing in the waves of grain, the starlit barn), and I believe Sarah Polley's decision to mute the color gradient was a smart one. Another aspect I found particularly effective was the score by Hildur-it was beautiful and tense, yet not overly sentimental, with minor key guitar strums that propelled the momentum of the one-day set film, while also creating a dreary and apprehensive mood as the women await their decision and fate.

Overall, I was moved and captivated by this film, enough that I wanted to write this review. And I can't say that for many movies.

I don't know if it's the cozy cinematography, the many tracking shots, or two actors that have been in a lot of his films, but this movie has a real whimsical, wholesome, Wes Anderson vibe to it and I liked it. Saoirse Ronan is incredibly cute and comical in her role as a apprentice cop learning the trade and trying to solve the mystery. Her puns in the beginning are pretty funny, and she just has such a sweet aura throughout that weirdly fits with the movie.

The film moves at a leisurely pace, almost like a British afternoon tea on a rainy day. Or drinking hot cocoa while watching an Agatha Christie murder mystery as the snow falls outside. That kind of vibe, and I'm here for it.

Oh, and we get to see Adrien Brody in a Grand Budapest Hotel-like rich jerk role, and it's pretty great.

* First off, I want to commend Peele for giving the movie heaping spoonfuls of atmosphere. From the opening chatter of the sitcom turning into unknown shrieks and a chimp with blood-dripping lips, you feel the unease. In fact, every scene with Gordy is terrifying and unsettling, shot to perfection with slow tracking and set shots. It's not completely without rhyme or reason (combined with the grasshopper, but I'll get to that in a minute), but it's just out of left field enough to really jar you.

Then there's the cinematography. Jordan Peele once again takes his time with the shots, establishing location and atmosphere as things not peripheral, but essential to the movie. Often the camera will pan when most directors would choose a cut. The result? Scenes that are allowed to breathe and really stick in one's mind. There are several scenes that I think will stick with me for years, including the house of blood, Gordy, and a great Signs-esque fakeout in the barn. Even the red herrings are given time. The landscapes and night scenes are beautifully shot.

Next, characterization is good. While Daniel Kaluuya plays rather a stoic role as OJ, Keke Palmer steals the show as his sister, Emerald. Right from the get-go you feel her vivacious, carefree vibe, and the movie takes time to show quirks like her randomly complimenting a stranger and impulsively tossing a sour patch kids candy in the shopping cart.

Then there's the sci-fi references that Peele makes in the movie. (Honestly, he said he was inspired by a handful of movies, so I had my eyes peeled. Get it?) The security camera scene is faintly reminiscent of the baby monitor scene in Signs, the twister sucking up people is referencing Wizard of Oz (in addition to an overt reference about ruby slippers on the cell phone), and perhaps the most obvious one, a Jurassic Park rainstorm reference during the thunderstorm alien attack (except it's where the horse go?) One more film that I don't think Peele mentioned referencing but came to mind is Hitchcock's The Birds-the fear of animals turning on humans for no apparent reason. In this movie, the grasshopper blocking the security camera seems to be doing it on purpose, blocking it at the alien's bidding. Gordy goes crazy and eats people, probably prodded by the alien as well. The motif of predators and the food chain is prevalent in the film, and the humans are no longer on top.

Okay, now for the criticism. Major spoilers ahead. At the beginning of what I consider the third act, the UFO is revealed to be an alien entity itself. This slows the momentum and tension of the movie for two reasons-there is no mystery anymore of what the thing is, and there is no possibility of a further reveal of smaller aliens, where they could hide and provide further scares and tension. Once the reveal is made, it becomes no longer a horror movie so much as it becomes a cat and mouse, chase film. The audience is no longer left guessing, and can focus on the one big creature in the sky. It's not that it kills the movie, just slows it down and decreases the increasing suspense and dread in the film. The more the UFO is shown, the less it becomes a spectacle and the more it becomes a bore. Then there's the ambiguous themes in the film. I already mentioned that there's a food chain motif, and I'm sure there are more that would be found with repeat viewings, but immediately I can't think of the overarching theme that ties the film together. Whereas with Get Out and Us the theme and focus of the movie was clear, with Nope Peele seems to put a lot on the plate without committing to any of them. I concede this could change with more viewings, however.

Anywho, I enjoyed the movie, especially the first two-thirds. Oh yeah, and the soundtrack rocks. There's a few needle drops, and music is used to good effect in the film. I'll probably watch it again and try to figure it out a little more, but dang, I wish either the twist was held for longer or not made at all.

