NEW MOVIE: La La Land

Before the first real frame of film begins, we know that La La Land will be a different animal than we've grown accustomed to in the modern age of cinema. After studio logos, we're presented with text we haven't seen in decades on the silver screen: "Presented in CinemaScope," a proud token of nostalgia. The triumphant fanfare of glorious film is replaced with the many sounds of the Los Angeles freeway, endless honking, yelling, and different types of music as the Sun beats down on the drivers. Suddenly, the cacophony gives way to an infectious Latin beat. Though we began this film with the road rage we know and love, we're now thrown into the film's opening number, as the singing, dancing, and jazz-fluting Greek Chorus of Hollywood-Hopefuls-On-the-Freeway establishes the tone for the rest of the film: it's an often-fun, unapologetic, colorful, and nostalgic musical about dreamers with passion, ready to pay the price to achieve said dreams. Of course, this brief synopsis does not do justice to the detail present in this sequence. I haven't even begun to mention the many colors, the extensive choreography, the implications of the lyrics, or even the fact that it's all in one, very long (perhaps ten minute) take; there is not enough room in a single review to do so. The great joy is: this is only a taste of the mastery of Damien Chazelle's latest film La La Land.

Rated PG-13 for some language

As the Greek Chorus returns to their vehicles, we see the first encounter between aspiring actress Mia (Emma Stone, Birdman) and jazz pianist Sebastian (Ryan Gosling, Drive), just two of the many hopefuls on the highway but the two with whom we spend the rest of the movie with. Unlike the cute and witty first meeting of Gene Kelly and Debbie Reynolds in Singin' in the Rain, our love interests meet rather unceremoniously: a prolonged honking of the horn and the flipping-of-the-bird. From there, we see how they struggle to achieve their passions and how their paths always seem to cross. "Maybe it means something," Sebastian ponders. "Probably not," he concludes. Oh, but it does mean something: perhaps not fate, but their chance encounters pave the way for writer-director Chazelle (Whiplash) to completely sweep us into their musical romance, asking us if it truly is a bad thing to be a dreamer and, by the end, also making us ponder the consequences of every action we make.

I try to analyze a film and look at it from as artistic of a view as I can on the first viewing. When I saw this for the first time on Monday, I just couldn't. I became so emotionally involved in the story, I couldn't even be bothered to try to make out symbolism and themes; it was like the strings that much of the score is composed of took me by the scruff of the neck and took me on a ride, never content to let go. I had to really process the film for a while after I saw it, meditating on it. Then I saw it a second time and was able to pick up more. I could see it again and again and still get more out of it, for sure. La La Land is like a great, beefy classic novel, one that your great-aunt who was an English major annotated so much that the text can't even be read anymore. There's so much detail in most every frame, so much that goes into every shot, long and short. There's unstated symbolism in the colors that our heroes wear and an enchantment in the lighting. It's poetic and not just because a good chunk of its script is in sung verse: the film opens and closes in the same style; the film goes through four seasons, starting and ending in winter; motifs come in and out through the hypnotically beautiful score; the many waltzes and "dream ballets" are more about what they mean than their technique.

Even though it is a very involving romance between Mia and Sebastian, I think it is worth noting the use of CinemaScope--the fact that it was shot on film instead of digital. The first time I saw it, it was kind of frustrating how whenever the camera moved for prolonged periods of time, it left a motion blur until it stopped. While in our age of pristine equipment, it is easy to call if a flaw, I think Chazelle was decisive about this choice and not just for sake of nostalgia. The blur is the "worst" during the opening number when it's sweeping across the many hopefuls dancing on cars, so it's difficult to make out the faces. However, I found it justified itself in a later scene in the first act when Sebsastian is playing at a fine dining restaurant. Panning around the patrons, the camera stops and focuses on Sebastian at the piano, smiling to himself at the idiocy of playing crappy jazz Christmas tunes. He finally decides to play the theme on his heart, an emotional jazz solo that comes to define the rest of the soundtrack and his relationship with Mia. From then on, now that we've found our "Someones in the Crowd," the camera stays fixated on them, culminating in a final audition sequence that salutes and calls out to the dreamers in all of us, "the artists, the poets, and plays," foolish though we may seem in our journey to act, to direct, to create art, to write, to talk about movies, to make movies, to make a difference in the world, to be what we want to be in this life because we darn well can. That doesn't mean there aren't hardships and sacrifices that we have to face, though, and the film is unapologetic in showing us this. The first lyric of the entire film is about sacrifice, for goodness' sake. As a result, despite its fun allusions to classic musicals and films, it is a bittersweet ode. A lovely ode, but bittersweet.

