The Irishman

All hands on deck! Pacino, Deniro, Pesci, Keitel. Scorsese has assembled the best dream cast around and delivers a much anticipated classic here and you can see and feel it from the very first frames. The Irishman is a master class in excellent film composition and an ode to all the best films of it's cast and director. Old fashioned film making paired up with the well placed use of de-aging technology is amazing (and, admittedly a little weird) to see and just gives the viewer this sense of nostalgia for when these guys were in their prime, less we forget that this was also a film about a man's life and intersection with Hoffa  and the mob. It even pokes fun at the fact that people nowadays don't know who Hoffa even was. Indeed, this is not just a gangster film in even the obvious storytelling style of Goodfellas or Casino. You could rightfully say all of Scorsese's best films are encapsulated here. There is the passage of time, end of an era motif played out in so many other levels not just integral to the story itself. What we are witnessing in The Irishman is magical, majestic, and with a level of craft on all levels to strive for.  I would describe it as an internal gangster film with more efficient use of violence and it doesn't need to be anything more for the viewers or anticipators of just shoot em up action leanings. Like last year's brilliant winner in Alfonso Cuaron's Roma, I easily anticipate great things here. Needless to say, of course everyone's performances were damn stellar and at the top of their game. Netflix, to their credit, has given both of these directors a medium to work in as real film artist, to anyone who has the short attention span to complain about their long running times. The level of detail in each well placed shot, writing and storyline, composition, acting, soundtrack, foreshadowing, etc., is a poignant and beautiful thing to behold when it's done right and The Irishman is certainly that. 

John Wick 3

John Wick 3: Parabellum runs like a video game.  What it lacks in a coherent and underdeveloped storyline, it makes or shall we say overshadows with in action sequences.  In this sense, it is heavily influenced by Asian action films. I could certainly see influences, references, and playful nods to lots of films, like The Raid, Game of Death, and The Matrix films.  It was just over the top and heavy handed in this sense and hard to understand or even care much about what could have been a more interesting backstory with some interesting characters.  For martial art action fans like myself, I can't be totally disappointed in this common criticism because on the surface alone it does excel both more in the action quantity and quality, more than the previous two films put together. I'm happy about the franchise, but at the same time, I think Reeves and director Chad Stahelski should be more vigilant about it digressing into just slick action alone.  I also emphasize this because some of the cgi aspects of the film got a little sloppy and with an abundant budget and resources, that's just not to acceptable.  I would want to see the franchise tighten it up a bit in chapter 5.  It was good seeing Halle Berry kicking ass of course, but actors understandably jumping onboard action franchises is arguably so common place now especially with her donning this type of role before.  All of that being said, John Wick: Chapter 3 - Parabellum, like the previous two, is still a highly enjoyable romp into an exciting fictional film noir, that doesn't let up in action and intensity.

Detroit 48202:; Conversations Along A Postal Route

A local documentary portrait offering a rare snapshot into the city of Detroit from a unique native perspective.  It weaves in and out of city history, family narrative, and neighborhood perspective.  I found it very relatable and engaging without being preachy.  Detroit is often times just thought of in terms of just the Motorcity or Motown, Detroit 48202 explores other little known aspects like the significance of Black Bottom and Black migration.

Bumblebee

Well, the Transformer film franchise certainly needed a reboot after the last disasters in Age Of Extinction and The Last Knight.  So like other superhero/comic book film franchises that find themselves going down the wrong path, they did a reboot.  Since the Transformers started in the 80's, it was only appropriate to make that (1987) the setting for Bumblebee here.  Having grown up in the 80's myself, being a fan, and watching the early television shows and  films, I've never run into anyone who didn't consider the character of Bumblebee to be one of their favorite Transformers.  So giving him a bit of an origins story and pairing him up with a troubled teenager (Hailee Steinfeld) turns out to be a no brainer.  The special effects and action are, of course, all there but they aren't unecessarily saturated over substance like many of the earlier films, even with Michael Bay still as one of the producers.  Instead, nostalgia, character chemistry and humanity, and humor are in equal doses here under the helm of  director Travis Knight. 

