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Better Man (2024)
Didn't know who Robbie Williams was before seeing... but LOVED this movie!
Better Man is a fresh, eccentric take on a musical biopic! Full of catchy songs, incredible dance sequences, heartfelt family moments, boyband drama, AND some of the most visually stunning scenes I've ever seen on the big screen! That said, I had no idea who Robbie Williams was/is prior to seeing it, and many in North America clearly feel the same way. Not to mention, the CGI monkey gimmick seemed silly. But my god, what a gigantic surprise Better Man is! I'm so glad I saw it in theatres - it utterly blew me away. Vulnerable, electric, magical cinema from start to finish. It has no right to be as good as it was! It's bold, brash, raw, and unapologetically honest, you'll laugh, you'll cry, you'll sing and you'll do it all your way, it's without exaggeration - astonishing. Robbie Williams tells his own brash, arrogant story, but with a simple enough twist to stick the landing.
Michael Gracey has proven that the success of The Greatest Showman was not a fluke. As someone who adores that film, seeing what he has been working on since then was my main draw to this film. He did not disappoint - Gracey's direction is the real star of the show for me here. What a gorgeous, stylish movie. And Gracey really knows how to craft a show-stopping musical number! Not to sound hyperbolic, but the Rock DJ number is clearly the most energetic, well-constructed, and cinematic musical number of the year. So much precise camera work that left my jaw on the floor. There is a clear difference between what's going on here vs any other musical this year. Michael Gracey is the real deal!
Anyone who is underwhelmed by most modern musicals and biopics (me) would eat up Better Man! It doesn't eschew the biopic cliches we know and loathe, but it's got a bold energy that just makes it work and stand out from the rest of the crowd. It reminds me of Rocketman - something that included a musical/fantasy element to tell the story in an unconventional way that makes it refreshing. I'm so glad Better Man did something different and truly succeeded at it! When it hits Digital, clips of the film's gonzo surrealism and cracked out musical sequences are going to go viral and people are gonna be like, "Woah, why didn't anyone tell me about this?" The gimmick of the main character being a CGI monkey is a bit strange at first but you get used to it quickly. (The visual effects are also stellar!) I definitely didn't expect this movie to nearly make me cry on multiple occasions but it did. This would have made my best of 2024 list had I seen it sooner!
The cast is great, especially Jonno Davies who was able to display so much range and emotion under the ape motion capture. The choice to make Robbie a full CGI ape is a bold and unique choice to display how Robbie has felt his entire life around his friends, family, and the world. You may think it's a gimmick, but I think it's the ingredient that makes the whole thing come together.
I'm kind of in awe that Better Man exists and I had pretty much zero investment in Robbie Williams at all before tonight. It's just a great movie and a biopic that manages to break the form in interesting ways. I adored Better Man and it's such a crying shame that the conversation around whether Robbie deserves a biopic is overshadowing the fact that this is the first music biopic to actually have the guts to take some risks, and some really bloody creative ones at that! An unapologetic and unflattering look at the price of fame on not just yourself, but the people around you. It's often solemn, depressing, and surprisingly emotional, but equally brash, humourous, and always entertaining. It makes so many interesting decisions, both visually and conceptually, and I promise you, there is far more to Better Man than you'd think from the trailer. FAR more.
To those of you who have never heard of Robbie Williams: You don't have to watch Better Man because you don't know who he is, you should watch it because it's a great film and a truly well-made biopic with a lot of interesting things to say! Go learn about his music, and find out for yourself who he is in such a fun way!
Better Man is a bold, fantastical musical blending Robbie Williams' life with surreal fantasy. Its odd premise may polarize viewers, but its heartfelt performances, ambitious numbers, and commentary on fame make it as unique and daring as the artist himself. I'm shocked at how good this was - I loved it and highly recommend it!
Sonic the Hedgehog 3 (2024)
Very enjoyable if you like the first two
While it follows the same, now predictable formula as the first two films, Sonic the Hedgehog 3 is a very fun and enjoyable watch for the whole family! If you liked the first two films, there is no doubt in my mind you will like this - it delivers on the same exciting action, silly comedy and brings back all the characters you've come to love! This franchise really knows its audience well, and really seems to listen to the fans and improve on each entry! And once again, Jim Carrey is the highlight of the film for me. Sonic 3 is very good and very funny in no small part because of Carrey, who really pulls out all the stops - it's like a classic 90s Carrey performance. I love that he keeps coming back for these movies, and I will continue to show up to see a new Jim Carrey performance. Of course, Team Sonic was lots of fun once again and I really enjoyed the introduction of Shadow, voiced by Keanu Reeves! Overall, I laughed and had a great time! It's nothing special, but it was such an enjoyable time at the movies! Sonic fans will be happy!
A Different Man (2024)
Kaufman-esque
I couldn't help but think of how much A Different Man reminded me of the works of Charlie Kaufman - it is so uniquely profound in its storytelling. A Different Man is a dark comedy exploring insecurities and wanting to be a better version of yourself - essentially our obsession with self-image. The writing is really great - it may start out slow but the last hour is lightning in a bottle. It's uniquely funny, pretty dark, and very perceptive about the masks we wear and those we can't shed. And it features a fascinating performance from Sebastian Stan, who delivers some of his best work! However, it is Adam Pearson who steals the show with a very charismatic performance, fully embracing his own face.
Nosferatu (2024)
How is this not getting any awards attention?!
I feel like every time I see a new Robert Eggers movie, I come out of it saying: "Now, this is Robert Eggers' masterpiece!" And Nosferatu is no exception - Robert Eggers continues his impressive streak of crafting highly detailed and transportive period films with Nosferatu, one of the most seductively macabre films ever made. Extremely atmospheric and immersive, it is a pure gothic nightmare of a film, its astonishing imagery and seductive tone will linger with you. Robert Eggers delivers the year's most bone-chilling and unsettling movie, with genuinely impeccable craftsmanship that oozes creativity on every technical front. There is not a second wasted by Eggers in this movie: he plunges you head first you into 1800s Germany with tremendous use of sound, some of the smartest use of colour I can remember, and maybe the best camera work I've seen all year. There are visual moments in this movie that made my jaw drop. In typical Eggers fashion, he is utterly deliberate with each frame used in this movie. Eggers just goes there. He makes bold artistic choices and takes chances. And I loved all of them. This film is crafted with such careful precision and it's beautiful to watch.