This film really got me with the actors' performances and the atmosphere of the film. Stylistically, it definitely taps into a late 70s gritty suburban nostalgia, a la Stephen King or John Carpenter (think IT or Halloween). Mason Thames and Madeleine McGraw carry the film with standout performances as two siblings trying to deal with bullies at school and at home, in addition to the lurking Grabber. Subtle quirks in characterization such as Finney sitting down and watching tv with his sister after her beating, or the camera lingering on Gwen skipping her way to a friend's house really show the director investing in the characters, not just the plot. And yes, Ethan Hawke is assuredly creepy as the villain, someone you can't wait to be taken out. Thematically, the film is about standing up and sticking together; certainly not the most original themes, but it does its job as a result of good direction, a tight script, and stellar acting. My litmus test for thrillers is if I feel invested enough in the characters that I actually want everything to be resolved, it means the movie's done it's job-this one definitely passes.

When I go to a Jurassic Park movie, I want something above all else-hyper realistic dinosaurs in cool environments, seeing them frolic in natural habitat, defend territory, battle other dinos for dominance, hunt humans, and the like. From the opening island scene with the brachiosaurus to the T-Rex reveal in the rainstorm, dinosaurs were front and center in the original Jurassic Park, inspiring a sense of grandeur and awe. The dinosaurs were what mattered, and everything else was peripheral-even the plot to get off the island. We all wanted another glimpse of the T-Rex, or were anxious to discover where the raptors were lurking.

So that was the first one. Now in this sixth installment, not only are dinosaurs relegated to a commercialized product that's seen on every tv screen in the movie, but they're demoted below the humans, genetics, and even mutated locusts in terms of importance. In a two and a half hour movie, one would expect dinosaurs to fill almost half that time, and yet they pale in screen time comparison to all the human characters. Instead, the director tried to insert cameos of the legacy characters in forced interactions and honestly cringey dialogue, shifting the focus away from the real meaning in the Jurassic Park franchise-awe for dinosaurs. The wonder is now gone.

I have given it six stars in respect for the franchise and the limited appearances of some of my favorite dinosaurs, but I'm sad to see that the director forgot what made Jurassic Park so special in the first place.

So Encanto has some-not a lot- but some of that Disney escapism that makes you forget where you're seated and takes you to another place. One track shots showing the boy utilize his animal-whispering gift, and the entire song/set pieces of "We Don't Talk About Bruno" are definite highlights, and give you some hope for future Disney movies. The movie excels when focusing on the music and the ways that the characters' powers can be utilized for unexpected comedic relief, but it slows to molasses and becomes semi-cringy when focusing on the themes of "finding your true self" and generational misunderstanding. It's not that these aren't valuable themes, it's just that it's so beaten over your head, and so telegraphed that it loses any power it could have had by the end. Without an obvious underlying message, I think I would've enjoyed this movie just as much, if not more, as a sort of Raidersesque type adventure movie devoid of obvious meaning.

But the movie is not a lost cause; the middle section of the movie has immense energy (sparked by the fantastic number "We Don't Talk About Bruno") and has some of the most creative, colorful, and gorgeous visuals I've ever seen in a Disney movie.

So watch the movie for the songs, sounds, sights, shadows, lighting, and just try to swallow the force fed message down as smoothly as possible. It's worth it, even if it's not up there with Disney's best.

So this short film was deep. I think I learned more about how to and how not to parent from this short film than from any educational book or video.

Generational trauma and how it is passed down (and how it can be avoided) is explored in a Disney short- you heard that right- and all of it is explored and felt without any dialogue! It's only 7 minutes so won't go into detail about plot, but it starts out with two raccoons who go foraging by the sea.

Gorgeous hand drawn animation, and beautiful, emotional story. Wouldn't be surprised if it wins best short. (And though Encanto, the movie it precedes, is enchanting, this short exemplifies and expresses Encanto's theme more effectively than Encanto!)

I watched this movie with expectations that it would be a Guillermo Del Toro atmospheric/visual feast, and in that end it did not disappoint. All the gray, from the shabby buildings to the mist that clings to the mountains, everything exudes a sense of gloomy damp, a kind of claustrophobic enclosure in the northwest. A standout scene is near the beginning, when the father of the boy goes down the mine--the lighting is exquisite, with reds and shadows alternating in a deliciously creepy sequence. For a horror movie, it is short on jump scares (only one really big one), but what it lacks in scares it makes up for in atmosphere and disturbing imagery. And yes, the creature design for the Wendigo is awesome.

