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estelscinema · 7 hours
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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-
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estelscinema · 2 days
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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 · 2 days
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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
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estelscinema · 11 days
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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 · 23 days
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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 · 29 days
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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 · 1 month
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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 · 2 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 · 2 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 · 2 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 · 2 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 · 2 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 · 2 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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estelscinema · 3 months
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Quickie Reviews
American Symphony
Musician Jon Batiste attempts to compose a symphony as his wife, writer Suleika Jaouad, undergoes cancer treatment. 
"American Symphony" harbors the potential for a remarkable documentary, but its scattered focus and contrived elements weigh it down, preventing its full potential from shining through. The film grapples with conflicting narratives—juggling between Jon Batiste's artistic fervor and the poignant moments of his wife's perspective from a hospital bed. This lack of cohesion hampers the documentary's ability to delve deeply into either storyline. While the cinematography boasts beauty, it inadvertently contributes to the sense of artificiality and staged sequences within the documentary. Although pockets of genuine emotion surface, much of the film feels manufactured, impeding the audience's connection to the authenticity of the moments depicted. Overall, "American Symphony" falls short of expectations. Despite its glimpses of raw emotion, the disjointed focus and artificiality detract from what could have been a compelling exploration of profound human experiences.
My Rating: C+ 
The Color Purple
A decades-spanning tale of love and resilience and one woman's journey to independence. 
As I've mentioned before, musical films don't quite resonate with me. "The Color Purple" unfortunately fell victim to this personal struggle of mine. While it might be a treat for musical enthusiasts, every time a musical sequence unfolded, it pulled me out of the film's narrative. None of the musical numbers seemed to stick, and they often clashed tonally with the unfolding events on screen. However, despite my disconnect with the musical aspect, I must commend the outstanding performances delivered on screen. Fantasia Barrino, Taraji P. Henson, and Danielle Brooks all delivered remarkable performances deserving of significant accolades. Their contributions elevated the film, showcasing their immense talent and dedication. "The Color Purple" left me admiring the performances while lamenting my own limitations in fully embracing movie musicals. It's a reminder that perhaps my lack of affinity for musicals might have hindered my appreciation for what others might find to be a captivating experience.
My Rating: B-
The Holdovers
An instructor at a New England prep school is forced to remain on campus during Christmas break to babysit the handful of students with nowhere to go. 
The writer's block has been very strong with The Holdovers, but I have finally gotten my words together after nearly 3 months. 
There is nothing more warming than seeing a bunch of lonely people bonding together over the holidays. This warmth is perfectly encapsulated in The Holdovers. The Holdovers is a symphony of raw emotions and intricate human connections woven into the fabric of the holiday season. Set against a backdrop of vulnerability and fractured past, this tale unfolds like a beautifully written novel. As our broken characters slowly bond during the icy winter of the New England holiday season, The Holdovers embraces the imperfections of its characters. Portraying their brokenness not as a flaw but as a mosaic of the human condition. Through their compassion and solidarity, they lift each other up with their fragile, yet healing human spirit. It's a beautiful love letter to the beauty of embracing our vulnerabilities and finding strength in the unlikeliest of connections. 
The performances in The Holdovers are nothing short of a masterclass in emotive storytelling. Each actor embodies their character's vulnerability and solidarity with such depth and authenticity that it feels as though you’re peering directly into their souls. Paul Giamatti has not been this good in years. He is a tour de force in this character performance. Giamatti brings a complexity that is both haunting and heartrending. His portrayal of vulnerability and inner turmoil with such raw authenticity is deeply resonating. With each expression and subtle shift in demeanor, Giamatti captures the essence of his character that is burdened by the weight of his path as he tries to lift up the future generation. Dominic Sessa makes his film debut in The Holdovers, yet you can not tell it in his performance. For his breakout role, he perfectly portrays the emotional rollercoaster of being a teenager stranded during the holidays. His moments of vulnerability and teenage rebellion are captivating as it is raw. I can’t wait to see what the future lies ahead for him.  Da’Vine Joy Randolph's performance is a revelation. She masterfully navigates her character through numerous layers of grief and resilience. She has a commanding and endearing on-screen presence that perfectly balances with the performances of Giamatti and Sessa. This ensemble is sure to get showered in Oscar nominations. 
The Holdovers is an emotional journey that leaves an enduring imprint on the soul. With stellar performances, poignant storytelling, and an exploration of the human spirit amidst vulnerability and resilience, this cinematic gem transcends the screen. 
My Rating: A
Saltburn
Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family's estate, for a summer never to be forgotten. 
