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| (l-r) Noah Jupe, Millicent Simmons, and Emily Blunt in A Quiet Place: Part II |
WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. (The dates in which said reviews were initially posted are in parentheses.)
The following represents the first edition of reviews (alphabetically) I posted on various films released in 2021 that were seen by yours truly at the nearest or convenient movie houses. (However, only two of these titles were not seen in theaters, while two others were thoroughly discussed on this blog in 2021, and have a * symbol after said latter titles.)
In a year where several feature films finally received a long-awaited theatrical release due to the 2020 pandemic, and where certain streaming services (we're looking at you, HBO Max) faced controversy over simultaneous online and theatrical options, it was nonetheless a slow build back to a centuries-old shared experience that arguably made the term "exclusive" the word of the year.
Often known for his film adaptations of Shakespeare plays, writer-director Kenneth Branagh helms one of 2021's strongest films, a semi-autobiographical drama about a young boy's upbringing in Ireland in the late 1960s. Shot in beautiful black-and-white (with exceptional, but well-intended, moments of color), I was skeptical that this story would be too similar to 2018's Roma (another B&W masterpiece), considering Belfast's themes of political turmoil, racism, religion, and family. Plus, I ended up going to a showing with on-screen captions, which turned out to be far from distracting (especially for viewers who aren't used to Irish dialects). Peppered with Van Morrison songs over its engrossing soundtrack, and an incredible roster of actors at the top of their game (including screen veterans Ciarán Hinds and Judi Dench, who are just wonderful to watch), Branagh's film is a story of the places, people and memories that make us, and the opportunities we have to start anew, no matter how challenging. "Go. Go now. Don't look back." (11/14/2021)
Agent/assassin Natasha Romanoff finally makes her long-awaited solo debut in the Marvel Cinematic Universe--and officially kickstarting a postponed fourth phase in the ever-growing franchise. In a story set between the events of Captain America: Civil War and Avengers: Infinity War, the Black Widow is on the run all while seeking to bring down the very secretive organization that made her who she is. A thoroughly gripping and intense experience (arguably the first of its kind since 2014's Captain America: The Winter Soldier). Some of its humor is a bit out of place, but this was made for the big screen where it belongs. Scarlett Johansson has come a long way, and counting.
(I've got some catching up to do with the Disney+ series The Falcon and the Winter Soldier, Loki, and especially Wandavision.) (7/11/2021)
The dynamics and complexities between kids and adults (including parents and their children) is brilliantly chronicled in writer-director Mike Mills' engrossing new drama. Joaquin Phoenix plays a radio journalist who travels nationwide asking various kids and teenagers their thoughts about the future, and eventually looks after his young nephew (newcomer Woody Norman) while the boy's mother (Gaby Hoffman) is away during a family crisis.
Shot in beautiful and captivating black-and-white cinematography, and featuring an amazing score, bold editing, and rich and genuine performances (said elements are incredibly synchronized many times throughout), C'mon C'mon is a story of people trying to understand the world around them, how they express themselves uniquely, the effects of absent parental figures, and about finding hope amidst harsh realities. Said realities are not easy, of course. But another underlying theme is that it's okay to not be okay sometimes.
Kudos to the use of various children's books like Frank L. Baum's The Wizard of Oz and Claire A. Nivola's Star Child. This is one of the year's best films, if not the best. (12/5/2021)
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| Emma Stone in Cruella |
Let's be honest, it's hard to find good, solid, quality film and television that can impact people for the right reasons these days. For those of you who don't ordinarily attend movies or watch television (and your decision not to do so is honorable), here are otherwise some faith-/biblical-based recommendations for you and your family (as well as potential ministry opportunities).
If you've seen and/or are fans of films like Facing the Giants, War Room, and Overcomer, the Kendrick Brothers and Sherwood Pictures (the filmmakers, churches and communities behind those films) recently re-released their 2011 film Courageous for its 10th anniversary (under the title Courageous Legacy), complete with new footage and a new ending. It's powerful message on fatherhood and parenting is profound and worthwhile.