Stone and Gosling bring their impeccable chemistry to a powerful film.

La La Land is a beautifully-made film that is not comfortable to only be a homage to classic cinema. Instead, it sets itself in modern times to deal with the real concepts of pursuing passions and loves and what we are willing to do to keep them if we can. Its songs are perfect for the occasion, but also speak volumes to us as dreamers. In a serendipitous happenstance, I came across some friends of mine in the same theater the film was showing in; afterwards, the lot of us talked for an hour about it, and we never veered far from the door of Theater 12, even as the next showing began. The late great Roger Ebert, when discussing the idea of what makes a great film, once wrote:

It is said that the human brain divides its functions. The right brain is devoted to sensory impressions, emotions, colors, music. The left brain deals with abstract thought, logic, philosophy, analysis. My definition of a great movie: While you're watching it, it engages your right brain. When it's over, it engages your left brain.

That may be the best way to describe La La Land, a sure-to-be classic. If you truly value a star rating, dear Reader, it has 5 out of 5 stars. This is a special film that you must see in the theaters. There are all walks of people who are loving this movie. In the two matinees I attended, the theater was packed with middle-aged and elderly folk who applauded the film at the end. A high school friend of mine, who you would never say was the biggest musical nerd, has seen this three times (if not more) and has declared it to be his favorite movie. An older friend said he felt like he became a changed person afterwards. It has affected the cinephiles, the theatre nerds, and the common man. One old man came to the theater with his oxygen tank just to see this film--what dedication! The film opens worldwide on January 6th after a long expansion from limited release: see it as soon as you can, and if you somehow can't, rearrange everything so you can.

Have you seen La La Land? What did you think about it? Whatever you have to say about me or the movies, comment below!

NEW MOVIE: Moana

Frozen took the world by storm in 2013, for many setting a new bar for Disney's future animated films to live up to. Zootopia also struck a chord with kids and adults alike earlier this year. How does the Mouse House's latest outing, Moana, do?

Rated PG for peril, some scary images, and brief thematic elements

Moana tells the story of the young future chief Moana (Auli'i Cravalho) and her perilous quest to find the demigod Maui (Dwayne Johnson, Central Intelligence) in order to restore the long-lost stone, "The Heart of Te Fiti," in order to stop an impending darkness from destroying her Polynesian village and the world. Along the way, they'll come across Mad Max-style coconut monsters, a giant killer crab (Jemaine Clement of Flight of the Conchords), and the lava demon Te Ka. One of the greatest elements of the film is the plot. Though very much a Disney film and feels familiar in that regard, it really makes an effort to tell a different kind of story, one unreliant on a love story, on a princess complex, or a simplistic good vs. evil duality. It's essentially a Polynesian Odyssey with a wicked (in the New Englander sense) strong female protagonist without feeling like a "Social Justice Warrior" kind of thing that some people complain about on the Internet. Of course, this isn't the first strong female character in a Disney movie--Belle, Esmeralda, and Mulan all were. But with such a strong character as Moana, the rest of the movie feels fresh and original without over-parodying the tropes like Frozen. It all feels organic.

What also feels organic is Lin-Manuel Miranda's songs. Coming straight off of Hamilton, this guy proves he's a musical force to be reckoned with. Even though the songs are noticeably his style, it doesn't feel distracting in the least. In fact, his music provides some of the best moments in the film, including Maui's "You're Welcome" and the climactic "I Am Moana." After walking out of the film, I declared this would have 3 Oscar noms guaranteed in the Best Original Song category, but with so many musical films coming out in 2016, like Sing Street and La La Land, the competition will be tougher than I thought. Ironically, the weakest part of the film is the crab Tamatoa's Bowie-style song, "Shiny." It's not that it's a terrible song, but my friends and I did note its oddity after the film; it seemed a little out of place, but I think that was the point. Regardless, I feel like the majority of the songs are the strongest in a Disney movie in a long time. Sure, everyone remembers the Frozen soundtrack, but those seemed designed as earworms; when remembering the songs from Moana, they are accompanied by the memories of their emotional context; they are more substantive. To compare the two, Moana's songs are like a fine steak dinner and Frozen's are a bag of Hershey's Kisses. There's a deep goodness to this film's songs, while Frozen's are fun to sing along to but aside from "Let It Go," all the goodness melts at the surface.