I also loved all of the performances. Lily-Rose Depp gives every ounce of her body and soul to this eye-popping performance of tormented possession, Nicholas Hoult and Aaron Taylor-Johnson were also really impressive, while Bill Skarsgård fully transforms like nothing you've ever seen before. He continues to impress me with the way he submerges himself into these dark, villainous characters and manages to make them so unique and distinct. The overall portrayal of Count Orlok is so utterly compelling every moment he's on screen that his presence lingers even when he's not. Bill Skarsgård's dark, alluring performance, the grotesque makeup, atmospheric sound design, Jarin Blaschke's spellbinding cinematography, and Robin Carolan's haunting score all come together to reimagine a gothic classic, culminating in a breathtaking final shot that sent chills through my body as I left the theatre.
However, the true star of the film is the blocking. Nosferatu accomplishes what very few films nowadays don't even dare to attempt. Coherent blocking, framing, and proper editing (which allow for every other aspect of the film to blossom with efficiency into an entertaining experience). Set design gets to shine, phenomenal performances get to ACTUALLY exist with weight to them, movement gets to matter across the axis, and audiences get to experience a breath of fresh air because they really don't make them like this anymore. If you had told me this was a film made in the 60s-80s (a golden era of film technique), I would have believed you. No movies look like this today, it was wonderful to see!
Nosferatu is another masterwork in tension and period detail from Robert Eggers. There is a seductive quality to this film that pulls you in and doesn't let go until the final gut punch of a frame, as its atmosphere and cinematography are hypnotic. Nosferatu is a beautiful, terrifying, sweaty nightmare that you never quite want to wake up from. If you are looking for a truly immersive horror experience, this is it. Nosferatu is one of the best movies of the year, and Eggers' best film yet. I am so, so in love with it!
(How the hell is this movie not getting any awards attention???)
Mufasa: The Lion King (2024)
Disappointing considering the talent involved
As a huge fan of the original animated Lion King, Mufasa: The Lion King left me disappointed. It was a fine film, enjoyable for families, and had some stellar visuals, but I never felt any of it. One of the things I love the most about the original film, and even the 2019 remake to some extent, was the powerful emotion and resonant songs. There was none of that here, and frankly considering the talent involved I expected way better.
The film is technically impressive, as there is no denying how well-animated each animal is as well as the scenery, and the attention to detail shines through. This outing has more life than the 2019 remake, even if it struggles to keep you invested in its original story. Barry Jenkins attempts to deliver captivating character moments, but you feel at arm's length throughout most of its run-time, and the pacing is all over the place. Mufasa is a step up from 2019's The Lion King but a step down for Barry Jenkins. Mufasa is a bizarre, disassociating experience; what happens when one of the most visually expressive directors alive works with anti-emotive film tech, with Jenkins' cinematic portraiture aimed at feline faces that still can't show a real feeling.
I can understand why Barry Jenkins was drawn to this story on paper (Mufasa and Scar origin story amidst faction in-fighting). Unfortunately, the same passion he's displayed in his previous works just doesn't come through here. Mufasa: The Lion King feels torn between Jenkins' desire to slow down and let impactful moments breathe versus the constant interruptions from Timon and Pumbaa, rushed pacing, or the need to push forward to the next song, unfunny gag, or scene designed to keep the kids engaged and the merchandise selling. Even the songs don't quite hit as hard as you hope despite being written by the great Lin-Manuel Miranda, although a few of them are catchy enough.
At this point, the only good that can come out of this is whatever project Jenkins decides to do next with the paycheck he collected and hopefully (likely) this will just be considered an unfortunate but fascinating blip on an otherwise rewarding career. This film is far less frustrating than its predecessor, but it never fully lands.
It is an entertaining watch but lacks the substance and emotion of what made the original animated film so special. I hoped Barry Jenkins and Lin-Manuel Miranda could recapture the spark, but unfortunately, I was left disappointed. But hey, it's better than the 2019 film (and I liked that one to some extent)! It's enjoyable, just not memorable.
A Real Pain (2024)
Really moving
I was really moved by A Real Pain - a powerfully funny and emotional resonant dramady that contains Jesse Eisenberg's best performance since The Social Network. He also displays significant growth as a filmmaker with sharp, observant writing and reserved, confident direction. Yet, it's Kieran Culkin who steals the film with a charming, sarcastic and painfully vulnerable turn. They compliment each other so well in their roles as they explore their family history through Poland and heal their bond through personal and collective pain. What's so alive about this dual character study is how these characters challenge each other to their core. They see in each other what they lack. And instead of dramatic character arcs and big revelations, we watch these characters grapple with what the other activates in them, and make what peace they can with each other. Jesse Eisenberg is a deeply observant, humanist filmmaker interested in exploring big, clashing personalities. He emotionally chronicles the yearn to learn your past in order to heal your future, clearly imbuing the story with very personal aspect. He showcases exquisite restraint as a writer/director, telling a beautiful story about the contradictions and complexity of our relationship to pain and how we express it, stirring together the humour and darker edges of each scene so organically. A Real Pain effortlessly uses an intimate scope to measure personal pain against collective and how it affects one's ability to heal. It's easy to identify ourselves in the grander ideas presented in the film (trauma, grief, emotio-social life strategy, class, privilege) because we see ourselves in the characters. Brilliant screenwriting - I hope Eisenberg gets the Oscar he deserved for The Social Network in the form of Best Original Screenplay this year)! This one is a real winner in every regard, I highly recommend A Real Pain.