The Kendrick's also made a new documentary touching on similar themes, called Show Me the Father. Speaking of documentaries, Jon & Andrew Erwin (the filmmakers behind 2018's I Can Only Imagine) made a new feature called The Jesus Music, about the contemporary Christian music industry since the mid-20th century. (9/26/2021)
With the release of this dark origin story centered on one of Disney's greatest villains, I've been asking myself lately what could possibly be the reason behind this film's existence, other than for the Mouse House to continually milk its cash cow of endless live-action remakes of their beloved animated classics. (And 101 Dalmatians is one of my favorite movies, but that's beside the point here.)
Emma Stone (an actress I really like) is terrific as the titular antihero, as is Emma Thompson (still killing it in her 70s) as an equally maniacal fashion designer. And it practically goes without saying that the film's costume design and art direction is impeccable and, dare I say, spot on for its 1970s punk-rock London setting.
That being said, Cruella seems to follow a similar route that Todd Phillips took with 2019's Joker (albeit the graphic violence, profanity, and smoking), in asking audiences to not only understand its tragic and troubling lead character, but also to sympathize with her during her many menacing schemes. Disney is no stranger to dark content, but this film left me polarized and, as I've said, curious about its existence. It certainly isn't a film for children, I can say that as well. (5/30/2021)
I'm often reminded of how movies can inspire us and bring out the best in us. Disney's latest animated adventure--their 60th, in fact--did that for me. An original story about a Mexican family and a magical home, Encanto is thoroughly colorful, lively, and full of heart. It stalls a bit in its second half, but its strong narrative and emphasis on a unique cast of characters (not to mention an infectious soundtrack, with original songs by the multi-talented Lin-Manuel Miranda) sneak up on you. This is a story of community, family, and being real and embracing yourself, flaws and all. In one word, Encanto is magical. (11/24/2021)
One thing that's for certain about Marvel Studios, fan or not: they never lack ambition. Even after two monumental Avengers finales and now four phases into their already-unprecedented cinematic universe, Eternals represents one of their most daring and challenging films. Based on Jack Kirby's celebrated comic book series of extra-terrestrial beings who have been on Earth for thousands of years, there's a lot to like about this epic story, as much as there is to be confused by (especially if your not familiar with the history of the series or characters).
First the good news: the film looks and sounds stunning (especially in IMAX, despite its distracting aspect ratio shifts). The cast is stellar--further proof of Hollywood's significant shift in onscreen and cultural representation, not to mention universal appeal. And the fact that it was shot at real worldwide locations (my hats of to director Chloe Zhao and crew) adds to its authenticity and rich world-building.
Even so, said world-building and mythology can be hard to follow, considering the story jumps between various time periods in which our central characters have lived through. It can also get very meandering and too introspective. At more than two-and-a-half hours, Eternals (much like another Disney-produced feature this year, Cruella) feels longer than it needs to be--even more than Zack Snyder's Justice League, and that one was just over four hours in length!
As I said, Marvel Studios never lacks ambition. Only time will tell how this world within their cinematic universe will thrive or shake from here. (11/7/2021)
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| Godzilla vs. Kong |
It's been a long time--months, actually--since I've seen a movie at Marcus Theatres . And what better way to revisit than with the latest continuation of a popular 80s franchise? Director Jason Reitman takes the reigns started by his father Ivan in 1984, when Bill Murray, Dan Ackroyd, Harold Ramis, and Ernie Hudson first sported jumpsuits and proton packs while catching various specters around New York City.
Now, more than 35 years later, a struggling family inherits an old farmhouse and discovers a mysterious connection to one of the original members. To say more would only be spoiling the excitement and thrills of this nostalgic and fresh roller-coaster of a movie. I will say this: while it has dark spiritual elements (more than the original film did, honestly), some genuine jump scares, and a few familiar plot points that get cleverly subverted (they are a disappointment, to say the least; but still, you may be surprised by some unexpected appearances), this is the best time I've had at the movies in a long while. (In a moviegoing sense, of course.)
