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estelscinema · 2 days

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Civil War: A Film That is Afraid to Take a Stance. A Review

In a dystopian future America, a team of journalists race against time to reach Washington DC before rebel factions descend upon the White House.

Mild spoilers ahead.

In his final directorial feature, "Civil War," Alex Garland transports audiences to an alternate, not-so-distant future America torn apart by civil strife, where we shadow a group of photojournalists navigating the tumultuous crossfire. Despite the trailer's promise of a gripping war narrative depicting America's fragmentation, the film transcends mere conflict portrayal to offer a profound meditation on the desensitization experienced by war journalists and photographers amidst the chaos.

The film's strength lies in its incisive commentary. We witness our journalists thrusting themselves into perilous situations in pursuit of that perfect shot, whether braving sniper fire in open fields or enduring the explosive siege of The White House. The action sequences, crafted with meticulous attention to detail and supported by impeccable sound design, resonate deeply, evoking both exhilaration and fear. The deft editing and direction further intensify the suspense, ensuring a gripping viewing experience. Yet, what truly resonates is the stoicism exhibited by our journalists, even in the aftermath of traumatic events, underscoring the profound desensitization to human violence.

However, amidst the film's praise, there lingers frustration. While "Civil War" purports to be apolitical, its very setting and premise inherently carry political undertones. The film's refusal to confront these themes feels evasive, especially as it subtly comments on real-world groups and events throughout its runtime. The irony is palpable as the film jests at those who remain apolitical during times of war while the film adopts that same stance. It's a case of wanting to have it both ways.

Introducing context to the Civil War's origins could have enriched the screenplay, allowing for an exploration of journalists' internal struggles with their bias and their duty to tell the truth. This, in turn, could have elevated the film beyond entertainment to offer a nuanced reflection on the complexities of journalism. By shying away from this opportunity, "Civil War" misses the chance to delve deeper into its themes, leaving viewers longing for a more robust exploration of the issues at hand.

One aspect that left me frustrated was the lack of depth in the characters. They felt one-dimensional, fitting neatly into archetypal roles: the hardened veteran, the wise old mentor, the eager youngster, and the somewhat clichéd horney sidekick. On paper, that's as far as their development goes. However, one standout performance manages to transcend this limitation. Kirsten Dunst's portrayal breathes life into her character, elevating her beyond the stereotypical hardened persona. Through subtle nuances and a compelling portrayal of internal conflict, Dunst imbues her character with a sense of humanity struggling to endure amidst the horrors she witnesses. It's a captivating portrayal that adds layers to a character that feels underdeveloped in the screenplay. While the other members of the journalistic team deliver solid performances, they fail to reach the same depth that Dunst achieves.

Yet, amidst Dunst's standout performance, Jesse Plemons deserves recognition for his brief but impactful appearance. In just five minutes of screen time, Plemons captivates with an intimidating yet enigmatic portrayal of a soldier whose allegiance remains uncertain.

Unfortunately, the characters are further hindered by their unintentionally cold actions. One particular instance highlights this: when a character is wounded, his comrades opt to let him bleed out for hours instead of providing aid once they reach safety. This callous indifference to their friend's suffering is infuriating to witness. A narrative where they attempted to save him, only to tragically fail, would have added depth and emotional resonance. Instead, their decision to prioritize capturing his demise for the sake of a photograph feels hollow and devoid of empathy, ultimately detracting from the characters' humanity.

Overall, I am left deeply conflicted with “Civil War”. On one hand, it is a very well-made and entertaining film that dives into the desensitization of journalists through compelling action pieces. But on the other, it feels incredibly hollow with its messaging as it is afraid to take a stance besides just being anti-war. I understand that the film is trying to be apolitical, and I don’t agree it should be.

My Rating: B-

#film #cinema #movies #movie #filmmaking #filmmaker #movie making #moviemaker #cinephile #cinematography #film community #film festival #film critic #movie critic #movie review #film review #civil war #alex garland #kirsten dunst

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estelscinema · 18 days

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Monkey Man Packs a Brutal Punch: A Review

Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over the man who took everything from him.

It's nothing short of a miracle that the Monkey Man has finally emerged from the depths of development purgatory. After years of languishing in the turbulent waters of Netflix's production pipeline, Jordan Peele emerged as the savior, resurrecting the project and ushering it onto the grand stage of the silver screen. However, despite the palpable excitement and joy that accompanied its long-awaited release, I find myself grappling with conflicting emotions.

On one hand, the film's stylistic choices, characterized by the relentless use of shaky cam, uncomfortably close-up cinematography, and disjointed editing, left me feeling perpetually unsettled and, at times, downright nauseated. Throughout the entirety of its runtime, I found myself silently pleading for respite from the visual chaos, yearning for clarity amidst the frenetic flurry of motion that dominated the screen. Yet, alas, my desperate entreaties were met with indifference, as the film stubbornly clung to its chosen aesthetic, heedless of its potential impact on its audience. Moreover, while the premise of the film held promise, offering the tantalizing allure of a revenge thriller, the execution ultimately fell prey to the trappings of the genre. The narrative unfolded along a disappointingly predictable trajectory, with each plot twist and turn telegraphed well in advance, robbing the story of any genuine sense of suspense or intrigue. It became increasingly evident that the film was content to tread familiar ground, relying heavily on tired tropes and clichés rather than daring to chart a more innovative and unexpected course.

However, conversely, one cannot overlook the evident passion that director, co-writer, and lead actor, Dev Patel, has poured into this project. His directorial prowess not only breathed life into the script but also elevated it to new heights through the incorporation of cultural metaphors and meticulous artistic direction. Patel's vision packs a powerful punch, particularly evident in the film's action sequences. Despite some reservations about the framing, these moments are executed with a raw and brutal intensity that hits in all the right ways Featuring unique yet visceral kills and a trio of extended action set pieces, Patel draws inspiration from the John Wick franchise while infusing the genre with his own distinctive flair. Furthermore, the film deftly navigates numerous political and social themes with remarkable finesse, seamlessly integrating them into the fabric of the narrative. Particularly commendable is its handling of trans representation, notably through the portrayal of the Hijra people, which surpasses the treatment typically found in mainstream LGBT+ media.

As anticipated, Dev Patel shines brilliantly as an action star in the first trailer. He exudes a raw, ferocious intensity befitting a formidable action hero while also conveying an emotional vulnerability that encapsulates his character's traumatic past. Sikandar Kher and Makarand Deshpande deliver compelling performances as the antagonists, showcasing their formidable acting chops. However, their characters are somewhat underutilized, particularly Deshpande, who remains mostly in the shadows over 95% of the film. There's a yearning for a deeper exploration of his character beyond merely being a background figure. On a contrasting note, Vipin Sharma's unexpected presence brings a comforting warmth and love to the screen.

In summary, "Monkey Man" packs a powerful punch as Dev Patel establishes himself in the action genre. While the film may have its shaky moments, it brims with passion and creativity. It's evident that Patel is still honing his craft, but this marks a commendable debut for the first-time director. I can’t wait to see what he comes up with next.

On another note, how is it possible for a man who works at an underground flight club, to still have one of the most beautiful faces in the world despite being beaten to a pulp every night? Someone teach me this sorcery.

My Rating: B

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estelscinema · 20 days

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Post Alley Film Festival 2024

In the heart of the cinematic world, a beacon of empowerment illuminated the screen as the 12th Annual Post Alley Film Festival took center stage at the Seattle International Film Festival (SIFF) Film Center on the 30th of March. Hosted by Post Alley Film Festival Founder and Director, and the President of Women in Film (WIF) Seattle, Virginia Bogert, showcased over thirty short films from over nine countries highlighting the talent, creativity, and resilience of female filmmakers.

From the moments the lights dimmed and the first film flickered on the silver screen, it was evident that this festival was not just about showcasing films; but was about amplifying voices, challenging norms, and rewriting the narrative of women in film. The lineup was an intricate tapestry of emotions, weaving together stories of strength, vulnerability, triumph, and orange cat behavior.

The films covered a wide range of topics, divided into seven distinct segments. In the first segment, "Beginnings/Ends," the focus was on the circle of life and the inevitable reality of death. Films included in this section were "Cuando te Vas," directed by Isabel Montes, "Witness," directed by Aida Tebianian, "Hangman," directed by Megan Brotherton, and "Scam," directed by Julie Sharbutt.