Triple Threat

You've got an all star dream team of martial artist here in Tony Jaa, Iko Uwais, Tiger Chen, Michael Jae White, Scott Adkins, and Jeeja Yanin to name just a few.  That alone promises a lot of potential and their is surely great action to supplement the badly executed story.  Don't get me wrong.  It's certainly not the worst executed plot and most martial art fans understand that, expecting more action.  On this note, it's great and there is never a dull moment with the variety of styles showcased and going against one another.  Yet, I would certainly argue that each of these stars already has or can potentially make their own stand alone movie even better executed action.  Tony, Iko, Scott, and Michael for sure have showcased their prowess better in their own films.  But a buffet of action stars that aren't yet ready for the Expendables movies from an international cast is still just magnificent to behold, especially in seeing the teaming of Tony and Iko and their respective western counterparts of Michael and Scott.  Granted, an action cast that extensive and talented is rather doomed to fully live up to the expectations and possibilities of the fans given the time restraints and budget of a regular feature film format, even as visceral as Triple Threat is.

September 16, 2019. Finally!!!

Avengers: Endgame

Beyond arguably the most star studded cast in a successful film franchise, Avengers: Endgame is the culmination of a decades long legacy and realization for the Marvel franchise and it doesn't disappoint.  It delivers and then some, in hefty but fitting doses for the fans and critiques alike.  In the aftermath that is Avengers: Infinity War, Endgame is exciting, witty, surprising, unexpected, nostalgic, and delivers tons of obligatory action.  At 3 hours long, the Russo brothers pack it with story oriented trips down memory lane and the like, that return the franchise to it's roots started in 2008's Iron Man and send it off with a conclusion and continuation rarely seen in this type of genre.  Free range is given to explore and celebrate the original Avenger characters and this is just as great as the action that we've come to expect.  Those character bonds, their angst, tragedies, and triumphs are dived into wholeheartedly.  Much of what ties all the characters, including the seemingly ordinary ones, of these 21 films together in story and ultimately as an integral solution to their current dilemma is a treat that is sprinkled in generous doses throughout here.  Avengers: Endgame certainly has it's flaws, mostly in terms of uneven tone and pacing for the length. A mandatory second viewing may flesh them out further. But whatever minor criticisms I may have on that front, are just that in the overall scheme of things.  Endgame is what we've been waiting for and it's a celebration of all of these successful films (let's not forget TV, too)  tied together and if you've enjoyed anyone of those films, then Endgame will resonate with you on some level.  Marvel has made so many ascending strides in the superhero genre and they flaunt it here, sometimes unabashedly.  So while there is a somberness and celebration here, there is also a continuation in more films in the works and on the way.   

Shadow

The Girl In The Spider's Web

Claire Foy is a very fine actor and all and she's capable enough in the role here, but she surely ain't no Noomi Rapace.  Director Fede Alvarez does a fine job of updating the technical capabilities of our favorite dark vigilante heroine and her alies, but too much emphasis is placed on that at the expense of other essential elements.  It's cool and all, but The Girl In The Spider's Web ends up becoming just another almost composite of  the Jason Bourne films at best.  Lisbeth's backstory, as interesting as it was and integral to the whole story, was not fully dealt with enough getting lost in a plot that was more suited to Bourne or Bond.  The look, pacing, and action were all right and it had a creative premise, but it didn't fully live up to the expectations of what I've come to expect in this franchise. One other notable omission was the rapport with partner and  journalist Mikael Blomkvist (played by Sverrir Gudnason), who was almost reduced to just an extra here. This is a shame, because there is so much inherent possibility in characters that rich and that we've seen done well on the screen in the 3 original Swedish films and even in the well edited and executed Netflix TV series which takes a different slant.