Emilia Pérez (2024)
Messy
Emilia Perez comes with redeemable qualities and there are certain parts of this film that I enjoyed, but ultimately this movie just does not work. Emilia Perez is not the Best Picture contender I had hoped for nor is does it live up to the expectations set by so many who loved it. It's a film so eager to be so many things, executed with incredible confidence. However, it most certainly bites off more than it can chew. As a trans story, as a musical, and as an ode to the missing in Mexico, it only partially delivers on each which is unfortunate. But it's easy to admire and enjoyable to watch as the bold swing it is. It's just far too messy of a film, it's juggling too much to find success. I'm sorry, but Emilia Perez is not a memorable movie and never seemed to have the makings of one.
Juror #2 (2024)
A solid, classic legal drama for grownups
Juror #2 is a very solid, classic legal drama that appears to be a courtroom thriller, but is actually a moral and ethical puzzle box. Gripping and thought-provoking, it is very easy to watch and get absorbed in, as it asks some challenging and engaging moral questions. I did feel like I was asking myself mostly the same questions the whole time, but I found value in its critique of the shortcomings of the justice system. I like films that lead with empathy and challenge us to have more of it. It's very watchable and easy to digest in the way that TV shows often are, where it very much keeps the audience on its track and by its side. I would have preferred if it left some details ambiguous, and let the audience navigate its questions a bit more freely. This is a somber, complicated look at the nature of justice, the realities of redemption and recovery, and whether or not we can be better than our worst mistake. Nicholas Hoult and Toni Collette deliver strong performances layered with doubt and the heavy burden of guilt, though the bland cinematography and lethargic pacing keeps this from being one of Eastwood's best. A fine, thoughtful drama for grownups, and the kind of film that used to be celebrated in the days of Sidney Lumet... they don't often make them like this anymore.
It's a damn good movie. I'm just upset this didn't get a wide release in theatres - I hate that most people are going to watch it on streaming, like I had to.
But regardless, Clint Eastwood directing this at 94 is incredible, and this was his best film in years! Completely captivating!
My Old Ass (2024)
Heartfelt but unsatisfying
A wonderful Canadian film that doesn't seem to have enough to say to warrant being feature length. Felt a little empty, despite it telling a heartfelt and funny story. Maisy Stella gives a wonderful debut breakthrough performance while Megan Park again demonstrates her mastery in capturing the nuances of teenage emotion. It will likely resonate with just as many people for different reasons, I just feel that it needed a little more to feel satisfying. When it ended I just thought "that's it?". But the film is so achingly sincere, so tender, I can't help but give it a thumbs up. A cute little dramaedy about being present and aware of the love surrounding us.
Also for those of you thinking to watch because of Aubrey Plaza - she's only in it for maybe 10 minutes.
Dìdi (2024)
An enjoyable and easy watch
Didi is one of the better coming of age films in the last little bit, especially in how it captures the experiences of teens in the late 2000s. An honest film that follows the destructive nature we cause on ourselves for the sake of fitting in. Sean Wang captures the nuanced drama and cringe comedy of teenage adolescence perfectly. Izaac Wang and Joan Chen deliver standout performances. A genuine, vibrant, funny and relatable coming-of-age film. A nice movie - an enjoyable and easy watch! Definitely recommended.
(Late to the party on this one, missed in theatres - viewed on Amazon Prime Video)
Moana 2 (2024)
Pales in comparison to the original
Moana 2 is surprisingly a lot better and more entertaining than I thought it would be, however when compared with the first film it pales in comparison. Originally intended as a series for Disney+, this sequel attempts to recapture the magic of the original but falls short in nearly every area. The story feels like a natural continuation of the first and actually was pretty decent, however, it loses the strong emotion and authenticity the first film had. As well, the pacing felt episodic at times rather than flowing as a cohesive story. The animation, while overall very good, does not have the rich detail and quality we have come to expect from Disney animation as it becomes clear this was made on a TV budget. I thought the songs were better than expected despite not being written by Lin Manuel-Miranda, but again, they come nowhere near the first film's iconic songs. Maui's reduced presence for much of the film doesn't help, though Auli'i Cravalho and Dwayne Johnson still bring enough charm, energy, and humour to their roles to make this a passable sequel for families and devoted fans. I genuinely enjoyed it and it did surpass my low expectations - it's a worthy and fun sequel that has a decent story just unfortunately doesn't hit all the same marks as the fantastic first film, most notably in terms of music. SO much better than Wish and Strange World though!
Music by John Williams (2024)
A celebration of the greatest film composer to ever do it
John Williams is obviously and without question one of the greatest film composers to ever live, and even that feels like an understatement. This somewhat basic documentary plays like a loving tribute to a living legend, and while it never dives into the deep nitty gritty, you can't help but just sit back in awe as Williams, Spielberg, and others reflect on the creation and impact of his most memorable scores. It's less of a documentary and more of a cinematic victory lap and celebration of Williams and his greatest musical works. Personally, my favourite aspects were seeing Steven Spielberg himself fanboying over John Williams; it is staggering on a cultural level to observe how much the two of them have impacted orchestral film scores and the film industry at large, but on a personal level its also incredibly endearing. No one has provided as much joy, excitement, and wonder to the world than this man. There will never be another John Williams - I'm so lucky I got to attend one of his Hollywood Bowl concerts a few years ago (the one featured in the doc)! The man is a living legend!
My personal favourite John Williams score: ET (notably the last 15 minutes of the movie)
Red One (2024)
Ugh
Red One is the embodiment of an over-produced, bloated, soulless, cliché, and instantly forgettable $250 million Christmas flick. Unfunny and visually repulsive, even the action lacks excitement and entertainment. An eye-rolling waste of talent and budget. It may not be the worst thing ever, or even the worst movie of the year, but it is certainly streaming filler meant as background noise while you do something better with your life. Don't waste your time with it.
I really am so sick of these lazy Dwayne Johnson movies, can't believe he thought the experience of watching this would be comparable to experiencing Oppenheimer.
Carry-On (2024)
Taron Egerton gets his Tom Cruise running moment!
Taron Egerton got his very own Tom Cruise running moment in this... I shouldn't need anything else to convince you to check this movie out!