Moving on to the second segment, "Woman’s World," which sheds light on the daily struggles faced by women. Films featured in this category were "Made of Flesh," directed by Florence Rochat and Serena Robin, "Roses," directed by Coral Knights, "Jackie and Marilyn," directed by Hollin Haley, "Under," directed by Aloura Melissa, and "Above the Desert With No Name," directed by Sonia Sebastian.

The third segment, "Family Ties," explored the familiar challenges within families and generational trauma. Films included in this segment were "Blood Ties," directed by Emma Campbell, "Seward," directed by Debra Pralle, and "Mangata," directed by Maja Costa.

In the fourth segment, "Mothers & Daughters," the focus was on the complex and loving relationships between mothers and daughters. Films included in this category were "The Two Lives of Sepideh," directed by Soha Niasti, "Smother," directed by Lea Jeanne, and "Call Me Mommy," directed by Alea Erickson.

The fifth segment, "Coming of Age," highlighted the struggles of adolescence in a complicated world. Films featured in this segment included "Lava," directed by Carmen Jimenez, "Julie Baby," directed by Emily Groom, "Scotty’s Vag," directed by Charconne Martin-Berkowicz, "Gaps," directed by Jenn Shaw, and "Hold My Hair," directed by Rachel Taggart.

Moving on to the sixth segment, "Docs Rock," which showcased the versatility of documentary filmmaking. Films included in this segment were "The Golden Age," directed by Hannah Hamalian, "Mudlark," directed by Chezik, "Vanishing Seattle: Queer the Land," directed by Netsanet Tjirongo, and "Ape," directed by Allison Beda.

Finally, the seventh and last segment, "The Lighter Side," highlighted feel-good films. Films included in this category were "Things I’ve Made My Roommate Do. Episode 1: I’ve Parked my Car in the Friend Zone," directed by Mylissa Fitzsimmons, "Savi the Cat," directed by Netsanet Tjirongo, and "Musica Quarantena," directed by Lilian T. Mehrel.

Besides this wonderful ensemble of films, there was a profound sense of community that this film festival fosters. Each Q&A with each filmmaker provided a meaningful space for conversations and connections to thrive within the female filmmaking community.

As the final credits rolled and the lights came up, it was clear that the Post Alley Film Festival had achieved its mission of celebrating the incredible contributions of women in film. But more than that, it had ignited a spark, a spark of hope and possibility for a future where women’s voices are not just heard but celebrated and embraced. As we reflect on the moments shared and the stories told, let us carry forward the spirit of this festival and continue to champion diversity, equality, and inclusion in the world of cinema. In doing so, we not only honor the past but also pave the way for a brighter and more inclusive future for generations of female filmmakers to come.

#film #movie critic #movies #cinema #film critic #cinephile #filmmaking #cinematography #movie review #filmmaker #moviemaking #moviemaker #films #movie #women in film #women directors #wif #seattle

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estelscinema · 25 days

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Quickie Reviews

Immaculate (Michael Mohan)

Cecilia, an American nun of devout faith, embarks on a new journey in a remote convent in the picturesque Italian countryside. Cecilia’s warm welcome quickly devolves into a nightmare as it becomes clear her new home harbors a sinister secret and unspeakable horrors.

Immaculate is a peculiar yet untamed exploration of Catholicism's darker aspects in cinematic form. It occupies a unique space between the jumpscare-centric horror characteristic of Blumhouse and the more nuanced, "elevated" horror epitomized by A24. While it draws from both traditions, it doesn't fit neatly into either category. The film follows Cecilia, a Catholic Nun, who joins a new convent in Italy to care for her ailing sister in faith. As weeks pass, she inexplicably finds herself pregnant, leading many to believe she carries the Son of God. However, as strange phenomena and unsettling visions unfold, doubts arise about the true nature of her pregnancy. On paper, Immaculate promises a chilling exploration of religious trauma and the intersection of women's bodies with faith. Yet, in execution, it falls short of realizing this potent blend of horror.

In the initial half of the film, tension is primarily manufactured through cheap jump scares rather than allowing the story's natural ambiance to set the mood. These jumpscares feel contrived, lacking originality and failing to evoke genuine fear. However, as the narrative progresses into its latter half, the film begins to leverage its inherent atmosphere to truly horrify the audience. The transition marks a shift towards a more immersive experience, where the unfolding horrors stem from the organic progression of the story. The horrifying realization of being unwillingly impregnated is terrifying as it is routed in reality. Additionally, when juxtaposed with moments of authentic tension, such as the harrowing escape from captivity in the convent catacombs while undergoing labor, there's an inherent sense of unease that permeates the scene. I just wished the entire film had this momentum that it showed in the film's later half.

The performances in Immaculate offer a varied experience. Sydney Sweeney is inconsistent in Immaculate. She has many moments, especially in the first half, where she is unintentionally funny in what would have been serious and unsettling scenes. However, when she is finally allowed to go full Scream Queen, she kills it. She has this horrifying intensity in these unholy moments that proves she is a perfect match for this genre. Overall, Immaculate is interesting and terrifyingly fun at points, but feels like it is wasted potential.

My Rating: C+

Damsel (Juan Fresnadillo)

A dutiful damsel agrees to marry a handsome prince, only to find the royal family has recruited her as a sacrifice to repay an ancient debt. Thrown into a cave with a fire-breathing dragon, she must rely on her wits and will to survive.

The title of "most likely written by AI" in 2024 undoubtedly belongs to Damsel, a Netflix production that is so undercooked that a dragon would dare not eat it. This film is a colossal failure, lacking in excitement, originality, and substance. Its narrative is painfully predictable and riddled with pretentiousness, making it seem like I had already pieced together the entire story from the moment the first poster and synopsis were released months ago. Despite claiming to break away from the "damsel in distress" trope, Damsel ultimately succumbs to it, failing to deliver on its promise of subversion. Millie Bobby Brown's performance is disappointingly bland, portraying a character that attempts to be different but ends up feeling forced and unconvincing. Her portrayal lacks the intimidating presence she brought to her role as Eleven in the first season of Stranger Things. The only redeeming qualities of Damsel are its costume design and the visually appealing dragon design. However, these aspects alone are not enough to salvage what is otherwise a forgettable and lackluster movie.

My Rating: D

Road House (Doug Liman)

Ex-UFC fighter Dalton takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems.

On one hand, I appreciate that Road House didn't take itself too seriously and embraced the campiness of its story, which made for an enjoyable experience. However, on the other hand, I'm frustrated by how it spiraled into a chaotic mess. The remake of the 1989 classic, Road House, is a film characterized by tumultuous disarray. Amidst this chaos, there are moments of fun, particularly in the first half. The fight scenes are entertaining, and the chemistry among the cast members adds to the enjoyment. Initially, the film strikes a balance, embracing its campy nature while still maintaining some grounding elements. However, this balance is lost as the movie progresses into its second half. The once-cohesive story and characters are abandoned in favor of poorly executed CGI fights and nauseating cinematography. As a result, what started as an enjoyable romp devolves into a disappointing mess.

The dialogue throughout the movie feels forced and awkward, reminiscent of lines one might encounter from non-playable characters in the Elder Scrolls games. This feeling is exacerbated by the noticeable use of ADR (Audio Dialogue Replacement) throughout the entire film, sometimes even for entire characters. Conor McGregor's acting debut is particularly noticeable in this regard. While his skills as a UFC Fighter are evident, his portrayal outside of fight scenes comes across as a bit cartoonish, making it difficult to take him seriously. Although he seems to be enjoying himself, he stands out starkly from the rest of the cast. McGregor's talents might be better suited for roles as a stunt coordinator or stuntman. On the other hand, Jake Gyllenhaal shines in the movie, carrying it with his natural charm and impressive physique. Despite the poor dialogue, Gyllenhaal manages to infuse his scenes with comedic brilliance. While the rest of the ensemble delivers adequate performances, Gyllenhaal stands out as the highlight of the film.

In general, Road House presents a varied experience. While it has its enjoyable moments amidst the chaos, there are instances where the tumultuous nature of the narrative can overshadow even the most entertaining aspects of the story.