The animation is beautiful, and the characters are given depth and sufficient motivation. It's great to see not only the journey Maui and Moana go on, but also the inner journey as the cast discovers their identity and worth. It is easily directors Clements and Musker's best film yet and it really perfects the Disney musical. If Disney suddenly declared they were shutting down their animation division, this would a most excellent swan song. Given a score of 4.5 out of 5 stars, Moana is a very special animated film that you must see in the theaters (and given its consistent box office numbers, it will be around for a long time). It is a film I can't wait to show my future children should I ever them, and it ranks very highly on my list of best Disney films.

"And no one knows how far it goes..."

So what did you think about Moana? How do you think it stacks up? Whatever you have to say about me or the movies, comment below!

On the Day That Carrie Fisher Passed Away

I woke up early today. On most days, if I am given the choice, I will stay up late and sleep late, living in the night for all it is worth then regaining the hours lost. Today was an exception, though. I was awoken by nothing in particular but the early opening of my eyes at around five in the morning, then after some unsuccessful attempts to sleep again, I entertained myself with an early morning, beginning my day at seven, and, unusual of me, I spent this morning, aside from a Instagram photo, an article from Relevant magazine and an episode of the Match Game, distanced from technology, choosing to spend my time in literature, specifically the Bible and Shusaku Endo's classic novel Silence.

After my wholesome morning, I spent the better part of the day exploring St. Petersburg, Florida, with my good friend and a former-teacher-now-friend. Until shortly around 6pm today, well after our explorations had ceased, I was unaware that Carrie Fisher had passed away.

I chose to absolve myself yet again from my phone, save to snap a few photos, during the St. Pete expedition, allowing myself to fully embrace the world I have lived so close to but never appreciated for what it is. But unbeknownst to me, shortly after my day had begun, Carrie Fisher had died.

I was completely aware of her major heart attack on December 23rd--it was the big talking point before the night's church service as headlines came pouring in on Twitter and the rest of the Web. I kept vigilant watch through Christmas, checking to see how her condition had shifted from her inability to breathe on the plane to her stay in the ICU and CCU. I even said a prayer for her during the Christmas Eve service when I tuned out Pastor for a moment, and not out of selfish ambition for the future of the Star Wars saga. When her family made public mention that she had stabilized, I had hope that she would make it through. I even thought that "the universe" had given up George Michael so that Carrie Fisher would live instead, but just the thought of that is terribly foolish now. It was not to be.

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My first memory of Star Wars is Carrie Fisher. Not the scene where she gives R2-D2 the Death Star plans in the seige of the Tantive IV, but the scene where she consoles Luke after Obi-Wan Kenobi sacrifices himself at the hands of Darth Vader aboard the Death Star. It shouldn't have been my first taste of the galaxy far, far away--it should have been the blaring yellow text and 20th Century Fox fanfare--but when I was having my mom preview the film before I watched it when I was but a wee lad, I stuck my head into her room out of curiosity and this was the first frame I ever saw of the film:

The only significance it ever held for me then was that it was my first experience with Star Wars...and the memory of my mom warning me that I would spoil the film if I kept peeking. Now, it's almost poetic: my first time seeing her on screen being her consoling Luke (Mark Hamill) after his mentor's untimely death; now, many of us seek a similar consolation in the wake of hers.

I never reviewed last year's The Force Awakens; I could never crack the prose, though I greatly enjoyed the film. It's a very special film for me, too, as it was my very first theatrical Star Wars film. Sure, I saw The Clone Wars pilot in theaters in 2008, but The Force Awakens was my first real Star Wars movie. I started tearing up when the fanfare blared and the giant STAR WARS logo came in 3D, and I shook in excitement as I was actually reading an opening crawl in theaters. And there, almost an hour into the movie, comes Princess Leia--nay, General Leia Organa--herself. I suppose Carrie Fisher is linked to many "firsts" when it comes to Star Wars for me. It saddens me, though, that when I see Episode VIII on opening weekend next December, it will be, instead, the last new performance of hers that I will ever see.

She meant a great deal to many people in different ways. She was and is the poster girl for strong female characters. She was a voice for those with mental illness. She was a fighter against substance abuse. She was a woman who proudly spoke her mind. She inspired young writers to pursue their calling later in life. Truly, she was an incredible human being. I feel like her death has moved me more than some of the other recent celebrity deaths because while I was familiar with her work, I never really bothered to explore it, especially some of the movies she wrote even though I'm sure I would enjoy them, while she was still alive. Robin Williams's passing was sad, but I got to spend my childhood watching him in many movies, and then come to appreciate his stand-up comedy on Pandora Radio in my adult life. So while it's sad he's gone, it's almost like he never left because of how much more I'm discovering of him. Maybe, in time, the same will be the case with Carrie Fisher.