Extra fun: It helps that the cast is terrific, especially McKenna Grace, Finn Wolfhard, and Paul Rudd. The same goes for a booming surround sound, and a great balance of practical and digital effects. One of the best movie lines of 2021: "It has a gunner's seat?" (11/21/2021)
Warner Bros & Legendary Pictures continue their "Monster-Verse" with this fourth installment in the larger-than-life franchise (following 2014's surprisingly-good Godzilla, 2017's entertaining Kong: Skull Island, and 2019's lackluster Godzilla: King of the Monsters), pitting the two most popular cinematic creatures of all time against each other. The good news: the movie delivers the goods on a visual front, with insane, slam-bang action and destruction as can be expected.
But here's the thing--well, two things, actually. 1) what you see in the trailers is exactly what you get, and then some cranked up to eleven. And 2) my biggest qualm with what started out as a promising cinematic universe is that everything rushes so fast that we hardly have time to breath and absorb it all, let alone get emotionally invested in its plot (which is so convoluted and ridiculous, we could care less anyway) and characters (although a few players standout, like Brian Tyree Henry, Millie Bobby Brown, and deaf child actress Kaylee Hottle; and Kong himself, arguably the real star here). So not only does it lack restraint, but also genuine suspense and thrills. Perhaps this franchise should look again at their first chapter from 2014. Just a suggestion. (4/4/2021)
I think we, as moviegoers, might be taking for granted how much of a comeback movie musicals have been making over the past decade. Aside from the obvious Disney animation (we're looking at you, Frozen and Moana), several other live-action originals and adaptations have been making waves, from Damien Chazelle's La La Land to Michael Gracey's The Greatest Showman, and Steven Spielberg's version of West Side Story this fall. Fans of Lin-Manuel Miranda's Hamilton will undoubtedly be taken with the cinematic version of his impressive and immersive stage debut from 2008, courtesy Crazy Rich Asians director Jon M. Chu. A burst of cultural representation and celebration, In the Heights is set in the NYC neighborhood of Washington Heights, as the story follows various characters with their own dreams, aspirations, setbacks, and perseverance; narrated by lead character Usnavi (a breakout Anthony Ramos). Several suggestive elements will be the major drawback for more discerning families in what is otherwise an energetic and inspirational experience. (6/15/2021)
A hermit (and former chef) goes on a dark quest to find his stolen truffle pig. Sounds as ridiculous a premise as it is, but considering that Nicolas Cage is the headliner of this indie drama--what with his bizarre track record in film, as most of us know--one would think that's a recipe for disaster. Well, think and look again. Pig (written and directed by Michael Sarnoski) is not only one of 2021's most striking films, but also one of the most subversive that has ever been made or seen. A very atmospheric, meditative, and haunting character study about loss and grief, Cage (very subdued, quiet, esoteric, and battered throughout) gives agreeably his best performance in years. Whoever thought a story about a pig would be so deep, bleak, and multilayered? (12/17/2021)
If ever there was a film franchise that strangely (though unintentionally) paralleled the 2020 pandemic, this may be the closest thing. This anticipated follow-up to the surprise 2018 horror feature rises to the task of being just as immersive and hair-raising, thanks in part to returning players Emily Blunt, Millicent Simmonds and Noah Jupe (with equally impressive new additions like Cillian Murphy, playing against type, and Djimon Hounsou), as well as writer-director John Krasinski. Even if it comes with a few flaws and shortcomings (of which there are only a few), A Quiet Place: Part II is overall an edge-of-your-seat experience that demands to be seen on the big screen. Just don't make a lot of noise if you see it. (5/30/2021)
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| Raya and the Last Dragon |
The latest from Walt Disney Animation Studios is one of the year's first standout features. In the tradition of diverse classics as Mulan, Pocahontas, and Moana, Raya and the Last Dragon pushes the boundaries of on-screen representation, this time immersing in Southeast Asian culture and folklore, with a story that follows the titular warrior on a quest to find and assemble pieces of an ancient gem to restore a broken and divided world, with help from a magical (and wisecracking) dragon. Although it does seem a little fast-paced (my only qualm), the film more than benefits from multi-dimensional characters (with terrific vocal efforts from Kelly Marie Tran and Awkwafina as the eponymous leads, respectfully), colorful art direction and production design, and themes that couldn't be more timely. Another amazing and spectacular achievement from Disney.