My Rating: C

Problemista (Julio Torres)

An aspiring toy designer’s work visa runs out, and a job assisting an erratic art-world outcast becomes his only hope to stay in the country and realize his dream.

Problemista left me somewhat lukewarm. While I found merit in its narrative, character development, and the societal critiques it presented, the comedic elements failed to fully resonate with me. Although there were sporadic instances of humor, I felt that the execution often fell short of its potential. One highlight was witnessing Tilda Swinton's portrayal of a fiery Karen, accompanied by Julio Torres in a comedic tug-of-war. These moments provided a delightful contrast to the otherwise lackluster comedic delivery. However, outside of these standout scenes, the film struggled to maintain my interest. In summary, while Problemista boasts strengths in certain aspects, particularly its performances, it ultimately failed to capture my attention due to its inconsistent comedic tone.

My Rating: B+

Late Night With the Devil (Cameron and Colin Cairnes)

A live broadcast of a late-night talk show in 1977 goes horribly wrong, unleashing evil into the nation’s living rooms.

Late Night With the Devil is an innovative horror satire that brings new life into the found footage genre. Framed as a late-night talk show from the late 1970s, we follow our host, Jack Delroy (David Dastmalchain), through a night that will never be forgotten as he brings a child onto his show who claims to be possessed by the Devil. The opening sequence immediately plunges the audience into the satanic panic and frenzy of the era, while also highlighting Delroy's struggles to compete with his rivals. Following the tragic loss of his wife, Delroy's show spirals downward, leading him to desperate measures in his quest to dominate the late-night talk show scene.

The narrative progresses as a typical late-night talk show on Halloween night. We have three guests, a psychic medium, an ex-magician turn skeptic, and a parapsychologist who brings her teenage patient on air. As tensions begin to brew between the guest, the host, and the network, Delroy pressures the teenage girl to concur up the entity on air, and all Hell begins to break loose. Late Night With the Devil walks a very fine line between horror and satire. It is a slow-burn horror that isn’t particularly scary, but the ambiance that the entire crew was able to build is undeniably unsettling. However, Late Night With the Devil is filled with the ironic spectacle of late-night TV that is similar to Martin Scoreses classic, King of Comedy. This unique blend of horror and satire creates a truly unforgettable film.

David Dastmalchian has been in nearly every single franchise and has worked with some of the most talented directors in Hollywood, but hasn’t gotten a role as a leading man until now. Hopefully, Late Night With the Devil will finally be a sign for Hollywood to cast David Dastmalchian as a leading man. Dastmalchian is excellent here as our host for a night that we will never forget. He transforms into the charismatic host, Jack Delroy. He shows the undeniable talent of his character charm while also highlighting the mediocre limits that are holding his character back from becoming the greatest. But his performance is more than just the imitation of an average Late-Night TV host. Within his performance, he has subtle layers of

unresolved grief from his wife’s death, while also showing subtle desperation and envy for becoming the best. His performance is perfect and shows everyone that he has been overlooked as a leading man for far too long.

Now with the controversy surrounding the 3 AI images used in the film transition cards. If you are going to boycott this film because of this, fine, more power to you. However, you are pushing creativity and independent filmmaking because a graphic designer in the movie art department got lazy and decided to use AI instead of their talents to create the transition cards. To punish an entire film because of the actions of a few people is insane as every graphic designer I know today uses AI for editing or as an inspirational sandbox for their designs. So please do not punish this movie because someone got lazy. This is an excellent horror satire that breathes new life into this genre.

My Rating: A

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estelscinema · 1 month

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Ghostbusters: Frozen Empire, Bustin' Makes Me Feel Meh

The Spengler family returns to the iconic New York City firehouse where the original Ghostbusters took ghost-busting to the next level. When discovering an ancient artifact unleashes an evil force, new and old Ghostbusters must unite to protect their home and save the world from a second ice age.

Grab your proton packs and don your ecto-goggles, for we’re about to embark on a spectral adventure into the realm of cinematic disappointment that is Ghostbusters: Frozen Empire. Yet another relic from the nostalgia vault, this movie embodies the soulless cash-grab trend, where creativity is sacrificed at the altar of shallow fan service. Prepare to confront the epitome of corporate filmmaking, where originality is but a distant memory. So beware as we dive into the psychomagnotheric slime where even the best of Ghostbusters would struggle to exorcise the demons of disappointment.

Ghostbusters: Frozen Empire presents a muddled narrative grappling with its own identity crisis. Is it a coming-of-age family drama veering into queer-baiting territory? Or perhaps it aims to unravel the mystery surrounding its MacGuffin while attempting a "remake" of the beloved original? The truth: it attempts to juggle all these elements, resulting in a disjointed and overcrowded storyline that merely spins in circles. None of these subplots are allowed to breathe, failing to grasp the essence of what made the original Ghostbusters so memorable. The charm of the original Ghostbusters lay in its simplicity—a buddy comedy featuring friends embarking on ghost-busting escapades, inadvertently saving the world along the way. Yet, Frozen Empire is so fixated on the spectacle of ghostbusting that it neglects character development, relationships, and cohesive storytelling. The magic of the original, fueled by the chemistry among its cast and their impeccable comedic timing, remains sorely absent. While Afterlife at least attempts to capture the essence of the original, Frozen Empire loses itself in a flurry of special effects and forgets the heart that made Ghostbusters truly special.

Even the formidable ensemble cast couldn't salvage this movie from its shortcomings. Despite their commendable efforts, Paul Rudd and Carrie Coon valiantly endeavor to inject life into the script with their comedic flair and charm, yet their talents are ultimately constrained by the limitations of the material. Regrettably, they find themselves woefully underused, their potential squandered by the lackluster writing. Finn Wolfhard, on the other hand, feels like a mere afterthought, barely making an impression throughout the film. Mckenna Grace, while giving her all, struggles to recapture the brilliance she displayed in Afterlife, hindered by a shallow teen angst subplot that fails to do justice to her talent. The stark contrast between her character here and her previous role makes it challenging for her to fully immerse herself. However, when Dan Aykroyd graces the screen, his infectious enthusiasm is palpable. His genuine enjoyment of the material shines through, infusing his performance with a sense of joy that is contagious. Similarly, Patton Oswalt's portrayal of the enthusiastic librarian exudes a genuine passion for the role, adding a spark of excitement to his scenes. Their enthusiasm serves as a bright spot in an otherwise lackluster cinematic endeavor.

Regrettably, Ghostbusters: Frozen Empire falls short of capturing the magic that made the original 1984 film a timeless classic. Instead of prioritizing storytelling and character development, it becomes fixated on the superficial allure of ghostbusting spectacle. Ironically, the movie dedicates only two scenes to actual ghostbusting—the opening sequence and the belated appearance of the villain in the final act, a staggering 85% into the runtime. While there are sporadic moments of enjoyment and a nostalgic nod to the practical effects of the original, they are sadly insufficient to elevate the film beyond its inherent mediocrity. In essence, it feels as though the movie would be better off consigned to the depths of a ghost compactor, destined to fade into obscurity for eternity.

My Rating: C-

#film #cinema #movies #movie #filmmaking #filmmaker #moviemaking #moviemaker #cinephile #cinematography #film community #film is not dead #film is alive #film is forever #film review #movie review #film critic #movie critic #ghostbusters

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estelscinema · 1 month

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Love Lies Bleeding: A Psychedelic Queer Thriller

Lou a reclusive gym manager falls hard for Jakie, an ambitious bodybuilder heading to Vegas to pursue her dreams. Their love soon leads to violence as they get pulled into the deep web of Lou's criminal family.

Director Rose Glass has returned with her second directorial feature, Love Lies Bleeding. A Queer neo-noir soaked in blood and high on steroids, that mostly hits its mark. We follow a lonely gym manager, Lou (Kristen Stewart), as she becomes enamored by Jackie (Katy O’Brian), a traveling bodybuilder whose dream is to become world champion. The pair immediately fall for one another in their hot and risque romance. However, after a tragic event, the pair get caught up in Lou’s father's (Ed Harris) criminal underworld.