Native Son

Ashton Sanders (Moonlight) is the highlight here taking on the role of misguided youth Bigger Thomas.  It can be challenging turning a classic novel into a film of the same esteem, much less updating the story to suit contemporary times.  Native Son has a talented director in artist Rashid Johnson and Pullitzer Prize winning screenwriter Suzan Lori-Park. Both Sanders and KiKi Layne (If Beale Street Could Talk) are more than up to the task in their portrayals, but Native Son falls a bit short in it's overall depiction of the story, particularly in the end and it's omission of key moments.  Nonethless, the parallels of a novel written decades before and its meaning now, seemed a bit undercut here.  That may not be necessarily the fault of the film or those involved, but somehow the almost futility in relevance of a classic American novel becoming almost irrelevant in scale in a sea of films throughout the years that intentionally or not, also illustrate the constant vigil and exploration for solution we must have for the plight of young Black men, the justice system, and social class.

If Beale Street Could Talk

If Beale Street Could Talk is a great film adaptation of the James Baldwin novel with a stellar cast.  Barry Jenkings deserves much credit as director and for the screenplay.  It is interesting in that there are many parallels and similiarities this year with Alfonso Cuaron's Roma, notably in that both of these films take place in the 1970's, are concerned with the everyday life of black and brown folks, and make great use of creative cinematography and music to elevate the poetry within the stories.  Like Roma, If Beale Street Could Talk also addresses the very real and still relevant issue of a class divide among multiple generations.  Two films set in the past that echo the current environment that we live in.  What we also have in this film, is a unique depiction of the dynamics of everyday Black family life and young love. Regina King is always just amazing to watch and behold how her talent has just matured to another level.  Kudos must also be given to the rest of the cast Kiki Layne (Native Son), Stephan James, Pedro Pascal, Michael Beach, and Coleman Domingo.  This recent resurgence of similiar Black films from promininent Black authors and playright (Native Son and Fences) has been really exciting to see. 

Captain Marvel

You gotta admire the Marvel franchise.  It's had so many inroads and successes for this long and how each of their films is more than dual purpose in offering extended narratives, introductions, context, and clues to ultimately push the Avengers narrative further. So after the success of the groundbreaking Black Panther, I would think that Marvel's first real ambitious endeavour into a female character would also catch fire in a unique way.  This is not to say that Captain Marvel is a bad movie and that Brie Larson wasn't great because she was.  One of the major problems I had was with the tone of the film being part campy like Ant Man or Guardians Of The Galaxy, but without the endearing charm.  The story is a bit convoluted also, but Larson is pretty amazing in her embodiment of the character and Jude Law is good enough as a villain.  Beyond this, Captain Marvel serves, in this first installment anyway, as a prelude full of worthy easter eggs to Avengers: Endgame. 

Mortal Engines

Mortal Engines is a really creative post apocalyptic film. The special effects and sheer imagination of  was great here.  The producer (Peter Jackson) and New Zealand team that made The Lord Of The Rings and Hobbit films are responsible for bringing this novel by Philip Reeve to life.  There's nothing really overly standoutish about the film.  There are certainly elements of Star Wars and The Matrix that are easily observable, as well as relevant political and social cautionary notes integral to the story.  On that note and to it's credit, the cast is pretty good and diverse.  I especially enjoyed Korean singer Jihae's cool character. 

Widows

Steve McQueen's Widows  has a stellar lead and supporting cast for sure in Viola Davis, Liam Neeson, Michelle Rodriguez, Robert Duvall, and Colin Farrel.  This female heist template has been done before in 1996's  Set It Off or even the recent Oceans 8, but Widows feels more substantive, realistic,and character driven than either other film.  As a bonus, it takes on so many issues of the day beyond even the obvious gender. Race, class, loyalty, betrayal, greed, inequality, and others are all throughout.  All the while, we are treated to a good caper, thriller, and action film that's really engaging.