I was skeptical... but Carry-On is AWESOME! This is a top tier Hollywood action thriller that takes its Christmas airport thriller premise to ridiculous heights and never stops having fun with the audience along the way. As convoluted and ridiculous as Carry-On gets at times, it's also wildly gripping and endlessly entertaining. Suspenseful, surprising, and just the right amount of satisfying predictability. Plus it's a Christmas movie! Taron Egerton slides comfortably into his role as a likable guy under intense pressure, while Jason Bateman is as icy-cool, calculated and most of all, chilling. It's not perfect, but I'm thrilled to see Jaume Collet-Serra back to making slick, mid-budget thrillers again. It's the 2024 version of Die Hard, a type of film that will draw almost anyone in, and might even become a new Christmas classic!
Jaume Collet-Serra, it's so good to see you free from making bad movies starring The Rock and making thrillers that have no right being this good again!
Gladiator II (2024)
Just fine
Gladiator II is... fine. Personally, while it may be entertaining at times, I just found it to be incredibly lazy filmmaking from Ridley Scott. That being said... a lazy Ridley Scott is still better than most filmmakers. I just really feel he has lost his spark and passion for filmmaking, as it really felt like a lot of shots, edits, sequences, everything was just rushed. It felt like Ridley Scott was just going through the motions but never really did anything interesting, like he was asleep at the wheel. I caught glimpses of a great movie when it tried to be something new. Unfortunately, this was rare. Most of the film is trying too hard to recall-or even recreate-the first Gladiator... so what was the point? We have Gladiator at home; it's called Gladiator. And yet! There were moments when this was shining as a clever ensemble. But, by the end, too many of arc's were either cut too short, not fleshed out, or forced.
I don't have much to add here; I've never had any particular fondness for the original Gladiator, it was very transparent to observe the Force Awakens-ing going on here. Gladiator II contains all the grand spectacle, bloodshed, and adrenaline-pumping action you'd expect from a sequel to Ridley Scott's Best Picture-winning historical epic. It's impressive to see Scott still operating on such a large scale well into his eighties. However, the story lacks the original's heart and soul, desperately trying to recapture its former glory in what often feels like a pale imitation. The moments where it deviates and attempts to do its own thing are when it's at its best. Paul Mescal steps believably into the action-hero role, while Denzel Washington steals every scene with his swagger and commanding presence. I loved Pedro Pascal, but I wish he had more scenes. Connie Nielsen, however, is given more to do this time, and Joseph Quinn and Fred Hechinger are wickedly fun as the pair of Roman emperors treating the empire as their twisted playground. All the pieces were there, but something just didn't click for me. There sure are some excellent sequences and filmmaking in there, when you consider them in a vacuum, as they never come together to form a cohesive whole. But, despite the shortcomings and the flimsiness of the general narrative, it's hard to deny that there's some spectacle here that feels epic and grounded in a way that's been out of fashion for a while. It did feel good to see a large Hollywood historical epic on the big screen again! Consider myself mildly entertained.
Wicked: Part I (2024)
Pure cinematic magic
Wicked is pure cinematic magic! A masterpiece of classic Hollywood musical filmmaking! Wicked left me speechless! I'm floored, I knew I was going to love it going in... but I didn't expect to adore it this much! Like... woah... it was incredible! I need to see it again right away, this is easily one of my favourites of the year, if not of all time! (I love my musicals so much!) Truthfully, I don't quite know how to find the right words to describe how much I adored this film. It swept me off my feet. Wicked is *my* movie of the year. The high that you feel after watching it is unexplainable. I'm just so in love with this movie and had the time of my life! It was the shortest 2 hours and 40 minutes of my life (could have even gone on longer). I was spellbound. It is made with pure and unadulterated love for these characters and this world. Infectious and energetic, Wicked blew me away. I thought I'd like it, but did not expect to be so emotional and struck by its weight. All my minor issues with the film fall away in the face of just how emotionally epic the whole thing is. There's so much to love about Wicked but the last 14 minutes during "Defying Gravity" go so hard - I was shaking and enthralled; stunned and breathless. A film that sends you out the door feeling like you're soaring is exactly what I needed right now!
Wicked was the most breathtaking, awe-inspiring, mind-blowing, and utterly unforgettable movie I've ever seen. That's it in a nutshell. To me, it was perfection - exactly what I wanted. Wicked is everything I hoped for and then some. It's the ideal adaptation - one that is oozing with love and reverence for the musical but also seizes opportunities to enhance it via the new medium. Every ounce of this movie is dazzling - buzzing with energy and brimming with next-level craftsmanship. There's so much to love here, but it's a movie that does feel like it hinges on its lead duo, and Cynthia Erivo and Ariana Grande are just absolute perfection as Elphaba and Glinda. They are the Elphaba and Glinda everyone already knows and loves from Broadway, but also versions of the characters that feel unique to Erivo and Grande. Erivo delivers such soulful work with a beautiful intensity, and Grande's spot-on comedic timing and tone, and all-around effervescence. Their chemistry together is also off the charts. Easily one of my favourite big-screen pairings of 2024. And BOTH deserve Oscar recognition. I've never been a fan of either, frankly, I haven't seen or heard enough of their work to be one. I was doubtful when I heard about their casting. But after seeing Wicked, I am eating my words - they are perfect in these roles. And don't even get me started on Jonathan Bailey, who radiates pure charm and confidence as Fiyero, making him absolutely swoon-worthy for all.
After more than 20 years, Jon M. Chu has finally given Wicked the feature-length adaptation it deserves, or at least the first half of it. A dazzling green and pink explosion of euphoric energy and grandeur, Chu brings Oz, Shiz, and their inhabitants to life in spectacular fashion, with wondrous designs and impressively assembled musical numbers that will have audiences cheering multiple times. (I know I was resisting cheering after each like at a Broadway performance!) What Jon M. Chu has done for Wicked is what Peter Jackson did for The Lord of the Rings.