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Towards the end of our adventure in St. Pete, we observed and admired some of the murals around the city, including the famous "Before I Die..." wall where passersby can leave their life goal on the wall where it stays until "it fades with the rains of time," as my former teacher described it. Some were funny, like "See the aliens;" some were pitifully vulgar, like "F*** your b****;" some were of love; some were philosophical, like "I WANT TO LIVE;" some were short-term goals, and others were long-term. Many of them, though, had to do with leaving some kind of legacy, mine included.

"It gives you perspective," he said.

I think about it often, my legacy. I wrestle with how I will--how I can--leave a lasting mark on this Earth for posterity. I pondered it when my Grandpa died in October. I pondered it when I listened to Hamilton. I think about it every time I write unfinished drafts of books and screenplays as I judge whether I want that to represent me after I'm gone. I heard a story in the wake of her passing about how, in an interview, Fisher said she was so glad she did The Force Awakens because it reminded her that she was still so beloved by people after she lived a relatively quiet career after the 80s, at least compared to her two co-stars Mark Hamill and Harrison Ford. She got to see her legacy personified.

For me, it feels wrong to say that "She is one with the Force," or similar allusions, since the Force is not real and does not do her career justice. I am, however, grateful for the work she has left on this Earth so that more people now may be impacted in the ways people were while she was still living. I'm grateful, too, that I learned of it later in the day so that I was able to experience an introspective adventure on the day that Carrie Fisher passed away.

Rest in peace. You will be missed, and your family is in our prayers.

Carrie Fisher (1956-2016)

What to Stream

While there were plenty of theatrical films released this year, the current market and advances in the internet has opened up a new part of the film industry. For a couple of years now, Amazon and Netflix have led the charge in bringing original content to their streaming platforms, ranging from television shows to films, while also introducing their audiences to lesser-known indies. This year, they brought a noticeable and rich amount of them. Because you, dear reader, are likely to come across one of these or want to see one of these during your late-night binges or "Netflix and Chill" sessions, let's talk about some of them, shall we?

The Fundamentals of Caring (Netflix) (TV-MA for language and sex references)

The Fundamentals of Caring stars Paul Rudd (Ant-Man) as Ben Benjamin, a newly-employed caregiver, and Craig Roberts (Kill Your Friends) as his patient Trevor, an impish teen afflicted with Duchenne muscular dystrophy whose aspirations in life are watching hot women on TV, eating waffles for every meal, and perhaps peeing standing up, if he could. Eventually, the two go on an impossible road trip, coming across rebel without a cause, Dot (Selena Gomez, Wizards of Waverly Place, Spring Breakers), and the quirky and pregnant Army wife Peaches (Megan Ferguson, The Comedians). Occasionally predictable but never terribly sentimental, Caring runs at a relaxed pace that lets its actors shine. All four actors have terrific chemistry, especially Rudd and Roberts. It's a lighthearted comedy-drama with plenty of laughs and emotional moments, emphasizing that true caring is very much putting someone else's needs above your own. A lovely surprise, I highly recommend it. 4/5 Stars


Elvis & Nixon (Amazon) (Rated R for language)

Elvis & Nixon is a hilarious concept stretched way too thin. Based on the famous photograph from the National Archives, the film concocts a story about Elvis Presley (Michael Shannon, Nocturnal Animals) wanting to meet President Nixon (Kevin Spacey, House of Cards) in order to fulfill his patriotic duty to save the youth and stop communism as an "undercover federal agent at large." It's a fascinating idea, but the movie is pretty uninteresting until the much-anticipated meeting at the end. Until then, we get a lot of Shannon doing a questionable Elvis impression, playing up the "Elvis is crazy" schtick, development and backstory for his friend Jerry (Alex Pettyfer, Beastly) which we really don't care about despite the film's best efforts, and not nearly enough of Spacey's immensely satisfying take as Richard Nixon. This is a film that would have worked best as a half-hour short, what we're left with, though, is a visually-good, mostly well-acted movie that's too dull for its absurd premise. 2/5 Stars

True Memoirs of an International Assassin (Netflix) (TV-14 for action violence and language)