Extra fun: the preceding short film, Us Again, a charming and delightful music-and-dance tale about an aging, interracial couple. Also worth noting: this film, combined with trailers for Warner Bros. In the Heights and Pixar's Luca renewed my belief in the power of movies, and cinema in general. (3/7/2021)
During the 2020 worldwide COVID-19 pandemic (and while on hiatus from another film), Stallone decided to do a re-cut of 1985's Rocky IV, retitled Rocky vs Drago: The Ultimate Director's Cut. When asked during a live Q&A presentation with Turner Classic Movies host Ben Mankewicz in November as to why he chose to re-edit this particular sequel, Stallone admitted it was the most "flawed" in the series. Despite being the highest-grossing chapter and making a breakout star out of Dolph Lundgren, the actor-filmmaker wanted to re-assemble the film "in a contemporary fashion that is more soulful and dramatic," and with more humanity.
If 2018's Creed II brought the Rocky-Creed saga full circle, then this alternate version of Rocky IV adds depth, new meaning, and much-better closure (pre-Rocky Balboa) to the original series, as well as more time with its central characters, much like Richard Donner's 2006 cut of 1981's Superman II brought that original franchise to a more worthwhile conclusion.
With a new beginning and a clearer emphasis on Drago being exploited by the Soviet Union, this version also makes the action and brawling between the two opponents much less superhuman. The fight sequences are more gripping and grounded, with sound effects toned down; ditto the iconic training montage, a strong David-&-Goliath illustration of nature vs. technology, past vs. future (seriously, that dragonfly bit is impressive). The lighting has been adjusted and is now more bold, instead of foggy like before. Even the aspect ratio has been changed (or compressed?), from a 1.85:1 to a 2.39:1 format.
More importantly, the film emphasizes its themes of age and pride in a way the theatrical cut never did, highlighting what is truly at stake for these characters. The theatrical cut, Stallone agrees, was superficial, fast-paced, and had less time to breath. (The robot/Paulie subplot, lest we forget, was one thing that Stallone knew he had to axe.) Even so, other sequences, like the James Brown performance in Las Vegas, don't feel out of place with these new adjustments. If anything, Rocky vs. Drago represents an opportunity for a star/filmmaker to present an alternative or corrected history. (12/28/2021)
I've got to be honest, I had low expectations for this martial-arts action-adventure--the second installment in Phase Four of the Marvel Cinematic Universe. But I was quite blown away by how good it was.
Sure, Shang-Chi has dynamic and genuine action sequences (despite the fact that half of it is clearly CGI), a killer score, slick direction (courtesy indie filmmaker Destin Daniel Cretton, of Short Term 12 and Just Mercy), and an awesome cast (mostly Asian and Asian-American actors, including the legendary Michelle Yeoh). But it has a strong, beating heart in its central story of the son of a centuries-old assassin and the complicated family dynamics, misguided use of power, and past mistakes he has to face and ultimately make right. The film does lose a bit of momentum in its second act, and some of the dialogue (unnecessarily crass at times) could've easily been avoided; it even gets surprisingly dark with its elements of mysticism and spirituality.