Jon M. Chu's direction deserves all the praise in the world. Every single detail feels intentional and lovingly crafted to honour the heart of the story while elevating it to new heights, from the dazzling costumes to the exciting choreography and the mind-blowing sets (Nathan Crowley and his team went insane with the extensive practical sets and creative art design). It is abundantly clear that Jon M. Chu and the incredibly talented artists poured so much passion and creativity into this first part of the adaptation. The grand spectacle is such a delight to behold while giving room for the emotional power of the story to shine. Under Jon Chu's visionary direction, each scene feels like it's defying gravity, lifting the story's emotional depth and visual splendour to breathtaking new heights. The production design is a marvel, setting a new standard in cinematic beauty and immersion. It's vibrant, mesmerizing, an experience you won't forget-leaving you craving every second and wanting more.
The musical numbers are beautifully performed across the board, perfectly complimented by staggering costumes, production design, cinematography, and choreography. It is a shame that the lighting and visual effects are not as consistently up to par, but the energy in these scenes is palpable. This is what happens when you have people who know how to make musicals!
I think as a a society we really need to spend some time this weekend reveling in the existence of Jon M. Chu. We now have a top-tier, A-list filmmaker who seems primarily interested in making big, splashy joyful musicals and large-scale rom-coms. That is huge in a way I haven't seen enough people talking about. His last 3 films (Crazy Rich Asians, In the Heights, and now Wicked), have all well exceeded expectations. After this, I can't wait to see what he does next!
Having never seen Wicked on stage, I knew the music but not much else. Finally getting to experience the story in this grand fashion was a wondrous experience and I truly was enthralled for the entire runtime. From the music, to the narrative beats, to the relationship between Elphaba and Glinda, I just couldn't get enough. The runtime never once bothered me, in fact, I was surprised that 2.5 hours had passed when it ended, I didn't feel it once (pacing is remarkable). I was worried about splitting this into two films when it was announced, but having now seen Part One, I fully understand and love that this choice was made; it is absolutely needed to tell the depth of the story that Chu is telling. I was also really surprised with how funny the movie was!
I also cannot overstate how perfect the timing is for this movie to come out. It is a message we all need. What happens when we let fear of those who are different dictate our beliefs in a fraudulent man hungry for power. Also emphasizing the silence and complicity of those like Glinda in a system built for them compared to someone like Elphaba villainized for being the other who doesn't conform.
This adaptation of Wicked will go down in history alongside some of the all time great musical adaptations such as The Sound of Music, Chicago, West Side Story, Mamma Mia, In the Heights, and more! As a fan of musicals, I gotta say I love finally having a musical that general audiences are loving and rallying behind - I've seen so many lately (that I loved) like Spielberg's West Side Story, In the Heights, and Tick Tick Boom that were so good but never got as much love as they deserved. When we talk about classic films in 40 years, Wicked will be on the list. A loving tribute to Old Hollywood and the 1939 film (with some fun easter eggs hidden throughout the film).
Wicked is a cinematic spectacle. I was spellbound and I genuinely cannot stop thinking about it. I can't wait to see it again and again! Wicked truly lives up to the hype and then some! Ariana Grande, Cynthia Erivo, and Jonathan Bailey deliver electrifying performances that pull you deep into their magical world, filled with charm, intensity, and unforgettable moments. The wizardry and love of Jon M. Chu & co in Wicked fill in the limitations of the stage with an unlimited dream yet intimate anecdote of female friendship and what it means to finally feel seen in a world that shows you wickedness. This film is truly special and I won't be surprised when this gets a lot of awards attention. Everything from the performances, sets, costumes, cinematography, musical numbers... perfection in my eyes!
I cannot wait for Part 2 next year!
Heretic (2024)
Never before has pondering theology been so devilishly entertaining
Never before has pondering theology been so devilishly entertaining - and amen to that! Heretic is a masterpiece of modern horror. Creepy, taut, and brilliantly written, Heretic is an unnerving psychological horror that will both entertain and challenge you. Scott Beck and Bryan Woods' deft hands craft something so freaking good, something truly remarkable - a deep and profound look at the decisions we make, the power of control, and iterations of religion. The movie itself is great, but I absolutely adore this intellectually stimulating screenplay most of all. It's an ingenious script that will shake your religious beliefs to their core as it ponders religious truth while also filling you with a deep sense of dread. A battle of wills as intellectualism and spirituality go head to head under the most tense and terrifying of circumstances. It begins as a simplistic yet effectively-written thriller and slowly transforms into something a lot darker, as this screenplay peels back the curtain on religious perspectives and how far your ideology can take you. While the movie eventually trades in simplicity for convoluted ideas and rides a generic line in the third act, it still leaves a lasting impact... I haven't stopped thinking about it since I saw it. The film is darkly humorous with a masterful handle on tone and escalating tension even if it becomes too elaborate for its own good by the end.
Heretic had no right to be as good as it was. To be frank, I was blown away. A horror film that focuses on religion and the different ideologies behind it, it manages to grab onto you and never let go over 110 minutes, utilizing its one location to perfection. Sophie Thatcher and Chloe East prove once again why they deserve more roles, but the legendary Hugh Grant gives an Oscar-worthy performance and steals the show, taking all of his acting ticks and tricks that usually make him so charming, turning them on their ear, making him positively diabolical. His devilish charm has never been put to better use in what is easily one of his best performances. I was blown away by Hugh Grant here - he has so much fun with this dense, sadistic material. Writers/directors Beck and Woods killed it and genuinely deserve a Best Original Screenplay nomination! Heretic is easily the best horror film I've seen so far this year! It is a thrilling and surprisingly funny exploration of religion, control, and belief.
(I also have to mention I really appreciated the land recognition and "No Generative AI was used in the making of this film" statements included in the credits - love to support films that both respect the places they filmed at as well as were made by human artists!)
Venom: The Last Dance (2024)
Praying this is the last of these
"Well... it's better than Madame Web" is about the highest compliment I can give Venom: The Last Dance.
Why do I keep doing this to myself? Why do I hate myself enough to keep putting myself through these god-awful Sony Marvel movies that I know are going to be terrible? Venom 3 is horrid. I didn't like the first two all that much... but this is just so much worse. Why do they keep making these? The only thing that works is the casting of Tom Hardy as Eddie Brock, and yet here all he does is stumble around in various pairs of shoes.