Kevin James (Paul Blart: Mall Cop) hopes to make a return to grace with Netflix's original action-comedy, and ultimately it comes up as passable. Director Jeff Wadlow (Kick-Ass 2) directs the action surprisingly well but unexceptionally, but the script hopes the farcical concept of a writer unwittingly getting involved in the schemes of the "Kings of Caracas," with each one of the Venezuelan villains wanting James to assassinate the other--all because a false publishing tactic and too close of an allusion to real life paint him as a real assassin instead of the lowly accountant that he is. It's silly stupidity but extremely cliched. Even though there are some creative transitions, especially in the opening scene, it doesn't make up for the fact that the rogue DEA agent (Zulay Henao) is embarrassingly underdeveloped, dull, and frankly incompetent. I wish the movie was more of a Get Smart than a Zookeeper, but at least it's better than Paul Blart 2! If Netflix puts it out on TV, you won't regret life watching it; but there's better things to watch if you have the choice. 1.5/5 Stars

Sing Street (Netflix) (Rated PG-13 for thematic elements including strong language and some bullying behavior, a suggestive image, drug material and teen smoking)

Sing Street is another music film from director John Carney, who brought us Once and Begin Again, although this film, unlike the previous two, treats music less as a character and more as a plot device. While I love the way Carney deals with music in those films, I didn't mind at all that music took a backseat this time around for the story that is Sing Street. Sing Street is about young Irish student Conor (Ferdia Walsh-Peelo, who seems to be channeling Ed Helms's Andy Bernard on more than a single ocassion) who has an awful home life, and how he starts a band with various members of the school in order to win the heart of the enigmatic yet enchanting Raphina (Lucy Boynton, Life in Squares).

This has been a critical darling ever since it premiered, and I admit that this is a most enjoyable film. The best way to describe it is as the best 80s movie to never have been released in the 80s. Throughout the entire film, I was smiling, whether it be the 80s period style or the songs or the relationships between the characters, and most importantly, I was invested. Honestly, this may be my favorite of Carney's films. It isn't as transcendent as Once or as much about the power of music as Begin Again, but it takes the best elements of both and translates it into a real crowd-pleaser with an unbelievably talented young cast. There's an element of innocence to it, too, with these students really not knowing who they are at all--Conor changes his look with every new band his older brother Brendan (Jack Reynor, Macbeth) introduces him to--but they're still ready to take on the world and treat is as their oyster. So if you love great films or music or the 80s, watch Sing Street. Truly, this is the year of the musical film! 5/5 Stars

For now, this will do. I will likely do another one of these before the year is out, because there's still so many to talk about! So tell me: have you seen any of these? Are there any you're looking forward to seeing now? What are some of the best "little" films you've caught on Netflix. Whatever you have to say about me and the movies, comment below!

NEW MOVIE: Rogue One: A Star Wars Story

When The Walt Disney Company purchased Lucasfilm in 2012, it was soon announced that, besides the release of the sequel trilogy beginning with Star Wars: The Force Awakens, we would be getting biennial "Anthology" films that deal with stories outside the main "Skywalker Saga" episodes. On December 16, 2016, we received the first of these Anthology films: Rogue One: A Star Wars Story.

Rated PG-13 for extended sequences of sci-fi violence and action

Rogue One acts as a direct prequel to the original 1977 film, Star Wars: A New Hope, detailing the theft of the Death Star plans which Princess Leia delivers to Obi-Wan Kenobi. As a result, we experience new characters, a Rebellion at the brink of defeat, an Empire struggling to meet deadlines, and the harrowing moments before Episode IV's opening crawl. Our heroine for this adventure is Jyn Erso (Felicity Jones, The Theory of Everything) as she reluctantly becomes involved in a Rebel plot to halt the finalization of the Death Star since her father, Galen Erso (Mads Mikkelson, Hannibal), is (reluctantly) one of the Imperial scientists spearheading the project.

Director Gareth Edwards (Godzilla) promised that this film would be darker and grittier than the main films, and that morals would reside in a mostly grey area; in this respect, he delivered. Even though the Empire is still the major villain, the blurred lines are on every side. The Rebel Alliance seeks to defeat both the Empire as well as anti-Empire extremists. The Empire still does power plays among its ranks and often treats its own as expendable. There are moles that the Empire wants done away with and the Rebels want killed because there's some part of them that neither like. Heck, I found Rebel General Draven (Alistair Petrie, The Night Manager) more unlikable than the film's villain Director Orson Krennic (Ben Mendelsohn, The Place Beyond the Pines)! It's interesting to see a more grounded Star Wars movie, for sure, and it reminds me of some of the better episodes from the two recent animated series. At times, the only reminder that this is a Star Wars film are the appearances of Stormtroopers and mentions of the Force. It's a distinctly less Romantic view of the sci-fi universe, so major props are due to Edwards for the successful execution.