Right from the outset, Glass immerses her audience into the gritty landscape of late 1980s New Mexico, evoking sensations of cigarettes, sweat, blood, and firearms through evocative cinematography. This atmospheric backdrop sets the stage for a boldly queer and ferociously violent thriller. While rooted in the familiar tropes of a small-town crime saga, the film draws inspiration from the stylings of Quentin Tarantino, David Lynch, and David Cronenberg. Yet, Glass infuses her own distinct flavor by intertwining a blazing romance and exploring themes of obsession and longing, ensuring that Love Lies Bleeding stands out amidst its cinematic influences.

The on-screen chemistry between Kristen Stewart and Katy O'Brian sizzles with intensity, portraying two individuals entangled in a dangerously toxic relationship. Stewart delivers a compelling portrayal of Lou, a woman craving connection and liberation from her dysfunctional family, only to find herself ensnared in the allure of desire. O'Brian shines in a role that transcends the typical archetype of a "strong woman," infusing her character with layers of vulnerability, obsession, and desperation with exquisite nuance. Together, they serve as perfect foils, embodying toxic traits that intertwine in a mesmerizing dance of attraction and destruction.

In the midst of this volatile dynamic, Ed Harris commands the screen with his chilling portrayal of Lou Sr., radiating an aura of intimidation that sends shivers down the audience's spine with just a single glance. Dave Franco delivers a slimy and unsettling performance as Lou's brother-in-law, adding another layer of unease to the narrative. Meanwhile, Anna Baryshnikov delivers a standout performance, challenging preconceived notions with her portrayal of a character whose cunning surpasses appearances. Collectively, the ensemble cast brings depth and intrigue to the film, creating an enthralling exploration of the darker aspects of human nature.

While Love Lies Bleeding receives commendation for its contemporary neo-noir stylings, it encounters a significant hurdle in its final act. Throughout the film's duration, it delicately navigates the boundary between grounded realism and supernatural allure. However, in the final act, it delves too deeply into the realm of the supernatural, veering away from its initial emphasis on grounded storytelling. This shift, particularly in attributing purported supernatural occurrences to drug-induced states, detracts from the film's authenticity and grounded realism.

Nevertheless, Love Lies Bleeding remains a captivating exploration of the neo-noir thriller genre, pushing boundaries and subverting expectations. Director Rose Glass showcases her adeptness in crafting atmospheric narratives, infusing the film with a palpable sense of tension and mystery. Despite the misstep in the final act, Glass's directorial vision remains strong, offering a glimpse into her potential as a filmmaker unafraid to experiment and challenge the cinematic norm.

My Rating: B

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estelscinema · 1 month

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Kung Fu Panda 4 Review: A Painfully Bland Cash Grab

After Pie is tapped to become the Spiritual Leader of the Valley of Peace, he needs to find and train a new Dragon Warrior, while a wicked sorceress plans to summon all of the master villains whom Po had vanquished to the spirit realm.

Dreamworks, I am not mad, I am simply just disappointed with you with your latest installment of the journey of the Dragon Warrior in Kung Fu Panda 4. After the surprising masterpiece of Puss In Boots: The Last Wish, I was expecting something exceptional, but what I got was the definition of mediocrity. Never before have I seen an animated film that is so predictable that it not only insulted my intelligence, but the intelligence of its target audience. Within the first ten minutes of the movie, you can predict the entire story. Every twist and turn could be seen miles away. From a character's obvious betrayal to their unearned and rushed redemption arc, this is an insultingly predictable script. Then when paired with a villain who has one of the stupidest villain motivations I have seen in a long time, leads to nothing but mediocrity.

What is even more frustrating is the story of Po passing on the mantle of the Dragon Warrior and becoming a spiritual leader could have worked if properly set up. The story in its current form makes no sense as it contradicts the entire arc that Po has been going through in this franchise and that Po is not ready to become a spiritual leader. In the movie, it is clear that Po has only been the Dragon Warrior for several years, and is showing no signs of aging. Po becoming a spiritual leader while he is in his physical prime makes no sense. However, if the movie had decided to age Po the story could have worked. It would have been a compelling narrative to see Po face the fact that he is aging and that he can’t be the Dragon Warrior forever. To see Po slowly accept that he is aging and eventually open this new chapter of his life with open arms would have been just as profound as Puss accepting the inevitability of death in Puss In Boots: The Last Wish. Sadly, this movie puts no effort into crafting a compelling narrative.

On the bright side, the animation was visually pleasing and full of creativity. The voice acting from the entire ensemble, except for Awkwafina who just plays her annoying sidekick type cast, was great. I must give a shout-out to Viola Davis, who gave a frightening performance despite her character having a moronic motivation. Overall, Kung Fu Panda 4 lacks the wisdom seen in the original trilogy as it decides to become a shallow cash grab.

My Rating: C

#film #movies #cinema #movie #cinephile #filmmaking #cinematography #filmmaker #movie review #film critic #movie critic #film community #film is not dead #kung fu panda #po #jack black #awkwafina #tenacious d

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estelscinema · 1 month

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Masters of the Air Review

During the Second World War, a group of airmen risks their lives with the 100th Bomb Group, a brotherhood forged by courage, loss, and triumph.

Every decade brings forth a new miniseries dedicated to recounting the events of the Second World War. In the 2000s it was Band of Brothers, a cinematic masterpiece chronicling the challenges faced by E Company of the 506th Parachute Infantry Regiment. In the 2010s it was The Pacific, a less focused but harrowing look at the Pacific Theater through the eyes of three Marines of the 1st Marine Battalion. Now in the 2020s, it is Masters of the Air, an intimate look at the 100th Bombardier Group of the US Army Air Force whose staggering loss of life led to it being dubbed, “The Bloody Hundredth”. Given the track record of these series being co-produced by Steven Spielberg and Tom Hanks, one would expect nothing short of a masterpiece. Sadly, Masters of the Air struggles to maintain altitude as it is constantly on the verge of stalling.

The series launches with gripping intensity as we shadow three members of the Bloody Hundredth during their initial weeks of aerial combat. What begins with excitement swiftly morphs into sheer horror as they confront the Nazi Regime head-on. The aerial combat sequences are both exhilarating and harrowing, capturing the unsettling juxtaposition of the cold, claustrophobic confines of the B-17 and the vulnerability of the bombers in combat. These scenes are so vividly portrayed that they induce a visceral reaction, leaving viewers on the edge of their seats and marveling at the courage of these men undertaking what seems like suicide missions. Despite some questionable visual effects, these moments represent the series at its zenith. Then, as silence falls and only screams pierce the air, viewers are confronted with the stark reality of war in its most harrowing form.

However, this robust momentum abruptly stalls just shy of the series midpoint, as any semblance of narrative structure and pacing dissipates. The storyline becomes bloated with an excess of characters and side plots that are never adequately developed. Many of these subplots are either magically resolved by the next episode or are dropped entirely by the narrative. Some of these threads could have flourished if given dedicated episodes rather than a mere 10-minute snippet. For example, an entire episode could have been devoted to the harrowing journey of shot-down airmen making their escape out of Nazi-controlled Europe to evade capture. Or a couple of episodes to explore the relationship between the Bloody Hundreth and the Tuskegee Airmen, rather than introducing the Tuskegee Airmen in episode eight out of a nine-episode series. Sadly, because the series refused to give some of these narratives time to breathe they ultimately feel like filler. Unfortunately, due to the series' reluctance to allow these narratives room to breathe, they ultimately feel like filler. Additionally, significant events such as D-Day are glossed over entirely, missing valuable opportunities to bring history to life. While the series does manage to tie things together satisfactorily in the final episode, it struggles to maintain engagement with its disjointed narrative throughout.

Another factor contributing to the difficulty in remaining engaged with the show was the lack of depth in each character, rendering them as mere caricatures of stereotypical World War II soldiers. Characters were a cornerstone of both Band of Brothers and The Pacific, remembered for their intricate portrayal of soldiers facing the turmoil of war with depth and authenticity. In Masters of the Air, the cast strives to inject life into their one-dimensional roles, yet they are hindered by the limitations of their material. Austin Butler, Callum Turner, and especially Anthony Boyle, deliver commendable performances, one can’t help but wonder how much more impactful their portrayal would have been with fully realized characters.