This movie made me angry. It feels as if it was made by people who have never opened a comic book in their lives, who have never watched a comic book movie at all. They clearly don't know what makes these stories/characters work as here it just feels like they are jangling keys at the audience with various CGI action scenes or dumb attempts at comedy every 2 minutes, leaving no room for character, stakes, emotion, or story really. Don't even get me started on the pointless hippie family or the dance scene with Mrs. Chen. Venom himself barely had any screen time! I just don't know what was happening here. And I was bored to the point of nearly falling asleep too... It's just such poor filmmaking that it's not even entertaining. Genuinely, what an embarrassment of a film.
Truly praying this is the last of these.
Smile 2 (2024)
Ups the ante
It is rare for a sequel to be better than the first movie. It's even rarer for it to completely change its form and one-up itself. And that's exactly what this movie did! Not since the likes of Terminator 2 has there been this significant of a quality jump between the first and second films! I loved it
Smile 2 took everything I loved about the first film and amplified it, delivering more intense scares, bloodier gore, and enough anxiety to drive anyone insane. It's as if Smile 1 was the proof of concept, but this was the true vision all along. Writer/director Parker Finn showcases a lot more creative talent here, and clearly has a lot to say about fame and trauma. With these two films, Parker Finn has cemented himself as one of the top horror directors working today. His command over the pacing and dreadful atmosphere is truly impressive. I loved the creativity with the cinematography, editing, and sound design; all employed so well to build the tension, atmosphere, and feeling of dread - not to mention assist with some extremely effective jump scares. It also doesn't play into horror tropes/cliches too much which was nice, and has a strong script with such an excellent hook with so many satisfying payoffs. If he's willing to keep making these films and finding new ways to psychologically scar and thrill us, I'll be there, ready and with a sick smile on my face. Naomi Scott gives a truly committed, emotionally charged performance that will likely turn a few heads as she pushes herself to terrifying extremes. What an unrelenting, wild, and disturbing ride! Filled with effective jump scares - definitely not a film for the faint of heart.
Conclave (2024)
Succession in the Vatican
Lies. Deception. Manipulation. Strategy. A game of chess on a global scale. Every move calculated, every alliance scrutinized. A complex and riveting contest of strategy and influence. Edward Berger takes a process as intimate and holy as the conclave and turns it into something thrilling that echoes the scheming, backstabbing nature and intrigue of Game of Thrones and Succession while also feeling strikingly relevant. Conclave is a meticulously constructed behind-closed-doors thriller where religion and politics clash and the souls of petty men are tested for a chance at supreme power.
Conclave is a film about choosing the least objectionable candidate to prevent undoing decades of progress. Hmm... sounds familiar. Not to get too political, but there is a reason this film was released when it was, and the overall challenging messages presented in the film could not be more relevant to the current political climate in not only the US but many other countries in the world.
I'm seeing a lot of enjoyably quippy Letterboxd/social media reviews saying that this is a funny movie about priests gossiping ("What if an episode of Gossip Girl took place entirely at the Vatican????"), and that isn't untrue-but it also neglects to mention that it's a very earnest and profoundly soul-stirring picture about the tension of faith, the desperate search for certainty, and the true purpose of the church in the world. This is the kind of well-staged "men in rooms" drama that feels like it could've been made in the 1940s, or the 90s. Imagine an Aaron Sorkin film (The Social Network, Moneyball, A Few Good Men) in the Catholic Church. That is Conclave.
The ensemble is outstanding with Ralph Fiennes delivering a performance that is as nuanced as it is commandingly powerful. The taut atmosphere is amplified by a pulse-pounding score, and immersive sound design, though moments of over-the-top levity occasionally breaks the tension, adding an unexpected layer of entertainment to this riveting high-stakes election. It's one of the most riveting, immaculately crafted films of the year - a masterclass in classic Hollywood filmmaking brilliantly directed by Edward Berger who most recently made All Quiet on the Western Front.
There's this "rule" in film editing: don't show the door closing; just cut to the other side. It's meant to be a reminder to avoid unnecessary or mundane sequences. Conclave ignores that entirely. Characters pause, and shuffle around between lines, as their sneakers squeak on Italian marble. They actually eat and swallow food without cuts, and stop in the middle of important dialogue just to make a Nespresso in real time. People are calling this a thriller (and I agree), but it's also a Vatican hangout movie. I couldn't care less about the subject matter, yet I haven't felt this engrossed in a film in a while. It's all the "fluff" that Berger includes that made everything really work for me. It has so much rich texture. One of the best of the year - and it's because you see the doors close.
This is the kind of awards season crowd pleaser that really hits all of the right buttons. Excellent performances across the board. Narrative twists that both make sense and completely subvert expectations for a film surrounding Catholicism. Visually stunning. It's a blast.
I also enjoyed it because it's a very (very very) progressive film dressed in the most conservative package imaginable. Very of this moment. I think Conclave has one of the most profoundly soul-stirring and theologically provocative endings of any movie I've seen in a while. It's no wonder that lots of people in the typical target audience for films like this are baffled by it. But I loved it so much.
Conclave is an incredibly entertaining thriller that peels back the many layers of selecting a new Pope and is anything but boring. A compelling, relevant watch about the state of leadership and elections in our modern world.
Succession is my favourite show, and here I got a whole movie of it just set in the Vatican! Brilliance.
We Live in Time (2024)
Beautiful
Soooo We Live in Time left me an emotional wreck.