There are some great action moments in this film, most of which are in the second half. The much-advertised "Beach Scene" climax on the planet Scarif is well-worth the price of admission, and the final scene is one of the best moments in the entire series. The third act reminded me of some of the best moments when playing the Star Wars Battlefront video games. Donnie Yen (Ip Man) as the blind Force warrior, a Guardian of the Whills if you will, also provides some of the film's best action moments while also expanding the lore and extent of the Force beyond just the Jedi and Sith. The space dogfights, too, reminded me of the Death Star Run from the climax of A New Hope--and it was great! How it all ties into Episode IV, though, is easily the film's greatest strength, personifying the stakes set up in the opening crawl of said episode.

Jyn Erso (Felicity Jones) prepares for battle.

With brand new characters comes necessary build-up and development, which the film does okay at, but not as great as it could have. Galen Erso may be one of the most critical characters in the film, but his reluctance of working with the Empire is only briefly established in the opening scene and touched upon throughout. Other than that, we don't get as much time with him as I would have liked, with an exposition-heavy (but necessary) sequence being the most we get to know about him...unless you read Catalyst: A Rogue One Novel. I've enjoyed Disney's two Star Wars movies thus far, but a lot of the development holes are being filled not by the script but by novelizations and related novels. I felt nothing when the New Republic was destroyed in its first appearance in The Force Awakens because I had no connection to it--because all of the connective threads were in the books. While I still liked the character of Galen Erso, it was evident that his character arc was in its last act when we learn about him--because the first two were in Catalyst. On the other hand, Krennic was introduced and characterized well as the antagonist and we got to satisfyingly see multiple levels to him. Clone Wars hero Saw Gerrara (Forrest Whitaker, Lee Daniels' The Butler) may just be the best developed character, even outside of his animated series appearances--I never saw his episodes or scenes before--and Whitaker brings a really strong performance for the morally ambiguous Gerrara. That said, the main Rogue One crew is nowhere near as well-developed as they should have been. We know enough about them to care about them in the final hour, but I feel like most of that is based on the performances that suggest more about them than the script. There's a Imperial deserter (Riz Ahmed, Nightcrawler) whose characterization is limited to...well, that--and the fact that he might know Galen Erso. Captain Andor (Diego Luna, Casa de Mi Padre) could've been fleshed out more--I didn't quite connect to his character until a monologue late in the movie--and even Jyn could have had some more beef to her. They're developed enough that we care for them in the intense Battle of Scarif, but they're not as memorable as they could have been. K-2S0 (Alan Tudyk, Firefly), though, has some good moments and he does well as a more agressive C-3P0 type.

While most of the special effects look really impressive, there are some surprise appearances from certain characters from the original films, one of which has a substantial role. However, due to their age or being deceased, they could not fulfill their appropriate duties in this prequel. In order to be more visually similar to their A New Hope counterparts, Edwards and his team elected to not recast them (like they did with Genevieve O'Reilly as Mon Mothma) but bring them back as CG performance capture characters a la The Polar Express. The less we see of them, the more impressive the effect. Also worth noting, composer Michael Giacchino, even though his scores are usually awesome--from The Incredibles to Tomorrowland, and Up to Jurassic World and Inside Out--just doesn't quite deliver this time around, which isn't entirely his fault since he was only given 3.5 weeks to do it since Alexandre Desplat (The Grand Budapest Hotel) left the project after reshoots. There aren't any notable or memorable themes like the rest of the Star Wars films and the main Star Wars theme is constantly and ridiculously teased and subverted. It's not a terrible score, but it wasn't as great as I hoped it would be.

All in all, Rogue One: A Star Wars Story a good addition to the Star Wars saga and a strong enough freshman effort for the Anthology films, reminiscent of the best of the animated TV shows and with plenty of fun fan-service cameos. It serves as a powerful prologue to A New Hope, even with its flaws. Then again, this film may grow on me with repeat viewings, as The Empire Strikes Back did, and the musical score may get better over time, like Episode II and VII's for me. Just seeing it once, though, I'll give it 3.5 out of 5 stars. If you're not a die-hard Star Wars fan or you're boycotting the Disney films, you'll be forgiven for skipping this one. If you do go out and see it, though, you're in for some of the franchise's best moments, even if it is nowhere near its best offering.

Have you seen Rogue One? What did you think about it? Have you been a fan of Disney's latest Star Wars movies? Whatever you have to say about me and the movies, comment below!

NEW MOVIE: Patriots Day

Before getting into the review, I would like to thank Allied Tampa, Gofobo, and the Regal at Citrus Park Mall for making the advance screening of Patriots Day possible. It was a great experience to see a film in a cinema in a completely different context.