In essence, Masters of the Air delivers a captivating yet profoundly flawed depiction of the 100th Bombardier Group's tumultuous journey. While the series adeptly captures the raw intensity of aerial combat and provides poignant insights into the sacrifices of its courageous subjects, it stumbles significantly in its storytelling, character depth, and pacing. Despite a talented ensemble cast, the series fails to capitalize on its potential as it gets lost in the clouds.

My Rating: C+

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estelscinema · 2 months

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Quickie Reviews

The Taste of Things

Dodin Bouffant and his lover Eugenie's lives are surrounded by the art of cooking. They are in love, but she refuses to marry him, so he decides to cook a meal for her to change her mind.

The Taste of Things is a delicious feast as we follow two master cooks perfecting and bonding over their shared passion. It is a simple film that dives into the simple pleasures of life through the art of cooking. Every scene evolving cooking is mouthwatering and soothing. The first 40 minutes of the film have very little dialogue as we watch our characters prepare a multi-course feast that lasts an entire day. Then as the film transitions into this love story, it is simple and sweet as it shows how far a simple jester can go. And the chemistry between Benoit Magimel and Juliette Binoche is beautiful to watch. However, the film is a little long for my taste and it does drag in the latter half of the film. With that stated, The Taste of Things is a beautiful film that does not deserve to be dragged through the mud because it was picked over Anatomy of a Fall.

My Rating: B

Perfect Days

Hirayama seems utterly content with his simple life as a toilet cleaner in Tokyo. Outside of his structured routine, he enjoys his passion for music and books. And he loves the trees.

Perfect Days unfolds as a minimalist film, immersing viewers in the intriguing world of a man who finds contentment in life's simple pleasures. Following Hirayama through his meticulously structured week, the film reveals the ebb and flow of his daily experiences. Despite facing challenges, he remains undeterred, and steadfast in his commitment to savoring each moment. Dialogue takes a back seat, allowing the film to convey its themes and character nuances through subtle gestures and the daily cadence of life. Koji Yakusho delivers a remarkably subtle yet powerful performance, skillfully portraying the beauty of simplicity and the profound impact of solitary moments.

Suncoast

While caring for her dying brother, a teenager strikes up an unlikely friendship with an eccentric activist who protests one of the most landmark medical cases of all time.

Suncoast was so close to greatness, but its underdeveloped and shallow story holds it back. When the narrative was focused on the conflict between Doris (Nico Parker) and her mother (Laura Linney), was when the film was at its strongest. It was a heartbreaking family drama about the inevitability of death and how it can tear a family apart, especially when one is taken too soon. Then when the inevitable emotional finally comes, it is heartbreaking to watch and Nico Parker delivers a harrowing performance as she grieves for her loved ones. However, when the film focuses on the coming-of-age elements and explores why Doris wants to get out of her family, is where the film stumbles. Doris’s new friend group feels incredibly shallow as they are all portrayed as the most stereotypical fake friend group you can imagine. Then when exploring themes of grief and faith with Woody Harrelson’s character, the themes that his character is set up to explore are never really explored. Overall, Suncoast was so close to greatness, that it just needed a little more polishing.

My Rating: B-

Drive-Away Dolls

Two friends take a spontaneous trip to Tallahassee Florida, but things quickly go awry when they cross paths with a group of inept criminals along the way.

The basic story of Drive-Away Dolls has the potential to be a fun rom-com. But, its poor execution feels like a film student's first film. It’s poorly made as the direction is all over the place and the editing is jarring. Furthermore, the movie is not even funny as every joke just made me cringe terribly. This quality is a bit unacceptable given that this is directed and written by Ethan Coen. However, the film’s biggest crime is that I could not stand Margaret Qualley’s character. I found her character to be annoying and incredibly inconsiderate of others. She cheats on her girlfriend and pressures another friend into having hook-up s*x. Her lack of caring and awareness was infuriating, to say the least. However, I did enjoy the performance from Geraldine Viswanathan who kept some of my sanity through this somewhat trainwreck of a movie. Overall, I just expected more from a Coen Brother.

My Rating: C

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estelscinema · 2 months

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Dune Part Two Review

Following the mythic journey of Paul Atraides as he units with Chani and the Fremen while on a path of revenge against the conspirators who destroyed his family. Facing a choice between love and fate, Paul endeavors to prevent a terrible future only he can foresee.

Every era witnesses a defining narrative that will shape the cultural landscape. In the 1970s/80s it was Star Wars, in the 2000s it was The Lord of the Rings Trilogy. Presently, Denis Villeneuve's adaptation of Frank Herbert’s science fiction classic, Dune, is setting itself up to define this generation. Part One laid down the groundwork and now, Part Two cements its status as a transcendent force, solidifying its role in shaping the ethos of this generation. Dune Part Two stands as a rare science fiction war epic that comes only once in a lifetime.

Dune Part Two picks up right where Part One left off, with Paul and his mother, Jessica, being taken in by the Fremen after House Atraides was massacred by House Harkonnen. While adjusting to their new home, members of the Fremen begin to believe that Paul is the “Lisan-Al-Gaib”, the Fremen messiah who would lead them to freedom. Paul becomes torn as he begins to realize if he becomes their messiah, it will lead to a bloody intergalactic holy war.

Dune Part Two is a triumphed tribute to Frank Herber’s Dune. After setting the table in Dune Part One, Denis Villeneuve serves a visual spectacle that fully immerses you into this world of science fiction and fantasy. The action pieces are nothing short of spectacular. From Fremen guerilla warfare to gladiatorial combat and epic worm battles, the audience will be on the edge of their seats from the ferocity of the battles. It is a spectacular blockbuster but with the finesse and flair from auteur Denis Villeneuve. This finesse is further seen in the film's cinematography from Greg Fraiser as he elevates his Oscar-winning cinematography seen in Part One to the next level. Fraiser experiments with color pallets and lenses as we shift to different settings. The homeworld of the Harkonnen was unlike anything I have seen before in film, as it is a world devoid of color under its black sun. Then juxtaposed to the calming brown and blue hues of Dune, it creates a unique visual harmony. Then when paired with immersive sound design, beautiful visual effects, and a killer score by Hans Zimmer, the audience is transported to this fantastical world.

However, Dune Part Two is more than just a visual special. Writers Denis Villeneuve and Jon Spaihts lead the audience into a not-so-typically Chosen One story. Religious fanaticism and the corruption of absolute power, take center stage as the audience is forced to question the motives of an outsider using an implanted prophecy for his own gains. It is a stunning cautionary tale of self-proclaimed Messiahs. Paul’s transcendence, guided by his mother, from a sheltered teenager into an all-powerful messiah-like figure is unsettling and horrifying.

However, despite this praise, Duen Part Two does have a small hiccup. There are at least twenty minutes worth of footage that is missing from the film. This missing footage appears to be mostly from the final act, as the ending was very rushed and lacking essential pieces to make it feel whole. It felt like Denis was afraid to make this film over 3-hours long and decided that the final act was where the chopping block was. The film's pacing was perfect for a film over 3 hours but sadly decided to rush it at the end.

With that stated, Dune Part Two is still a superb film with some excellent performances. Timothee Chalamet's transformation from a privileged sheltered teenager, into an all-powerful Messiah is terrifying. His whole persona changes dramatically as he makes this character transition. Even though he has some moments where is not as intimidating as the film acts like he is, his transformation is undeniably horrifying. Zendaya is the voice of reason with her character of Chani as she is torn between her love for Paul and her people. Her horror of seeing the manipulation of religion to her people was perfect and I would have loved to have seen more of that side of her character rather than just love interest. Rebecca Ferguson transitions into an incredibly creepy role as a soothsayer moving the chess pieces from the shadows. While Javier Bardem brings surprising comedic relief as this blind believer. However, the real standout performance in Dune Part Two belongs to Austin Butler as psychotic Feyd-Rautha. Butler finds a horrifying intensity to his character's emotional void that is a stand out amongst a very stacked cast. He provides a fascinating foil to Chalamet’s Paul Atradies.

In the grand tapestry of science fiction cinema, Dune Part Two stands as an unparalleled masterpiece. Denis Villeneuve’s visionary direction, coupled with a stellar ensemble cast, has brought Frank Herbert’s epic saga to life. It is worthy of the IMAX silver screen and if you are not seeing this in a theater, you are doing yourself a massive disservice. Now please bring on Dune: Messiah.