Props also to Keri Russell, who does her usual solid turn as an actress. The boy is also a good actor, and is the right amount of deer-in-the-headlights and creepy-loner-vibes.

And yes, tally up another one for horror movies with creepy kid's drawings.

(A really funny scene involves this, the only funny part of the movie) So, recommended. It has Malignant-like atmosphere and visuals, only it's a little less bonkers (but how can you outbonker James Wan's deranged creation? You can't.)

So I came into this movie with seismic expectations, absolutely loving Baby Driver and having watched all of Edgar Wright's films (and a lot of his recommendations). And I was slightly disappointed, but only because he had a classic to follow up (Baby Driver).

So the movie starts out wonderfully, with a silhouetted Eloise dancing to a 60s tune, as the camera follows her and pans into a 60s bonanza of posters and memorabilia. It reminded me of the opening of Adventures in Babysitting, in which the lead female character likewise starts the movie off by dancing to a 60s upbeat tune. It made Eloise instantly quirky and likable, and it established her love for the 60s, in just a couple of minutes or so. Classic Edgar Wright. Then she is accepted into a fashion college, and moves out to London. She finds that the big city is not all that it's cracked up to be, as she's hit on by a creepy taxi driver, and is gossiped about by her roommate. So far, great seeping psychological tension created by Edgar Wright.

So then Eloise decides to move out and move into a Soho apartment to "escape." And that's when Wrightesque things get into full gear. An otherwise quiet beginning becomes loud with 60s music, bright with marquees and neon lights, and there is gorgeous cinematography, including a 360 panorama of 60s Soho, coordinated reflection shots of Eloise and Sandy, and impeccable transitions in the iconic dance scene. Beautiful, smooth, musical.

And then the movie shifts to its "message," and ghost story part which in it of itself isn't a bad thing. But when the ghost guys in tuxedos begin appearing around every corner, the message begins to become redundant, and the psychological aspect of the movie loses energy. Subtlety gives way to obvious symbols and even some questionable music choices (Always Something There to Remind me was a little on the nose). It's not that it ruins the film--it doesn't, as the two lead actresses do a fantastic job throughout the movie, and the soundtrack is consistently popping. It's just that the cgi ghosts drag the movie down, and undercut the otherwise disturbing tension that was created in the first third of the movie. And without spoiling it, the ending sort of cheats the audience, and reveals the plot to be more of a message and idea than a...well...a plot. But overall, Last Night in Soho is an immersive experience by Edgar Wright that crumbles a little bit when entering the ghost moral message segment of the movie.

One of my favorite lines in poetry is Keats' "A thing of beauty is a joy forever...some shape of beauty moves away the pall from our dark spirits." And I think this movie is Wes Anderson's way of recapitulating that sentiment on film.

Each story shows the transcendence of art, beauty, and love in different ways. In "The Concrete Masterpiece," the prisoner Moses staves off thoughts of suicide by delving into pottery, and eventually art. Simone is the beautiful muse that inspires him in spite of himself, and through her artistic spirit he lives on--both in his final work of art and in simply staying alive.

In "Revisions to a Manifesto," revolutionary wannabe Zeffirelli finds solace from the confused turmoil of a ambiguous revolution through the brief interlude of love that he finds with his fellow (and rival) compadre Julliette. It's the only time things slow down, and the scene is allowed to breathe, showing the calm that love brings in sharp contrast to the chaos of war.

In "The Commissioner's Dining Room," chef Nescaffier saves a boy's life through serving poisonous radishes to the kidnappers, and in doing so he must test it and poison himself. He ultimately survives, but he reveals that the poisoned radishes had a new flavor, something exceedingly rare in his long experience as a chef. Even in the face of death, the sensual art of food was something that enlightened him, something that proved transcendent over possible death.

Now this doesn't mean the film doesn't have its flaws. It does. The narration can be frustrating, especially when one wants to simply soak in the gorgeous cinematography that Wes Anderson employs. The vignettes are mostly stand alone, and have no culminating element that ties the whole thing together. Except the beauty in art. The theme of art and love (and love for art) transcending all else, a fitting theme for a love letter to France.

So overall, I really liked it. Its emotions are not in the actors, the lines, but in the underlying theme of art and beauty sustaining us through dark times, something portrayed beautifully by all the gorgeous scenes strung together like a jeweled necklace.

This movie is a little known gem. The score from Stanley Meyers and (mostly) Han Zimmer is haunting and moving, and it perfectly complements the beautiful cinematography of the fantasy world. The music stirred my soul, and the friendship between Marc and Anna was touching. The idea that two troubled souls can meet up in their dreams is one that fascinates me, one that reminds me why movies are so special in the first place. From start to finish, this movie is a minor masterpiece.