Rated R for violence, realistically graphic injury images, language throughout and some drug use

Peter Berg's (Lone Survivor, Deepwater Horizon) latest film, Patriots Day, retells the true story of the 2013 Boston Marathon bombing. We experience the film from the vantage point of the people of Boston, from the victims directly affected, the citizens who unexpectedly become involved, those responsible, and the authorities who tirelessly pursue the attackers in the days that follow. If it weren't for Berg's calculated and creative direction, the film would still be grounded by how the film was cast. Mark Whalberg (Lone Survivor, Transformers: Age of Extinction) plays a police sergeant who is on his way out of suspension; John Goodman (10 Cloverfield Lane, Argo) is Boston Commissioner Ed Davis; Kevin Bacon (Apollo 13), J.K. Simmons (Whiplash), and Michelle Monaghan (Gone Baby Gone) round out the all-star cast of the "higher-ups" in this situation, or those closest to the investigations. Berg and the casting directors wisely decided to have lesser-known but capable actors from television and indie features fill in for the citizens of Boston, such as Melissa Benoist (Supergirl), Alex Wolff (The Naked Brothers Band), and Jake Picking (Goat). The exploitation of our psychological association with well-known actors in roles keeps us engaged in the investigative portions, while having unknown actors play the people of Boston makes them feel like real people and not just actors. It was a smart move, and it truly showcases the talent of these actors.

With a film about terrorism and tragedy, it is important to treat the subject matter carefully and respectfully. With only a three-year gap since the bombing, some may think it too soon to even touch the story. Personally, I felt the event was handled with grace. Even though the film deals with several story threads related to the bombing, Berg and his writers do their best to flesh out the characters and give them full dimensions. Mark Whalberg isn't a cardboard-cutout police sergeant who wants to avenge his city; he's a man who feels regret for letting the bombing happen under his watch, and the carnage clearly takes a toll on him. Even though he looks like fresh Marky-Mark at the top of the film, by the end, he looks haggard and exhausted, physically and emotionally. Kevin Bacon isn't just the FBI Agent in Charge who takes over operations. He has to carefully consider every step revealed to the public and its repercussions, not for his paycheck, but for the lives it will affect. The terrorists aren't just mindless jihadists looking for mayhem. The eldest is portrayed as a man who politically and religiously believes he is doing the right thing, on a crusade to destroy the guilty. The youngest is a college student/drug dealer who wants to impress his brother and get a gun. Despite that character development, the film does not justify their terroristic actions nor make them likeable in any way. Berg understands and reveals to us that caricature is not the only way to realize good and evil. It is, in fact, people--fleshed-out people, like you and me--who harbor good and evil within ourselves and act on such.

The film is effectively tense throughout. Though the film starts out rather happy and mundane with citizens joking with each other and Whalberg and Goodman going about a comical arrest, the dramatic irony of the situation brings the agony of inevitability, knowing the players are all walking into a tragedy they weren't expecting. Seeing the terrorists' side of the story, too, brings an extra layer of tenseness since we see them plant the bombs and begin their (planned) tour of terror. The film never does let up until the murderers are found. It is kind of odd, though, that the film has so much humor. There are comic moments throughout the film where the audience roared with laughter, and not in a bad way--the film wanted to elicit that reaction, and we responded appropriately. I found it strange that the film would want us to laugh like we did since the subject matter was so serious. It didn't really become clear until the end: the humor wasn't to alleviate the tension--because it really didn't--but rather to show love through the hate, unity during destruction, resiliency through the impossible, and the character of Boston. I think, more than anything, this film gives the rest of the nation and the world the personified definition of Boston Strong--a community that stayed together, never lost its attitude in grief, and worked in tandem with each other and its authorities to bring justice and take down those that hurt their home.

Bacon, Whalberg, and Goodman attempt to piece together the narrative.

The only real complaint I have about the film is that J.K. Simmons felt underused as the Watertown Police Sgt. Pugliese. He serves as great comic relief and proves himself again as an extremely capable actor, but for a while his character felt irrelevant since Watertown isn't affected by the terrorist brothers until much later in the film. It goes with the structure of the film, with different character arcs and plot strands unexpectedly being connected to the events surrounding the bombing, some later than others, but it was strange to see him in scenes early in the film with little to do but lighten the mood. It is, though, but a nitpick.