Overall, this is an exciting (if occasionally benign) blockbuster that goes in unexpected directions, showcasing, in the process, how to take what we've learned from those before us and making it our own. Wow. This is one of the biggest surprises of 2021. It'll be mindblowing to see how the MCU continues this trend with Spider-Man: No Way Home in December and Doctor Strange and the Multiverse of Madness next year. (9/5/2021)
So far, this movie's been getting mixed reviews from critics, which may not be that surprising. (Like I said, this is a crowdpleasing franchise.) Some may quip, though, about the CGI renderings of Bugs and company in the film's ultimate showdown, not to mention the various (some not-really-kid-friendly, WB properties that make cameo appearances, from Mad Max to The Matrix to Game of Thrones, and even A Clockwork Orange--WHAT?). But it's absolute fun seeing the Looney Tunes in their classic 2D forms (kudos to the thousands of artists involved).
With that in mind, this long-awaited sequel actually improves on the original, in terms of its consistent tone, more personal stakes, and a general respect for each character's classic traits and trademarks (despite a martini-drinking Granny and freestyle-rapping Porky Pig). Plus, the millions of cameos within the "WB Server-Verse" (and an extra surprise appearance!) alone are worth repeated viewings, giving "Ready Player One" a run for its money. What it could of used was more restraint and less IP-promoting. That's all for now, folks. (7/18/2021)
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| Lebron James and Bugs Bunny in Space Jam: A New Legacy |
DON'T WORRY, NO SPOILERS HERE. NOT REALLY.
I mentioned in one of my previous Spider-Man reviews the term "oversaturation," which makes sense in this day and age of multiple franchises and studio tentpoles. In my review for last month's Ghostbusters: Afterlife, I didn't bring up the term "fan-service," which makes more sense when analyzing that sequel in retrospect.
Both of those terms could easily apply to the MCU's third solo Spider-Man movie starring Tom Holland. At least on the service. If you've been paying attention to the trailers and marketing, you know by now there would be appearances by former foes like Alfred Molina's Doc Ock and Willem Dafoe's Green Goblin. But No Way Home is way more than that. In fact, it's better.
Not only does it subvert all expectations out of proportion--and you're in for a whole load of surprises! This is a powerful story of second chances and making the right choices, no matter how difficult. And it's not only the best solo Spidey entry in the MCU (honestly, they've been doing an incredible job overall with these installments, and third time really is the charm here), but arguably the best moviegoing experience since Avengers: Endgame in 2019. Trust me, this one is worth going to the theaters for. My only warning: prepare to be wowed!
And one more thing I'd like to mention: much like Jared Leto got to revisit (and reimagine) his version of the Joker in Zack Snyder's Justice League, so here does Jamie Foxx get to revisit his rendition of Electro from 2014's The Amazing Spider-Man 2. I did mention second chances, didn't I? (12/20/2021)
The best thing I can say about this latest incarnation of obscure supervillains in the DC Universe is that it's a lot better than the disappointing mess we got in 2016. But that is far from a recommendation. Sure, this action-comedy is colorful and features a stellar cast (especially Daniela Melchoir's Ratcatcher 2 and Sylvester Stallone's King Shark), as well as writer-director James Gunn (of Marvel's Guardians of the Galaxy fame)'s trademark wit and offbeat humor--even though the film does drag on at times. But you should know this is very-hard-R territory, with characters spewing out numerous profanities and graphic violence (exploding heads, slashed limbs, etc.), giving Deadpool some heavy competition. Gunn has dabbled in such content before, having penned Zack Snyder's 2004 remake of Dawn of the Dead, and directed other gorefests like 2006's Slither and 2010's Super. Also, the marketing may have been misleading in more ways than one. Just saying. (8/22/2021)
Audiences today may not recognize the ever-popular cat-and-mouse duo Tom & Jerry (made famous from nearly eighty years of animated shorts and specials by Hanna-Barbara and Chuck Jones). Longtime fans, on the other hand, will recall fond memories of the duo's hilarious hijinks. But this newest live-action/animated comedy is only their second theatrical feature-length outing.
Their first movie hit the big screen in 1993, in an adventure that started out promising enough, only to become a missed opportunity doomed to fail. You see, our favorite frenemies "talk" in this "musical," which many animation fans and historians consider sacrilege for such characters known for their pantomime escapades. To add insult to injury, the duo were thrown into (and upstaged by) a generic and lazy plot involving a runaway orphan and some seriously creepy adult figures. Honestly, these are some of the greatest cartoon characters of all time, and they deserved better material than this--despite Henri Mancini's delightful theme music and a clever blink-and-you'll-miss-it cameo from Droopy Dog.