My Rating: A

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estelscinema · 2 months

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True Detective Night Country Review

In the remote town of Ennis, Alaska, eight scientists disappear from their research station during the beginning of the harsh and maddening polar nights.

True Detective Night Country initially holds the promise of a masterpiece akin to the first season, boasting a well-crafted narrative, an evocative setting, compelling characters, and thought-provoking themes. The stage is set for a captivating television experience. Regrettably, the series ultimately falters in its execution, squandering the potential of its intriguing concept. Witnessing such a promising foundation go unrealized doesn't evoke anger, but rather a sense of disappointment.

The show kicks off on a robust note, immersing viewers into the chilling and shadowy realm of polar nights. This bleak and unsettling ambiance creates a world reminiscent of John Carpenter's The Thing and Stanley Kubrick's The Shining. Coupled with a haunting mystery reminiscent of a horror film and a cast of skilled actors portraying intriguing characters, the audience is naturally drawn into the unfolding narrative. The series shines brightest in its setup of enigmatic mysteries that pique curiosity. However, as the time comes to unravel these mysteries, the show begins to unravel itself, losing its grip on its initial allure.

By the third episode, the series starts plodding through the snow, fixating on inundating the audience with a barrage of supernatural elements and mystery boxes. Each new mystery, symbol, or piece of evidence introduced only serves to muddle and convolute the storyline. Any semblance of coherence dissipates, interrupted by sporadic interesting moments that are promptly deflated by either a conveniently resolved cliffhanger or long, aimless conversations leading nowhere. Thus creating no sense of urgency as the story becomes a contrived mess that feels like one big tease. Then when the finale rolls around and the mystery is finally uncovered, it makes everyone look like idiots. It is the epitome of an anti-climatic and predictable resolution. While the finale could have redeemed itself with a proper setup, the series neglects to lay down the necessary groundwork, squandering the potential of its story, characters, setting, and themes.

Despite the series squandering its potential for greatness, the performances manage to salvage some enjoyment. Jodie Foster, as consistently impressive as ever, shines in a role that lacks the depth that made McConaughey and Harrelson's characters iconic. While her character may naturally be unlikeable, Foster's charisma elevates the role, making it more enjoyable than it would be otherwise. Kali Reis, in her acting debut, presents a mixed performance. Overall, her portrayal appears somewhat stiff, with moments of apparent uncertainty about her on-camera presence. However, when paired with Jodie Foster or another seasoned actor, her performance transcends the limitations, offering more depth than simply a hot-headed cop. Fiona Shaw, John Hawkes, and Christopher Eccleston find themselves relegated to background characters, a disappointing underutilization of their talents. However, the biggest waste of potential was for upcoming actor Finn Bennett. With the material he is given, he gives a commendable performance. However, he is constantly given the short end of the stick both with acting material and within the narrative. He does 90% of the detective work but gets no recognition. I wanted to see more of his character as his character was fascinated but he kept getting pushed to the sidelines. I can’t wait to see where this kid goes because he does have a bright future ahead of him.

In conclusion, True Detective Night Country starts on a promising foot, capturing the audience's attention with its compelling mystery and atmospheric setting. However, the series sadly succumbs to the weight of its ambitions as it becomes obsessed with trying to steer the audience away from its story and into fan theories and speculation. It forgot its narrative and sadly forgot what made True Detective so great in the first place. It’s an enjoyable season, but sadly lacks the greatness of its predecessors.

My Rating: C+

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estelscinema · 3 months

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Lisa Frankenstein

A misunderstood teenager and a reanimated Victorian corpse embark on a murderous journey together to find love, happiness, and a few missing body parts.

Mary Shelley's timeless horror masterpiece, Frankenstein, has undergone numerous reinterpretations and adaptations since its original publication over two centuries ago. Throughout the years, diverse perspectives have approached this classic narrative in various ways. For the latest reimagining, Lisa Frankenstein brings a feminist twist to the tale, exploring themes of love and connection in unexpected places, notably with a reanimated corpse. Despite this fresh perspective, the narrative grapples with its identity. While Lisa Frankenstein excels in embracing campiness, it struggles to seamlessly integrate this element into a cohesive narrative and well-defined characters.

During the initial twenty minutes of Lisa Frankenstein, the film grapples with establishing its narrative, tone, and characters, undergoing dramatic shifts from one scene to the next. Despite this stumbling start, the movie eventually finds its footing by fully embracing a self-aware, campy storyline. Reveling in all the expected 80s camp elements, from vibrant neon pastel colors to the lingering scent of hairspray, the film transports viewers to the realm of cult classics like Weird Science and Edward Scissorhands. The entire ensemble commits to infusing 80s camp into their performances, with Kathryn Newton embracing campiness in her gothic character, Liza Somberano embodying the expected foolishness of a sibling, and Carla Gugino delivering a flawless portrayal of a sassy and ultimately correct mother figure. However, Cole Sprouse's minimal lines may have left some longing for more depth in his character, his grunting felt somewhat underutilized. The comedy within the film presents a mixed bag, hitting its mark with finesse at times but occasionally falling flat. Even within this entertaining narrative, Lisa Frankenstein grapples with its own set of challenges.

While the actors deliver commendable performances, the characters they portray in the film remain one-dimensional and inconsistent. These characters undergo dramatic changes depending on the narrative requirements of each scene, resulting in a lack of coherence. This inconsistency makes it challenging for the audience to comprehend and empathize with the characters, as their moral code and internal logic appear to be in constant flux. For example, Lisa (Kathryn Newton) is traumatized by the murder of her mother. However, when another character close to Lisa goes through that same trauma, she shows no remorse or empathy for that character. I understand Lisa is losing her sanity, but this was cold.

With that stated, I still had a lot of fun with Lisa Frankenstein. It’s not perfect, but its silly camp makes it a prime candidate for a cult classic, which this movie is ultimately destined for.

My Rating: B-

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estelscinema · 3 months

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Argylle Review

When the plot of reclusive author Elly Conway's fiction espionage novel begins to mirror the covert actions of a real-life spy organization, quiet evenings at home become a thing of the past. Accompanied by her cat Alfie and Aiden, a cat-allergic spy, Elly races across the world to stay one step ahead of the killers as the lines between Conway's fictional world and her real one begin to blur.

When the opportunity arises, I'm always up for a mindless, silly movie. Sure, they might be considered dumb, but these films are enjoyable in their own way, creating a lighthearted experience. However, even in the realm of goofy movies, there should be a sense of when to pump the brakes on campiness and silliness. Going too far into absurdity can make it challenging to derive enjoyment from the experience. Unfortunately, Matthew Vaughn's latest dud, Argylle, falls into this avoidable pitfall. Initially starting as a self-aware, campy spy flick, it gradually transforms into an excessively indulgent mess, showcasing the least favorable aspects of Vaughn's directorial style.

During the initial half of Argylle, I found myself unexpectedly entertained by the movie. Despite its inherent silliness, it embraced its own absurdity, making the experience enjoyable. The action sequences, though featuring eccentric editing, managed to be both silly and engaging. Additionally, the cast seemed to revel in their roles, with Sam Rockwell standing out among this A-list-filled movie, effortlessly stealing every scene with his undeniable charisma. At this point, I couldn't help but question the criticisms I had heard from reviewers. However, everything took a turn for the worse in the second half.

The second half of Argylle is a ridiculous, overindulgent mess that drags on for an eternity. The movie begins to shift away from its silly premise to shocking the audience with a new twist in the story that becomes more stupid than the last one. Even the action pieces go so far into absurdity that it fail to suspend my disbelief as it breaks it’s own internal logic. From the unconventional ice skating knife fight on crude oil to prevent ignition, only to culminate in a frenzied hail of gunfire that defies the laws of the movie's established reality, to conveniently timed amnesia, the narrative collapses under the weight of its inconsistencies. While I initially appreciated the chaotic energy of this spy flick, it ultimately careened too far off the tracks.

To sum up, Argylle unfolds like a cinematic rollercoaster with a promising start but ultimately takes a regrettable nosedive toward its conclusion. The film loses itself in its absurd premise, abandoning its initially chaotic style for the less appealing aspects of Matthew Vaughn's filmmaking repertoire. One can only hope that Vaughn recognizes the pitfalls of pushing his distinctive directing style too far and returns to the elements that truly make his filmmaking unique.