All in all, Patriots Day is an effectively-directed, smartly-edited, tense and powerful film that pays appropriate tribute to the victims and city of Boston. It may seem too soon to do a film like this, but it justifies itself by addressing relevant themes of terrorism, community, resilience, and the possibility of preventing these kinds of attacks. Whalberg and the rest give realistic and strong performances that puts in perspective the events surrounding that fateful Patriots Day. I'll give it 4.5 out of 5 stars. When it plays near you next month, please go see it!

So are you looking forward to Patriots Day? What's the most effective real-life event movie you've seen? Whatever you have to say about me or the movies, comment below!

We Need Movies.

It’s funny. I’ve often tried to measure the worth of my dream career, which is film criticism. Oftentimes I fail to find its merit. People are building things, discovering new horizons, curing us of our greatest afflictions, saving people… With a plethora of greatness of careers, what role does my pesky little “Is that a job?” have.

It wasn’t until a momentary existential crisis I realized my dream job has worth because its subject has worth. It’s no secret that books are heralded as greatness, the accessible and noble art with which all good and (at least somewhat) intelligent people must pursue. I love literature like the next guy. Books have incredible worth. As much as students whine and moan about the English class they are in and the monthly 400-page novel they must analyze, I am certain that at least everybody has a book that has impacted them dearly.

           

For my generation, this was J.K. Rowling’s Harry Potter series. It wasn’t just an engaging 40,000-page adventure that people have an unhealthy obsession over because of that cheap thrill. It taught us about humanity and how to be good to our fellow man and those who are different than us; it created relatable characters who we can learn from in similar circumstances (outside of defeating the Dark Lord); it showed us the reality of death and the beauty of life, of friends, of family. I’m sure I’m forgetting some things but ask your local millennial; they can fill you in on the rest.

In many ways, film and television are the “new book.” (In reality, they’re merely a companion in the art of story, but they function much the same as books.) Much like we need books, I believe we need movies. In many ways, it’s easier to relate to a character in a movie than in a book. Sure, we can technically know a character better in a book because we have several paragraphs that inform us about them and get in their head. Yet in a film, you see the actor’s portrayal of a character: you see this representation of a character go through events and relatable crises; lines stick out more because you heard them—they’re not merely phantoms of impressions that most books tend to leave behind (often one has to read a book multiple times to remember a notable quote).

I think of Begin Again, a recent musical film with Kiera Knightley and Adam Levine. As Levine sang “Lost Stars” in the final scene, I was blown back by how the scene—the lyrics, the performers’ expressions, the melody, Levine’s tone—affected me; I related to them. It brought me back to a time when a relationship with a friend was at its nadir and later remedied. I think of The Tree of Life, Terrence Malick’s magnum opus. The film impacts me spiritually in the way only a film can, with stunning imagery and effective musical cues, with a difficult theme to tackle—our place in the universe and our relationship with the God that made it. I think of the TV show The Office and the many times I felt a personal connection with these characters, relating with the real-life situations they go through outside all the chaos. Even now Andy Bernard’s farewell line has relentlessly hooked itself to my mind and emotions as I’m in a whole new and unfamiliar college environment: “I wish there was a way to know you’re in the good old days before you’ve actually left them.” And I think, in the wake of a controversial and divisive election, we all enjoy a good two-hour musical or comedy to take us out of the vitriol and sadness that has invaded our casual conversation.

           

Movies have an underrated worth. They have the artful quality of literature yet transcendentally affect the common man in all of us. As much you may celebrate the high art of a The Grapes of Wrath or The Scarlet Letter or (somehow) Things Fall Apart, you must admit you were captivated with Ross and Rachel’s many “breaks” (or when Chandler and Monica got together!) and the fate of Luke Skywalker when facing Emperor Palpatine. Movies are more than conduits for escapism, though. They harbor the lessons and characters and stories from which we learn and relate and become better people. They act as windows to the things we need, and show us that in a relatively short amount of time (and they’re cheap!). Sure, there are countless bad ones, but we can all admit that that is a relative way of speaking. They are contemporary and real; they help people through their stories they may never here anywhere else.

I remember watching an interview with the writer of the 1993 film My Life, where Michael Keaton plays a man afflicted with cancer. The film was critically derided for being melodramatic and cliché. Yet the writer was still proud of it, not because of the ego all writers have about their “babies,” but because of certain audience reactions. At some moment of time after the film came out, a family came up to writer Bruce Joel Rubin and told him how that movie helped them get through a similar crisis in their lives. “We write movies for them,” I remember him saying. This is the transcendental quality of film. So go out and watch movies and learn from them. Let them impact you! I hope in my work I can guide you to the right ones you need.