Review: "Molly's Game" is a Whirlwind of Acting Charisma with Some Minor Snags

Scene from Molly's Game

There is an electricity to the first moments of Molly's Game, acclaimed writer Aaron Sorkin's directorial debut. It's the moment that changed skier Molly Bloom's (Jessica Chastain) life. She's at the Olympics taking account of what "the worst sports moment" is before tumbling into an injury, bitterly saying that those who claim losing is the worst anyone can do is an idiot. Within the brevity of this scene and its brisk editing and writing, Sorkin has established himself as a powerhouse capable of making his words mean more than even the best director on The West Wing. However, he's only good at the intense moments that require actors to pontificate. It's when he's required to be a more dynamic filmmaker that things get dicey and keep this from being a runaway hit.

Review: "World of Tomorrow - Episode 2" is an Even Greater, Weirder Masterpiece from Don Hertzfeldt

In a time where cutting edge special effects can take us to worlds beyond our understanding, director Don Hertzfeldt has found a way to capture a deeper emotion with a more rudimentary approach. World of Tomorrow - Episode 2: The Burden of Other People's Thoughts is his latest journey into the world of Emily Prime (Winona Mae) as she is visited by her future self (Julia Pott). The world that she is taken to is a fascinating blend of stick figures and other forms of abstract art meant to compliment the story's dour text. It's the tragedy of growing old, and Hertzfeldt has managed to capture its deepest and most personal resonance without ever taking us to a world that is familiar, even visually. It's a short that not only manages to top the original, but may be his best work yet. It's a story for outsiders speculating their existence in the world, and it's sure to make you laugh and think in equal measures. 

Review: "Call Me By Your Name" is the Best Love Story of 2017

It starts with a stare. Elio (Timothee Chalamet) looks down as house guest Oliver (Armie Hammer) arrives. He is one of many men that have come to the countryside to stay with his father (Michael Stuhlbarg). However, there is something that goes unspoken; something that shines in the antagonistic play between these two young men who constantly try to impress each other. Director Luca Guadagnino's Call Me By Your Name is a confident love story that tackles a different kind of LGBT story. It's one of the bisexual, eager to make the most of his first major love. It's rarely spoken, but found in the stares that Elio and Oliver share throughout the film. It may be a relatively simple story, but it's also one of the truest of the year. Love is difficult not because of what's said, but what's felt.

Review: "I, Tonya" is a Pulpy, Fun Sports Movie

Margot Robbie

Thanks to films like Rocky, the idea of the sports movie has come to represent a certain type of underdog; someone who exceeds against an oppressive society. Even if that's the case, few people were as primed against this structure quite like Tonya Harding - now infamous for an incident regarding Nancy Kerrigan. She has become the butt of countless jokes since, ruining her reputation as an excellent figure skater. With that in mind, director Craig Gillespie has decided to explore the truth behind the tragedy in the comedy I, Tonya. It's a film that manages to explore her background and her struggles to be taken seriously. In that way, it's a typical sports movie. However, it's more vulgar than your Million Dollar Babies. It's a unique journey that is as off-putting as it is fascinating.

A24 A-to-Z: #22. "Slow West" (2015)

Scene from Slow West

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

R.I.P. Jerry Greenberg (1936-2017)

Jerry Greenberg

On December 22, 2017, editor Jerry Greenberg died at the age of 81 after suffering from a long illness. He is best known for his work in The French Connection, of which director William Friedkin calls him the saving grace of the film. His filmography is full of iconic work from Apocalypse Now to Kramer vs. Kramer and collaborations with filmmakers like Brian De Palma. He is considered to be one of the most influential film editors in history, having come to prominence during an important moment in film history. His work will continue to live on, especially as inspiration for those who want to know how to edit montages and action scenes. He is an incredible artist and one who will be greatly missed.

Composing Greatness: #29. John Williams - "Schindler's List" (1993)

Schindler's List

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

Review: "The Shape of Water" Romanticizes Horror with Tenderness and Awe

Scene from The Shape of Water

Monsters are scary. It's a simple rule of life that all narrative forms have accepted as true. So why are we fascinated by them then? In director Guillermo del Toro's The Shape of Water, he updates the classic fairy tale structure in order to answer that question, using Amphibian Man (Doug Jones) as an allegory for interracial love. He presupposes that monsters are misunderstood, choosing to borrow an ethos dating back to James Whale's Bride of Frankenstein. With lavish productions and an amazing performance by Sally Hawkins as Eliza, del Toro has created a film that not only humanizes monster movies, but finds the tender heart and longing that make them not too different from you or I. It's a powerful film, and one that should appeal to fans of monster movies that do more than horrify. This one sympathizes so perfectly that it becomes less of a horror movie and more of a supernatural Guess Who's Coming to Dinner. It may be simple at heart, but it only adds to the profundity of its text. 