We Live in Time is spectacular, it's magic, it's transcendental, and it's beautiful, beautiful, beautiful. One of the most authentic and honest love stories out there. It sends you through a transcending level of emotions as it flashes through the life of one couple. The film is relatable, emotional, funny, and awkward, but sincerely real - there is a nice embrace of naturalism and ordinariness. It's easy to guess how the film will go, but it doesn't make it any less effective. This beautifully simple drama is made all the more poignant thanks to Andrew Garfield and Florence Pugh's perfect performances. They are electric here. Their easy chemistry made every moment authentic and genuinely delightful. The movie is basically Florence Pugh and Andrew Garfield being in love and living a life together for nearly two hours and the results are everything I could have wanted - very sweet and emotional. Much funnier than expected, the charm of the two leads (and a moving score) elevates this nonlinear modern UK love story to become something utterly heartbreaking, though some may still take issue with its meandering and basic plot as much of it can feel like watching an elongated montage. The narrative bounces around in time in a non-linear fashion, but the collage of moments drives the emotion home without ever feeling manipulative.
It might be a stopwatch, or the timer on an iPhone. It could be an egg timer in the kitchen, or the countdown at an international cooking competition, though that's less likely for most of us. We're surrounded by the constant reminder that our stay here on Earth is limited-our lives are finite. We Live in Time is a contained, yet emotionally rich tour through the joys and sorrows of reality's obstacles amidst a textured take on life, love, and everything in between. A life worth living is one full of risks. Wonderful things don't happen by waiting. This film is a truly moving romance/tearjerker - I loved it.
Not to mention there is a scene in here that is probably simultaneously one of the funniest and most beautiful of the year.
Saturday Night (2024)
A total blast from beginning to end
Much like how Lorne Michaels captured lightning in a bottle decades ago, Jason Reitman did the same with this movie! Saturday Night is a frenetically chaotic ride, and one of Jason Reitman's best films. The film focuses on the 90 minutes that led up to the airing of the first ever SNL episode in 1975 with a "race against the clock" thriller angle. It perfectly captures the chaotic energy, camaraderie, and backstage shenanigans of putting together the first SNL in real time. There is only so much you can cram into such a short runtime, but this film tests that theory and shoves everything it possibly can in. The ticking clock throughout, a witty script, the stressful score, long takes, and breakneck editing make the final product absolutely chaotic in the most brilliant way. It genuinely plays like a cross between Birdman and Babylon, and if you know me that is a very high compliment.
The true highlight however is the incredible all-star cast that both embrace the chaotic characters they're playing and intensity of putting SNL itself together. The movie is not just any ensemble piece, it's the ensemble piece. I haven't seen actors bounce off of each other so well in ages.
Like Lorne Michaels, Gabriel LaBelle is the driving force. LaBelle is slowly climbing up to become one of the all-time greats. He has played Steven Spielberg, now Michaels, and holds his own opposite veterans. He is the glue that holds the cast together. I am shocked as to how many supporting players made a massive impression with so little screen time, and there's no way I can pick a favourite. Nicholas Braun with dual roles as Andy Kaufman and Jim Henson is comedic gold. Cooper Hoffman is stepping right into his father's shoes. Cory Michael Smith and Dylan O'Brien are perfectly compatible with Chevy Chase and Dan Aykroyd respectively. Andrew Barth Feldman, Matt Wood, Lamorne Morris, everyone is phenomenal. It's crazy that J. K. Simmons and Willem Dafoe, both amazing as well, are probably some of the less extraordinary of the bunch. I'm genuinely surprised how much of the cast are rising stars - and I thought that was an excellent decision made by casting considering the original SNL cast were also fairly unknown. They deliver on levels as someone who's been in the industry their entire lives.
Jason Reitman has given us the love letter of a lifetime with Saturday Night, recognizing those who work their asses off behind the scenes for our amusement. The rapid-fire script is wildly entertaining, the film is a total blast from beginning to end! Highly recommended by me!
Joker: Folie à Deux (2024)
Did I see a different movie than everyone else?
Did I see a different movie than everyone else?
Most people seem to be saying that Joker: Folie à Deux is a dumpster fire of a disaster that hates its own fans. It's not a stretch to say this might be the most disappointing comic book movie of all time for a lot of people.
But for me... while I am still not 100% sure how I feel about it, I definitely don't agree with the majority. I really appreciated this film.
Joker: Folie à Deux (or Joker 2 as I will refer to it) is bold, unafraid, and complex, delivering a commentary on the sensationalism of trauma and mental health over the actual care for it. This is a film that swings for the stars in its execution, and while it doesn't always work, this is a film that will be talked about for years to come. While the initial backlash to the film is strong now, I feel after some time, people will begin to revisit this movie and re-evaluate it with adjusted expectations. Because frankly, Todd Phillips took most people's expectations of a sequel to the first Joker film and absolutely threw those out the window, giving all of us the middle finger for wanting that in the first place. The film is completely disinterested, and is actively hostile towards fulfilling your expectations, and then seems to chastise you for wanting to see a film about the Joker.
And goddamn it, even if the end result is a mess, I love that he had the courage to do this. I can't think of another major studio film with a $200 million budget in the last 10 years that actually had the guts to make something that wasn't just pandering to the fans - instead this film offers a subversive deconstruction of the character and in a meta-sense, the first film, that challenges our preconceived notions of what this movie would be. From a business perspective, this was a terrible idea, as we can see the results - a failing box office, theatres are empty, there's a disappointed fan base, and the film will ultimately lose money. But from an artistic perspective, like it or hate it, we are so lucky to have a film like this. I so appreciate the boldness of this film - I would rather see movies like this that take risks and swing for the fences (even if they don't always connect) than 100 of the same movies I see again and again. It starts an interesting dialogue over what has become the norm for tentpole films. I just love that Todd Phillips went for it.
The Wild Robot (2024)
A very special movie - an instant classic
Every once in a very long while you watch a movie that's so wonderful and beautiful that you have no idea how the heck you can write a review that does it justice.
The Wild Robot is one of those special movies.
Before saying anything else, I'm so serious, just drop whatever you are doing and go see it - it exceeded my already high expectations!
The Wild Robot blew me away. This is a wonderful, wonderful movie that will become a profoundly cozy comfort watch in years to follow. It's an instant classic and already one of my favourite movies of the year. A perfect, gorgeous film that's propulsive, funny, incredibly exciting, hugely epic, and even more emotional. There simply aren't enough superlatives to describe it - it is simply outstanding. The Wild Robot is an astonishing film. It's a showcase for DreamWorks and Chris Sanders at their absolute best and the result is one of the most powerful and moving animated films I have ever seen. The film is often funny and cute (with some great dark humour), but by brilliantly blending harsh realities of nature with the tenderness of parenthood, there's a maturity to the story that we don't see much in family films these days.