This episode is completely bonkers, and in the best way possible!! Dipper and Wendy form one of the greatest survivalist duos this side of Oregon, and it is a joy to watch! Bill Cipher finally flexes and the show reaches its artistic peak. A truly fantastic, imaginative episode.

P. S. The weirdness bubbles are a highlight for me, and if you've seen it you know the extreme coolness I'm talking about!

"...the deed of the mystery shack is signed over to SUCK A LEMON LITTLE MAN?!?!?!?"

--Gideon getting owned by Grunkle Stan

Need I say more?

I was expecting a cheap rip off of Happy Death Day and Groundhog Day when I watched this, but I thought it might be a fun, dumb slasher flick so I checked it out on Thursday previews. Turns out, it was so much more. The camerawork is slow and sensual in the first quarter of the film to produce a sense of calm, almost a lull before the storm before indulging in rapid cuts to mirror the chaos and claustrophobia of the main character reliving the same day over and over again. There are a few signature Hitchcockian staircase one-shots that are masterfully done, and simultaneous split-screen shots that aptly represent the confusion the man is going through to solve the mystery. One particular shot that I found fascinating was when there was a zoomed in shot of the man's eye, with the reflection of the moon mirrored perfectly in his pupil. I found, on the whole, a much higher quality craftsmanship with the mood and cinematography than any low budget thriller has a right to have. And the actors all play their part with aplomb, with no facepalming gaffes to speak of.

The whole movie plays like a series of drug-laced nightmares that won't end, and there are plenty of chills and thrills along the way. And while the ending is rather predictable and not altogether satisfying, the psychological journey that it takes to get there is more than worth the watch.

Okay everyone, finally Disney has got a show going right. The focus with this show (so far) is not world-building or any agenda, but actually making a FUNNY show! In the first two episodes I think I laughed more than in all their marvel show episodes combined so far. The "chemistry" (if it can be called that in animation) is fantastic between the voice actors, and the dialogue is sharp and snappy. This reminds me of Emperor's New Groove Disney, and I think that's one of the highest compliments I can give it!! It really is hilarious, and surprisingly most of the laughs come from the new characters--not Mike and Sully (though they're awesome too). Please give this show a chance if you want to laugh!!

I watched Doctor Sleep the other day, and it was an interesting sequel to The Shining. Ewan McGregor was the standout, with an excellent performance as a recovering alcoholic, suffering from PTSD resulting from the events at the Overlook Hotel. Rebecca Ferguson carried her own as the sadistic Rose the Hat, but the new actress in the film Kyliegh Curran struggled to keep up with her older cohorts. Her lack of acting ability brought down the film, especially during the third act. The cinematography was decent, with an older-time feel reminiscent of the original. Some great special effects were offset by some suspect ones. The part of the film that worked the most, was in Danny Torrance's (Ewan McGregor) character arc and his moving struggle with addiction. This heartfelt theme saved the movie from being simply another horrible sequel. There were only a few half-hearted scares in the movie, and it was more disturbing than anything else. All in all, I'll give it 6.5 stars out of 10.

Hostiles is an old fashioned drama/western that takes place in the late 19th century. It stars Christian Bale and Rosamund Pike, who do excellent jobs in their respective roles. Christian Bale plays as a Captain who's lifelong job has been in capturing and slaying indians, who suddenly on the cusp of retirement must escort an indian chief to his home, as he is being released. Rosamund Pike plays a grief-stricken lady, who must deal with her loss, and find strength to push through every day. Though there are a some well-shot action scenes, the movie is a drama through and through. It is in the complex nature of the main characters, and the heartfelt portrayal by the actors, that lifts this movie above oblivion. Beautiful cinematography, and a spare but haunting score accentuates the simplicity and beauty of the underlying emotions that pulse throughout the movie. Without spoiling it, the ending scene is one of my favorite endings in recent memory, as it is both subtle and powerful. Though the pace of the movie is slow (deliberately so) and the thrills few and far between, those who love character development and an older style of film-making should definitely give this movie a chance. I rate it 7 stars out of 10.