Bohemian Rhapsody

Bohemian Rhapsody tracks the origins and rise of Freddie Mercury and  Queen.  As with most film biographies, it doesn't go over many aspects of his life and arguably glosses over many of the tragedies.  It's a good biopic that opens with a prelude to the infamous Live Aid performance and then backtracks.  But the best aspect of the film is a great performance by Raimi Malek.  His embodiment and performance as the late Mercury were just incredible to behold, as his well deserved Oscar nomination and win speak to.

Overlord

Nowadays comic books and even video games are turned into film, so I had to be reminded that Overlord was a video game from 2007.  Well, irregardless of the source, the film Overlord is just good, pure, and fresh entertainment.  Part war drama and part horror, it is an interesting take on the World War 2 drama as predominantly told from a young Black man's perspective.  There are certainly shades of Inglorious Bastards, Cloverfield, and World War Z here. This film is very engaging employing judicious use of suspense, action, cinematography, and special effects.  The relatively unknown cast here also helps in the performances of Jovan Adepo, Wyatt Russell, and Bokeem Woodbine.  I'd certainly root for a sequel to this.

Hunter Killer

I was bracing myself for this being bad, really bad.  At the same time, I wanted to see it as it's been a long time since I've seen a good naval warfare movie.  We ain't talking Battleship here either.  I hearken back to Das Boot or The Hunt For Red October.   Why bad you ask, beyond a peek at rotten tomatoes?  Gerard Butler hasn't exactly been making the best choices in recent years.  Hunter Killer, however, went beyond my expectations.  It's a tense thriller on top of a war movie and done rather well.  To anchor all that (pun intended) in, there's Gary Oldman and Toby Stephens (Black Sails) performances, as limited as they could be for a story that had to fit into this packaged time frame.  Gerard Butler was just playing, well Gerard Butler.   The story is arguably too convoluted to play out in the given time, irregardless of the relevant geo-political climate.  No, it's not the best movie, but it's certainly damn entertaining and borrows enough material from The Hunt For Red October and say a Behind Enemy Lines to keep it afloat.

Mile 22

Mile 22 is an adrenaline fueled espionage ride starring Mark Wahlberg, Iko Uwais, Lauren Cohen, Ronda Rousey, and John Malkovich.  The cast is great and its good to finally see Iko (The Raid movies) in a great role with an intruiging story.  I say that last part concerning the story, because that's the main detractor from the whole film.  While I can appreciate the very real complexities in spy stories that unfold themselves in dramatic ways, too much complexity  and a confusing narrative do not serve Mile 22 very well.  For nearly the first hour, who knows what the fuck is going on with the story.  That only serves to make an audience listen to an overly intense Wahlberg just overact oscillating back and forth in narrating the briefing and getting in everyone's ass with his ramblings.  If you're just watching it for the action and don't care about the plot, then you're fine as the pace is pretty relentless.  It has and does everything else well though, in so far as what we've come to expect from contemporary Bourne type movies is all here in action, set and location, and casting.  You've got great female leads kicking ass here, too.  John Malkovich, as great an actor as he is, however looks comical in his wig as the overwatch supervisor.  It's also obvious that this is a film, much like certain military films, that tries to give much credence to the little known Special Activies branch of the CIA while at the same time trying to stay relevant to the current political and intelligence situation and issues of the day.  It's Iko's biggest Hollywood profile role and in in reality, he basically owns this film.

Searching

What has been achieved in the film Searching is a fresh and creative filmmaking process told through computer screens that clearly represents how technology and social media have the ability to convey a story.  Searching shows how it can be told within that new medium and told really well with suspense and in the performances of  actors John Cho and Debra Messing. The incredible irony of a film shown almost entirely through the other lense of other computer screens and feeds, is really brilliant in its editing and execution. The main character's (Cho) point of view, mirroring the audience, is certainly relatable as we are given much insight into the plight to find his daughter (Michelle La) using the computer.