Chris Sanders' direction here is really what makes the whole thing work. He takes what could've been some forgettable straight to streaming movie and brings in so much emotional maturity and weight, making it into one of the year's best films. A symphony of soul crescendos into the most poignant portrait of parenthood. Instinct vs improv, love and acceptance, this is a film about the heart and how it defines our connection to all things. It's why we're here. Gosh, this really is a breathtaking masterpiece.
Movies like this are why animation is so important. What a gorgeous, emotionally powerful piece of work enhanced by the animation on display.
This is some of the best computer animation that I've ever seen and I was in awe at the beauty on screen. Stunning animation across the board. Every single frame is vibrant and brimming with life. And the painterly animation style so well suits the story/source material. It looks like a brushstroke painting at times and the way they make this island feel so alive is brilliant. The texture of the animation is a heavy contributor to bringing you as close to Roz as possible and sparking the feeling that you're discovering right alongside her. There are some dazzling, vibrant sequences in this film that made me feel as if I was elevating above my seat, in terms of both story and visuals, complemented perfectly by a soaring, emotional musical score.
There are some movie scores where when you hear it alone or in the scene, you feel that rise in your chest and your breath taken away. Moments like Theodan's charge in Return of the King. Hiccup and Toothless' test drive in How to Train Your Dragon. Seeing the dinosaurs for the first time in Jurassic Park. Or when Simba sees his father in the stars in The Lion King. The Wild Robot has a score like that. Kris Bowers' sweeping and majestic score also brings so much emotional heft. The animation is stunning, but it's the score from Kris Bowers that soars. You will absolutely feel it in your chest, as it elevates every moment in the film beautifully.
The voice cast is outstanding. Lupita Nyong'o brings so much humanity, complexity, and warmth to Roz and I love hearing her become more "alive" as the story continues. Pedro Pascal is great as Fink as well, being both funny and sweet. You also get strong supporting performances from the likes of Kit Connor, Matt Berry, Mark Hamill, Catherine O'Hara, and more.
The Wild Robot lives alongside Wall-E and The Iron Giant in the pantheon of robots too good for us in a striking animated story about belonging. One that'll make us want to strive to be better than who we are. This represents the pinnacle of DreamWorks Animation. The Wild Robot is a wondrous tale of parenthood, survival, kindness, and coexistence in our natural living world. I also really appreciated the messaging about climate change and the environment, as well as humanity's and nature's relationship with technology. With big-hearted storytelling, plenty of laughs, phenomenal voice acting, and a beautifully epic score that captures the grandeur of Chris Sanders' vision, it's a crowd-pleasing and emotionally stirring story that not only deserves to win Best Animated Feature but also to be nominated for Best Picture.
The Wild Robot is an absolute heart-warming gem. It boasts stunning visuals and unique animation as well as a memorable score that is chill-inducing. A beautiful tale brought to life with passionate performances and amazing technicals, it's a touching tear-jerker. It's been a long time since a film's final moments reduced me to a blubbering mess. An absolute feast for the eyes, heart, and imagination - The Wild Robot is the most stunning animated film of the year.
Megalopolis (2024)
0/10 movie, 10/10 movie watching experience
Megalopolis: the greatest movie-watching experience I've ever had for such a terrible trainwreck of a film. I don't know what the heck I just watched, but my god did I ever feel connected to the rest of my audience as we all suffered and laughed through it together.
Megalopolis is a mess brimming with ambition but utterly devoid of direction and cohesion. It isn't just agonizing, it is an excruciating test of patience. At best, it's mind-numbing, at worst, a total trainwreck I painfully endured.
BUT! It gave me an experience I will never forget. I saw this at an IMAX pre-screening that included the live actor during the movie and a live-streamed pre-screening Q&A with Francis Ford Coppola, Robert DeNiro, and Spike Lee. The Q&A was bonkers and spiraled way out of control right after it began. It was insane to watch unfold in real-time and ended up being a great pre-game for how insane the experience to come was.
And wow was it ever so much fun - laughing along with a full audience of cinephiles at the absurdity of this movie. And before you ask, no this is not a comedy, we were laughing at the movie. And yes, I feel bad, this is the legendary Francis Ford Coppola's passion project with a heavy artistic, experimental vision to it, but it just was such a hot mess that I couldn't help it. Luckily, I wasn't alone. And while the movie was largely a failure, this was the most connected I've felt to an audience and film community since seeing Avengers: Endgame for the first time. So while I will probably NEVER see this movie again, I am so thankful to have had the experience I did seeing it.
I genuinely cannot believe this movie is real. Needs to be seen to be believed. I have never seen a movie quite like this before. Better or worse, Coppola made the movie he wanted to make, and it's as strange and bizarre and imaginative and insane as you expect, in every single department. Part of me thinks the movie knows how insane it is, and it just gives zero craps. But who knows? I just have no clue how to actually write about it. Frankly, I could barely explain the movie to you if I tried.
You can tell Francis Ford Coppola thinks a lot about the Roman Empire because its influence is all over the mega failure that is Megalopolis. Themes of time, history, legacy, civilization, technology, politics, the media, and economics are all touched upon in this golden sun-baked, grandiose, overstuffed, and overwritten piece of filmmaking but with little to zero cohesion between them. While Francis Ford Coppola may have made some of the greatest films of all time in the 70s, Megalopolis is not one of those movies. Every member of this cast feels lost as they deliver some of the funniest line readings you'll likely hear all year. (I think Aubrey Plaza was the only one who KNEW what kind of movie she was in.) Some will appreciate the scale and ambition of Megalopolis. I would've admired it more if any of it worked, but at least I'll never forget the incoherent, messy, WTF experience of it all. Feel like I just witnessed an important moment in film history.