My Rating: C

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estelscinema · 3 months

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Quickie Reviews

Mean Girls (2024)

New student Cady Heron is welcomed into the top of the social food chain by an elite group of popular girls called "The Plastics," ruled by the conniving queen bee Regina George. However, when she falls for Regina's ex-boyfriend, she finds herself caught in their crosshairs.

I never quite connected with the original Mean Girls from 2004; it simply wasn't my cup of tea. However, I acknowledge its widespread appeal. Thus, when news of a remake/reboot of the beloved film and Broadway musical surfaced, I anticipated the worst. Surprisingly, this latest version not only met but somehow managed to fall below my already modest expectations.

Mean Girls (2024) struggles to recapture the enchantment of the original film and Broadway musical, stumbling with awkward musical numbers and cringe-inducing comedy. The uninspiring musical performances lack energy and flair, exacerbated by choreography that veers into the realm of the absurd, leaving much to be desired. The attempts at humor fall flat, each joke inducing more cringes than laughter. It feels as if the humor was carefully curated to avoid offending anyone, resulting in a lack of the biting and edgy quality that defined the original Mean Girls. Unlike its predecessor, this new iteration hesitates to showcase the raw and nasty dynamics between girls, opting for a more timid approach that diminishes the impact of the story.

The entire cast falls short of recreating the charisma and chemistry exhibited by the original ensemble. Their performances appear shallow, often feeling forced or overacted. However, Renee Rapp manages to stand out, bringing depth to her portrayal of Regina George. With her prior Broadway experience in the same role, Rapp elevates her performance both musically and in non-musical aspects, showcasing a level of skill that outshines her fellow cast members.

While some sequels successfully build upon the legacy of the original, "Mean Girls 2024" unfortunately falls into the category of unnecessary reboots that fail to capture the essence of what made the original a classic. It lacks the spark, originality, and cultural impact that made the first film a standout in the teen comedy genre. Ultimately, "Mean Girls 2024" feels like a missed opportunity to create a relevant and captivating update to the beloved original.

My Rating: C-

FOE

Hen and Junior's quiet life is thrown into turmoil when an uninvited stranger shows up at their door with a startling proposal that they can't refuse.

How can a movie boasting two of the finest young actors in the industry end up so dull and affected? By some cosmic twist, FOE disastrously attempts to parade itself as a cinematic marvel, only to falter on nearly every front of storytelling and filmmaking.

FOE embodies the very essence of pretentiousness as it feigns profundity in exploring the intricacies of relationships and artificial intelligence. Hindered by an excruciatingly slow pace and purposeless monologues, the film fumbles in executing its themes, presenting itself as ludicrous in its strained attempts at intellectualism. Even the presence of Paul Mescal and Saoirse Ronan fails to salvage this far-fetched narrative.

Both Mescal and Ronan deliver laughably poor performances in FOE. Their cringe-worthy American accents and the absence of any tangible chemistry contribute to the failure of portraying the doomed romance, reflecting a glaring lack of effort. The question arises – what prompted such lackluster performances from these talented actors? It feels like a capricious twist of fate.

In summary, FOE is a film draped in pretense, masquerading as a cinematic masterpiece while stumbling in both filmmaking and storytelling realms.

My Rating: D

Night Swim

Forced into early retirement by a degenerative illness, a professional baseball player and his family move into a new house to start a new life. This house has a swimming pool that they believe will be for fun. However, it has a dark and mysterious secret.

The only thing that is somewhat compelling about Night Swim, is its concept. Its concept is perfect for a short horror movie (which it is based upon) or PSA about the dangers of swimming alone, especially for young children. Beyond this, Night Swim is another standard trashy horror movie from Blumhouse.

It contains all the standard tropes that one would expect from bad horror movies. Cheap jump scares, atrocious dialogue, stupid characters, and a complete lack of internal logic are all to be found in Night Swim. I have no idea how on Earth they got Kerry Condon and Wyatt Russell on board this movie because they are horribly wasted. They tried their best but it was clear they were containing their laughter as they continuously stated “There is something wrong with this pool”. Overall, there is nothing more to be stated about Night Swim other than it's a standard bad horror movie.

My Rating: D

The ABCs of Book Banning

In recent years, more than 2,500 books have been removed from US Public Schools, labeled as banned, restricted, or challenged, and made unavailable to millions of students.

It's infuriating to think that "The ABCs of Book Banning" might clinch an Oscar, not due to its documentary prowess, but simply because of its controversial subject matter. The film, unfortunately, judges its topic at face value and lacks the depth needed for a meaningful exploration of the contentious issue of book banning. This documentary feels more like a repetitive PowerPoint presentation than an Academy Award-nominated film. It relies on showcasing excerpts from a handful of banned books, read by students, and merely slapping a "banned" stamp on them. The quality of this production falls short, reminiscent of presentations one might find in a high school setting. Regrettably, "The ABCs of Book Banning" fails to contribute any substantial insight while pretending to convey profound messages. It neglects to delve into the complexities of book banning or address the fundamental question at its core: "What content is deemed appropriate for specific age groups, and should moderation be applied?" Astonishingly, this critical question remains unexplored throughout the documentary. Moreover, the film lacks diverse perspectives by excluding input from teachers, parents, and librarians. It also fails to engage with proponents of book banning, thereby shutting down a vital aspect of the conversation. Without hearing their side, the documentary only adds fuel to the fire, rather than fostering understanding. In summary, "The ABCs of Book Banning" is a poorly executed documentary that falls short of providing meaningful insights into an issue that, for the most part, I find myself in agreement with.

My Rating: D

Menus Plaisirs - Les Troisgros

A documentary about the Troisgros family and their three restaurants that have held the coveted Michelin star for over 50 years.

Menus Plaisirs - Les Troisgros is an incredibly simple, yet engaging documentary into one of the most prestigious restaurants in the world. We follow numerous members of the Troisgros family and workers in their daily lives as they search, prep, cook, and present food to their customers. No stone is left unturned as we witness all of the varying aspects of running a Michelin Star restaurant. It is a beautiful window into the world of high cuisine presented in the simplest way possible. There are no interviews as we just watch these masters craft their art. It’s simple, yet incredibly engaging. However, this engagement does have its limits as the documentary runtime is 4 hours long. This runtime would be perfect for a miniseries, but for a feature-length film, you do feel its length. Overall, a beautiful documentary that is sadly held down by its enormous runtime.

My Rating: A-

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estelscinema · 3 months

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All of Us Strangers Review

A screenwriter drawn back to his childhood home enters into a fledgling relationship with a mysterious neighbor. He then discovers his parents appear to be living just as they were the day they died, 30 years before.

With the unveiling of the Oscar nominations, there's a whirlwind of discussions surrounding notable snubs, as in “Barbie" Surprisingly, amidst the chatter, there's a conspicuous silence regarding Andrew Haigh's "All of Us Strangers." Which is an abstract portrait of an isolated middle-aged man grappling with the complexities of his sexuality and childhood trauma. The poignant portrayal is a heart-wrenching reverie of reconciliation, warranting far more acclaim than it's currently receiving.

We delve into the life of Adam (Andrew Scott) in his solitary apartment on the outskirts of London. Despite attempting to write a screenplay, his pervasive loneliness and depression confine him to the couch, engrossed in TV shows and eating chips. The monotony takes an unexpected turn when he encounters his only other neighbor, Harry (Paul Mescal). Despite an awkward initial meeting, the two embark on a whirlwind romance. As their relationship flourishes, Adam seeks inspiration by revisiting his childhood home, where his parents (Claire Foy and Jamie Bell) passed away over three decades ago. The reunion is cathartic yet laden with the need for reconciliation.

The heartbreakingly beautiful journey unfolds as our protagonist confronts and reconciles his trauma and grief, gradually becoming whole again through his connection with Harry. However, this reunion is not without its challenges. When Adam comes out to his mother, she reacts with shock, expressing fear that he will be left lonely and sad—an accurate reflection of his current state. However, this is primarily due to the grief he has burdened himself with ever since his parent's death. Conversely, his father's response takes a different route, acknowledging his failure to provide the emotional support his son needed. These minor hiccups in parenting take a chilling turn, exploring psychological horror elements, manifested through distorted facial features and distant screams, creating an unexpected layer to the narrative.