Crazy Rich Asians

Crazy Rich Asians is a really nice, feel good movie.  There are great set decorations, locations, music, a very talented cast, and a really heartfelt classic romantic story.  More importantly, what it does is update many of the notions of what it means to be Asian in the world, the perceptions , and the various differences in culture and socioeconomic class that affect it.  Where it fell short, was in rushing the classic happy ending, as I felt there needed to be more time and dialogue between Michelle Yeoh and Rachel Chu's characters, instead of glossing it over just under the guise of a mahjong game.  This also brings up the fact that perhaps, as a simultaneous detractor and merit of the film adaptation of Kevin Kwan's book, that there were other compelling storylines going on that also couldn't be adequately explored.  Though Crazy Rich Asians has a lighter tone, there are obviously many parallels to 1993's The Joy Luck Club, which is sad that we have to reach that far back to compare.  But an all Asian international cast, writer, and  director is certainly what gives this film so much rich variety.

Peppermint

Peppermint, directed by Pierre Morel (District 13) and starring Jennifer Garner, is a revenge drama. It certainly has some deficiencies, one of them being that the story of a white woman out for revenge against Mexican drug cartels murdering her family years earlier, is probably not exactly the best timing in this crazy, divisive, political climate where certain segments of the country are looking to demonize those south of the border. Otherwise, the story seems to rely too heavily on Garner's action credentials (Alias, Elekra) and less on fleshing out a character driven performance that ultimately goes nowhere. So if you skirt all that, then yes Peppermint is viscerally entertaining with the action and watchable, but clearly lacking in character depth and story development for an actress of her caliber.

Aquaman

DC continues it's now characteristic downward spiral trajectory with a movie I certainly thought never thought would ever be made, in Aquaman.  The best feature of this film are the special effects. That's about all I got here. It's very campy and that's no surprise from his introduction in Justice League.  But it's just really uninteresting and the politics of how he ascends.....Well, you just don't give a fuck, as it feel like it's being just glossed over and with wooden acting.  Part of the problem is that most of the story takes place after the events of Justice League and this rather inmature Aquaman played by Jason Momoa, is just a bit too much to take seriously.  Aquaman also feels like a thinly veiled copy and paste of events and scenes in other films like Wonder Woman and most recently, Thor Ragnorok.  I understand the integral nature of the film to the rest of the DC universe and they squandered much in the Green Lantern movie (may that memory quickly fade), but damnit DC.  Another Wonder Woman movie just needs to take the reigns again.

The Equalizer 2

I really wanted to like this.  Really, I did. With Antoine Fuqua directing, Denzel starring, and a successful first run reboot, what could go wrong? The action was great for sure and yes, there was more of it.  But more and better action to bulk up a sloppy and misguided film, does not make a great movie.  Certainly not one on the same caliber of quality and  expectation one would expect from this successful director and actor pairing.  How the story is executed is the problem.  There is a showdown that doesn't make any logical sense in the how and where it was executed (less you don't care about shit making sense and bad guys being intelligent in their planning).  There is also a secondary story of redemption in the life of a young Black artist that gets shamefully a bit lost in the storyline. Too bad, because both storylines were also obviously meant to advance the character of Robert McCall. 

Roma

Director, cinematographer, editor, producer, and writer Alfonso Cuaron's Roma is a return to cinematic greatness. It tells the day to day story of a young maid's (Yalitza Martínez) plight in 1970's Mexico, working for a well to do family. Though Martinez gives a wonderful performance, it is the cinematography of Cuaron that is the real standout here. His choice in black and white, the wide screen panning of entire scenes that take on the entirety of each scene, and the level of detail in the highlighted stillness is magnificent. These techniques serve to move the story along in such a different way that evokes the enormity of the main characters plight, forcing the viewer pay attention and process the character's plight in a more naturalistic way. In this sense, Roma is a technical and artistic masterpiece.