I bring this up because Warner Animation Group seems to have learned this lesson with their 2021 movie. Admittedly, it's not prestigious or top-notch, as far as its average and underdeveloped live-action story goes (ditto its hip-hop soundtrack and vibe, which may be a little too much for some viewers). But its retro 2D-style animation alone is a delight, retaining the classic traits that made these characters enduring in the first place. Plus, its NYC hotel setting is worthy of their talents. If anything, it's a significant improvement from the 1993 movie three decades prior. (3/2/2021)
A well-made, gripping fantasy-drama in the same cinematic realm as A Monster Calls and I Kill Giants (of which this film's distributor, RLJE Films, made a few years ago). This story follows a young boy (Lonnie Chavis a.k.a. Young Randall Pearson from This Is Us) as he searches for a mysterious figure whom he believes may help his ailing mother. David Oyelowo (Martin Luther King from Selma) works in front of and behind the camera, along with a terrific supporting cast (including Rosario Dawson, Alfred Molina, and Maria Bello). Exceptional 2D graphic novel effects are one of this film's many highlights. (5/9/2021)
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| Ansel Elgort and Rachel Zegler in West Side Story |
One of several films this year delayed due to the 2020 pandemic, Steven Spielberg's more-culturally-relevant-yet-old-fashioned update of the acclaimed and celebrated 1950s musical West Side Story finally hits the big screen. Already creating positive buzz, it's easy to see why.
To be sure, there are some flaws in characterizations and a few contrived plot points. (Apparently, Ansel Elgort has been getting some criticisms for his portrayal of leading man Tony, but honestly, he's not bad.) Plus, the story's themes of racism, xenophobia, immigration, and the tragic side of the American Dream are handled more realistically (and more intense) than the 1961 film adaptation before it.
On the other hand, its overall production values--from Janusz Kaminski's immersive cinematography, to Justin Peck's choreography (originated on stage and screen by Jerome Robbins), Tony Kushner's adapted screenwriting, Leonard Bernstein's engrossing score, the now-late Stephen Sondheim's brilliant songs, the daring lack of subtitles, and Spielberg's skilled direction (the man hasn't lost his cinematic touch)--make up for said flaws.
Arguably, the real stars are the many standout performances, particularly Rachel Zegler (as Maria), the legendary Rita Morena (as new character Valentina), and especially Ariana DeBose (succeeding Moreno as Anita--give this woman an Oscar already!). In addition, the way this adaptation subverts the context of its memorable songs may leave you breathless; pay close attention, for example, to "America" and "Somewhere". (12/12/2021)
Watching the appropriately-named Zack Snyder’s Justice League [back in March], I marveled (so to speak) at the never-before-seen footage of its titular characters and their respective arcs, including citizens of Aquaman/Arthur Curry’s underwater kingdom of Atlantis; Wonder Woman/Diana Prince’s fearless island of Themyscira; and a deeper backstory of the defenders of Earth, the “Mother Boxes,” and a much more intimidating Steppenwolf along with the big bad Darkseid. There’s even a completely revamped take on Jared Leto’s previously-criticized interpretation of the Joker (from 2016’s Suicide Squad) in one of the film’s central moments (four minutes of new footage, shot in 2020, expanding the 'Knightmare' sequence from BvS). The film really takes its time and adds weight and ethereal emotion, and gives each character their moment(s) to shine, individually and collectively. Whereas [Joss] Whedon’s [theatrical] version was conventional and studio-driven, Synder’s version is much more genuine. (And yes, the whole mustache fiasco is out, while black suit Superman is in.) It really shows. It’s also fulfilling, in many ways, to see what was promised in initial teaser trailers released in 2016 and 2017, respectively. Talk about a long time coming. (4/6/2021)
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