Each actor in this film magnificently amplifies the script to its utmost potential. Andrew Scott once again demonstrates that he is one of the most underrated talents in the industry. His portrayal is a poignant blend of heartbreak and catharsis, compelling his character to confront every aspect of his life—emotions, grief, trauma, and sexuality all laid bare in his performance. Scott adeptly captures the essence of encountering one's deceased loved ones, a portrayal deserving of an Oscar nomination. Paul Mescal's performance, though subtle, is profoundly heartbreaking as he navigates the challenges of playing an addict in a complex world. Jamie Bell and Claire Foy shine equally brightly, tackling their roles with brilliance as they grapple with the consequences of their parenting decisions and the reality of witnessing their son fully grown. The ensemble cast collectively elevates the film to a level of excellence.

While the film receives considerable praise, it's not without its shortcomings. At various junctures, the narrative takes a turn towards excessive abstraction, resulting in a convoluted plot. This tendency is particularly evident in the film's ending, which left me more confused and disoriented than emotionally moved. However, despite this hiccup, I thoroughly enjoyed the overall experience. The story and performances left me emotionally stirred, and the film's unique structure and themes impart a powerful impact. It's regrettable that "All of Us Strangers" has not received any Oscar nominations, as it undoubtedly deserves recognition and accolades.

My Rating: A-

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estelscinema · 3 months

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Society of the Snow Review

In 1972, a Uruguayan flight crashes in the remote heart of the Andes, forcing the survivors to become each other's best hope for survival, even resorting to the extremes to stay alive.

The saga of Uruguayan Air Force Flight 571, marked by tragedy and miracle, has found its way to the silver screen in various adaptations. While previous renditions often emphasized the spectacle of survival, “Society of the Snow” courageously delves into the horrors accompanying the miraculous event.

Internationally renowned as a miraculous tale of survival, the narrative unfolds as a tragic flight where the majority of passengers met instant death—either crushed or thrown into the unforgiving Andes Mountains. Soon the survivors, beginning to starve, resorted to cannibalism to stay alive. At one point, the survivors were buried under an avalanche for several days, which claimed the lives of several members. Then as the winter’s bite begins to thaw, two survivors made the treacherous journey across the Andes mountains to Chile, seeking rescuers for their fellow survivors.

Director J.A. Bayona fearlessly confronts the grim realities of this extraordinary event. The depiction of the plane crash is strikingly accurate and chilling, resonating with the sounds of crushing metal, shattering bones, and human screams. Bayona meticulously portrays the crash with all the terrifying details one can fathom. The horror intensifies as the survivors find themselves buried alive in the confining fuselage of the shattered aircraft for several days, subjected to multiple avalanches. Their muffled screams, stifled by the encroaching snow, evoke a profound sense of horror. The cinematography adeptly conveys the claustrophobic and uneasy atmosphere as the survivors endure their harrowing ordeal. Yet, when bathed in the radiant sunlight, the cinematography transforms into a beautiful yet desolate portrait of the haunting magnificence of the Andes Mountains. Despite this horrifying spectacle, it is not the center of this story.

At its core, "Society of the Snow" revolves around the indomitable human spirit's resilience in the face of adversity. The survivors, confronted by a relentless series of tragedies, remain steadfast in their mutual commitment to survival. Their awe-inspiring and powerful will to endure becomes a masterclass illustration, emphasizing that survival transcends mere physical strength and encompasses profound psychological resilience. Moreover, the film navigates the complex theme of cannibalism with utmost respect. It portrays the survivors grappling with their faith as they reluctantly engage in an act deemed unspeakable. The narrative sheds light on the compelling reasons behind such actions, all framed in a manner respectful to the survivors and victims of this tragic event. The spirit and internalized conflict surrounding cannibalism are expertly conveyed by the ensemble cast. Despite not all characters receiving ample screen time for thorough development, the audience can still comprehend and empathize with their struggles for survival. The film skillfully captures the essence of these characters and their collective journey to overcome the odds.

While the narrative of Uruguayan Air Force Flight 571 has seen various adaptations, "Society of the Snow" distinguishes itself as the first to authentically capture the horror embedded in this tragic tale. This emotionally charged cinematic experience explores the profound resilience of the human spirit amidst unimaginable challenges. The film pays due respect to the victims of this tragedy by vividly portraying the true horror of the event. The impact it leaves on viewers is profound, and one can't help but think that its power would be even more palpable if experienced beyond the comforts of home.

My Rating: A

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estelscinema · 3 months

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American Fiction Review

Thelonious "Monk" Ellison's writing career has stalled because his work isn't deemed "Black enough." With his frustration he writes a satirical novel under a pseudonym, aiming to expose the publishing work's hypocrisies. The book's immediate success forces him to get deeper enmeshed in his assumed identity and challenges his closely-held worldview.

"American Fiction" breathes new life into the cinematic landscape, seamlessly blending wit and intelligence. The film astutely exposes the hypocrisy prevalent in purportedly diverse publications and filmmaking industries, shedding light on the fact that Black narratives transcend mere surface-level representation. Through a captivating storyline, the movie skillfully weaves together these themes, challenging Hollywood's professed love for diversity and presenting a compelling narrative that goes beyond the superficial acknowledgment of one's skin color.

We follow Monk, a literary professor whose manuscripts, though authentically Black, face constant rejection from publishers claiming his stories are not "black enough." Frustrated by this paradox, Monk pens a satirical novel that exaggerates African American stereotypes, intending to expose the flaws in the publishing industry's expectations. His joke backfires as the controversial book becomes a success, compelling Monk to reluctantly adopt his false identity to navigate familial challenges. "American Fiction" unfolds through two narrative threads. One satirizes the publishing industry's skewed expectations of Black art, while the other delves into a family drama, exploring the sacrifices and challenges one would make for their family. While each storyline individually shines, the film struggles to allocate sufficient screen time to fully develop both narratives, leaving a desire for more focus on the satire. Nonetheless, the unexpected depth of the family drama is noteworthy, showcasing that Black stories need not center solely on race.

The satirical perspective in "American Fiction" is both refreshing and clever as it delves into the intricacies of societal norms. Monk's narrative unfolds fueled by his frustration with the industry's expectations surrounding Black art and narratives. This frustration is presented with comedic brilliance that goes beyond mere laughter, providing insightful commentary on the absurdities of racial stereotypes. The humor extends beyond verbal wit to be brilliantly visualized through ironic scenarios and skillful direction. Whether it's a White Woman enthusiastically endorsing the most stereotypical Black story imaginable in front of Monk or another White Woman extolling the importance of Black voices while simultaneously dismissing the voices of two African Americans, the comedy's situational awareness reaches perfection.

Jeffery Wright delivers one of his finest performances to date in "American Fiction," a role that undoubtedly merits an Oscar nomination. He impeccably embodies a morally and intellectually pretentious character, an endearing yet complex personality that elicits both cheers and understanding for his frustrations. Wright's comedic timing is a subtle yet masterful touch, leaving the audience yearning for the opportunity to see him humorously roast everyone in the room during the awards ceremony—an addition that would have been the perfect icing on the film's cake. Sterling K. Brown shines, stealing nearly every scene he graces, challenging stereotypes associated with black manhood, especially those who identify as gay. His portrayal exudes pain, yet he manages to captivate the room with a brilliant smile. Erika Alexander serves as the perfect foil to Wright's character, their chemistry resonating effortlessly, although it's regrettable that her character isn't given more prominence.

While the film earns widespread praise, it encounters a stumble in its final act with an ambitious satirical endeavor that, regrettably, concludes in a cop-out, somewhat diminishing the overall impact of its commentary. The resolution falls short, leaving the audience yearning for the missed opportunity of witnessing Jeffery Wright humorously roast everyone in the room during the award ceremony. Despite this misstep, "American Fiction" prevails as a clever satire, marked by wit, intelligence, and insightful social commentary. It serves as a testament to the richness and legitimacy of Black art, while also shedding light on the constraints imposed by the institutions that govern its creators.

My Rating: B

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