Failed Oscar Campaigns: "Collateral Beauty" (2016)

Scene from Collateral Beauty

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

Why "Snow White and the Seven Dwarfs" Continues to Endure 80 Years Later

Scene from Snow White and the Seven Dwarfs

It isn't often that a film can be seen as groundbreaking to the point that it changes an entire medium forever. Yet that is exactly what happened when Disney's Snow White and the Seven Dwarfs was released on December 21, 1937. There had been animated shorts before, but what creator Walt Disney presupposed was that it could be used to elevate the story telling format to something grander, and he did so by tackling The Brothers Grimm fairytale of a woman lost in the forest. With sweeping shots of the titular dwarfs singing "Heigh-Ho" as they returned from work, Disney innovated an art form that many would imitate, but few would capture with as much critical and cultural success. Snow White was the first animated movie, and it has managed to remain just as memorable and iconic now as it did then, thanks to breathtaking animation and a catch little box of songs.

Theory Thursday: "The Greatest Show on Earth" (1952) is Underrated

Scene from The Greatest Show on Earth

Welcome to a weekly column called Theory Thursdays, which will be released every Thursday and discuss my "controversial opinion" related to something relative to the week of release. Sometimes it will be birthdays while others is current events or a new film release. Whatever the case may be, this is a personal defense for why I disagree with the general opinion and hope to convince you of the same. While I don't expect you to be on my side, I do hope for a rational argument. After all, film is a subjective medium and this is merely just a theory that can be proven either way. 

A24 A-to-Z: #21. "Barely Lethal" (2015)

Scene from Barely Lethal

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

Composing Greatness: #28. John Williams - "JFK" (1991)

Scene from JFK

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

Review: "The Disaster Artist" is Real Hollywood Movie (And Real Good, Too)

Scene from The Disaster Artist

It's the moment that director James Franco's The Disaster Artist has been building to. As the cast and crew walk in slow motion towards the studio where The Room will be shot, Faith No More's "Epic" begins playing. It's a song that altered the course of metal music with soporific vocals that may seem as disjointed but infectious as what's to come. Even more than that, the title says it all: this is an epic moment in cinema. Once first time director Tommy Wiseau (Franco) takes to the stage, he will become an icon; a proprietor of the acclaimed worst movie ever. It is an epic moment, and one that feels oddly understated at the same time. This is a comedy, but not one meant to mock bad decisions. It is a drama, but not one that revels in pretentious artistry. It's a satire that, like Faith No More, exists in the transparent grey area of pop culture; where descriptors defy logic. The Disaster Artist is swamped with actors who clearly adore the real life Wiseau's work, and their commitment to bringing the odd idiosyncrasies to life makes this one of the best and most perplexing movies of the year. La La Land may have taught artists to dream, but The Disaster Artist opens the door to everyone else.

Check Out This Year's Golden Globe Nominees

It's officially that time of year. With many critics groups putting out their Best of 2017 lists, it was only a matter of time until the major awards began releasing their nominees. There are few that trumpet in the season quite like the Hollywood Foreign Press Association (HFPA), whose track record of predicting the Oscars is spotty, but paints an interesting look into what films will be discussed throughout the awards season. This year's nominees are officially here, and you can check them out below, including some commentary on the movie categories. What made the cut? What didn't? Read on to find out.

Failed Oscar Campaigns: "Mommie Dearest" (1981)

Faye Dunaway in Mommie Dearest

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

A24 A-to-Z: #20. "Ex Machina" (2015)

Scene from Ex Machina

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

Nothing But the Best: "Moonlight" (2016)

Scene from Moonlight

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

A Look at the Illustrious Oddity of "Juno" After 10 Years

Ellen Page in Juno

It started with a chair.

The idea of indie comedies dominating the box office and Academy Awards was still a foreign idea in 2007. It had only been a year since Little Miss Sunshine popularized a quirky style of cinema that was charming, but proved to have a short shelf life. It reached peak perfection the following year when Juno launched Hard Candy and X-Men star Ellen Page into the queen of twee characters, whose Diablo Cody-penned script was at best different, and at worst grating. There have been movies with dialogue as stylized as Juno, but few captured the essence underneath, for which the controversial tale of one Minnesota girl's teenage pregnancy became a different kind of coming of age story. It's likely why the film grossed $143 internationally on a $7.5 million budget. Even for those who hated it, it was hard to deny the unforgettable approach to youth and maturity. Many films would try to be as brazen in their quirkiness, but the singularity of Juno's magic continues to shine brighter than its imitators 10 years later.

Review: "Three Billboards Outside Ebbing, Missouri" Hunts for Answers in Hilarious, Provocative Manners

Frances McDormand

In writing, there is one common rule: "show, don't tell." The act of telling someone your intent is seen as a lazy trope that doesn't allow moments to resonate. In director Martin McDonagh's Three Billboards Outside Ebbing, Missouri, the story begins with a perfect subversion of this. The titular three billboards detail a crime that drives Mildred's (Frances McDormand) bitter passion throughout the story. These three signs tell a story, and one that is more powerful than showing a single moment of being "raped while dying." As the story progresses, it deconstructs the idea of telling someone your agenda and shows the complicated faults of a small town Midwest society in powerful detail. In the end, Mildred may still be the protagonist - but the people initially pursued as the antagonists are far less easy to hate. McDonagh's dark comedy is one of the more provocative social commentary movies of the year, but it's also unforgettable thanks to a great cast and McDonagh's phenomenal script. Few films capture characters quite as memorable as those of Ebbing, Missouri, and it's a shame that there aren't more writers as interesting as McDonagh writing movies these days.