If you were born in the 90s or before, you had a connection with people...you absolutely loved this movie, and it made a mark on you. I think most people remember when they saw this movie first, because it was that awe inspiring of an experience. I remember that it was the first pg-13 movie I was allowed to watch, and what a way to start my grown up movie experience!!! Everything in this movie screams adventure, from the opening scene where the jungle leaves rustle, the shot of mysterious sparkling amber, to the landing of the helicopter on a remote rainforest island, the movie sets the tone for the greatest adventure movie ever made. As you hear John Williams glorious theme start to swell, and you see Alan remove his glasses and start to tremble, you know you're about to witness one of the most magical moments ever put on cinema. I can't go into detail on all the incredible scenes, from the T-Rex reveal, to the kitchen scene, but each one of them revolutionized what we thought movie magic could take us. Thank you Spielberg for making this enchanting piece of art for us, an entire generation is indebted to you.

Now look, if you came to this movie expecting any logic or interesting plot elements or character development, you came to the wrong movie. What I wanted to see was awe inspiring creatures do battle and at that it succeeds, albeit imperfectly. All the monsters were well designed, especially Mothra, and the battles were fairly well constructed. I do wish that more focus had been on the kaiju vs kaiju action, instead of needless pandering of the human characters. But at its best, this movie made me feel like a little kid watching in awe of such behemoths before me, and that is a great compliment indeed.

There's some good news about Kung Fu Panda 3, and there's some bad news. The good news is that it's genuinely funny at times and the animation is stunning(perhaps as good as we've seen from Dreamworks) and the movie works well enough to be enjoyable. The bad news is, it could have been much more. When Po meets his biological dad for the first time, it should have been an emotional, touching moment; instead it was played for laughs. And instead of making the villain Kai a threat to respect, they just made him goofy. Plus, the "Furious Five" get barely any screen time and the new characters are hardly worth mentioning. Also, the main idea of this movie being about "who am I", is practically a rehash of the first two movies. Yet with all its faults, the movie is still enjoyable if you take it for what it is, a funny, but cheesy third movie in the Kung Fu Panda trilogy.

I came into this movie with tempered expectations (thinking it would be the B-grade pixar movie this year.) I still walked out of the theater disappointed. Don't get me wrong, the animation is gorgeous and the visuals are possibly the best we've seen in an animated movie. But I don't go to watch a movie to see how realistic the scenery is, I want to watch a movie that's funny, heartfelt, and has those favorite characters we're all used to loving from pixar. To me, this movie had none of those things. Sure there were a few funny moments, but nothing that would elicit more than a few chuckles. And even though this movie tried (and I mean really tried) to have an emotional element to the story, I don't think you get to know the characters enough to even care about what happens to them. And then, perhaps the biggest weakness of all, there are only two characters that are in the majority of the movie (and only one character that actually talks) and not enough side characters to keep it interesting. This is a movie that I just wouldn't be interested in watching again and that, I fear, is the biggest criticism of all.

Mission Impossible-Rogue Nation is an action filled adventure that is genuinely funny and gripping at the same time. The action sequences are expertly shot(especially the chase scenes) and makes you feel like you're in the movie. And while being possibly the most action packed Mission Impossible yet, it is also the funniest(Benji is hilarious:) From beginning to end, the movie did not feel like it was too long and it kept you guessing until the end. The only criticism I have for the movie is that the ending seemed rushed and the stakes didn't seem as high as in the last Mission Impossible. Nevertheless, Rogue Nation was more fun than Ghost Protocol and is tied with the original(which I am partial to) as my favorite Mission Impossible. I would definitely recommend this film to anyone looking for a good time at the movies.

7.8/10

This is my favorite Pixar movie and one of my favorite movies of all time. The animation is stellar, the score is great, and the dialogue is hilarious. In fact, this is one of the funniest movies that I have ever seen. The interaction with Linguini and Remy is both incredibly creative and hilarious. This is a very quotable movie with witty comedic sequences(at one point me and my brother were able to quote and act out the entire movie:) The setting in the movie is beautiful(especially when you first see Paris) and the characters are all memorable. This is a movie you can definitely watch over and over again.

9.7/10

I was able to see an early screening of this movie and had heard that critics were calling it one of Pixar's best. After watching it, I would have to agree. The animation was great(as usual for Disney movies) and the storytelling was clear and easy to understand. But to me, the thing that would make or break this film is the comedy in it. And in my opinion, it was extremely funny. The characters(emotions) in the film are funny and memorable. One of my favorite characters is Riley's imaginary friend, Bing Bong(my favorite emotion is the hilarious Anger.) There are also certainly some touching moments in the movie but it is balanced with the comedy so as not to be too sappy. For me the only problem with the film is it's scope(the whole movie takes place in San Francisco except the very beginning) and lack of adventure (outside of the mind), but it makes up for it with creativity, comedy, and great storytelling and characters. I would rank this as one of Pixar's top five.

8.5/10