Saltburn had many scenes that were not on my bingo card for 2023. 
In her latest daring creation, "Saltburn," Academy Award Winner Emerald Fennell plunges us into a world of opulence, extravagance, covetousness, and deceit. This audacious feature blurs the lines where rawness meets the unconventional, offering a provocative cinematic journey. Brace yourself, though, as "Saltburn" isn't your run-of-the-mill film—it's a twisted, gut-churning spectacle that might not sit well with everyone. It's a daring plunge into the abyss of the human psyche, a narrative that revels in its unsettling nature. But for those who revel in the unconventional and relish the unconventional chaos (like me), "Saltburn" might just become an adored and cherished experience.
While "Saltburn" grapples with its twisted narrative, it struggles to untangle itself from a convoluted storyline lacking coherence and strong character development. Yet, within this messy concoction, there's an undeniable sense of amusement that persists. It's a chaotic whirlwind that, despite its flaws, manages to retain a certain allure. However, what truly captivates this labyrinthine plot is the thematic depth it carries. Emerald Fennell orchestrates a tale submerged in themes of excess, envy, and unbridled ambition. Her unapologetic direction exposes the murky waters of human desires, unveiling the lengths individuals go to in pursuit of wealth and comfort. It's more than a mere "eat-the-rich" narrative; it's a profound commentary on the sacrifices one is willing to make for affluence. Fennell's artistry shines as she refines her directorial style, seamlessly weaving sound and cinematography to enhance the film's impact. Despite the narrative messiness, her adeptness at storytelling and the nuanced exploration of themes elevate the film beyond its tangled web of a plot.
Although the characters may lack some depth, the acting ensemble truly shines in this production. Barry Keoghan continues to showcase his ascent as one of Hollywood’s top emerging actors, delivering a chilling portrayal of Oliver Quick. His character’s blend of pathetic vulnerability and hidden malevolence creates a memorizing performance that captures attention.  Jacob Elordi's portrayal is intriguingly captivating, balancing charisma with a quietly elitist aura that will mesmerize the audience.  Moreover, Rosamund Pike and Richard E. Grant command attention with their uproarious portrayals of the chaotic and disconnected world of the elites, delivering moments of genuine hilarity.
"Saltburn" is a cinematic enigma, a whirlwind of chaos and audacity that leaves an indelible mark on the viewer. While the film grapples with its narrative complexities, its thematic depth and unflinching exploration of human desires linger in the mind long after the credits roll. Emerald Fennell's daring direction, though occasionally obscured by the film's turbulence, unveils a profound commentary on ambition and excess. It's a film that challenges, provokes, and intrigues, inviting audiences to wade into its murky waters. Despite its imperfections, "Saltburn" stands as a testament to the power of storytelling that both disturbs and captivates, leaving a lasting impression on those willing to navigate its captivating, albeit tempestuous, narrative journey.
My Rating: B+
The Iron Claw
The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 80s. 
While wrestling isn't my forte, growing up in Texas acquainted me with the Von Erich brothers. I knew of their ‘“curse” but I did not expect this family to have such a tragic history. Writer and director, Sean Durkin dives into the harrowing tale of the Von Erick brothers, unearthing the tragic narrative that transcends the realm of wrestling lore. Here Derkin peels back the layers of generational trauma, painting a poignant picture of a family haunted by the weight of their legacy. Yet amidst this despair, a glimmer of hope emerges—a poignant testament to the power of brotherly love and the resilience to break free from the shackles of that very trauma.
Durkin delicately and compassionately guides us through the turbulent history of the Von Erich brothers, unflinchingly exposing the trauma and immense pressure imposed by Fritz Von Erich on his sons, living vicariously through their accomplishments. The film doesn't shy away from portraying the relentless demands Fritz imposed on his boys, pushing them to their limits to fulfill his own unattained ambitions. Despite enduring this abuse, the resilient bond between the brothers stands as a powerful testament to solidarity and endurance in the face of paternal tyranny. However, the strength of brotherly love has its limits. The narrative unfolds tragically, depicting a series of devastating events from su*cides to heartbreaking illnesses that tears this family apart. As the patriarch is forced to confront his own actions, the remaining son courageously breaks free from the chains of his father's influence. "The Iron Claw" paints a heartrending portrait of human struggles, the repercussions of fame, and the haunting inheritance of generational trauma. Yet, amidst this turmoil, it poignantly illustrates how resilience can emerge even from the darkest and most trying circumstances.
Zac Efron delivers an astounding portrayal of Kevin Von Erich, marking a career-defining performance. His depiction of the lone surviving brother is deeply haunting, showcasing an incredible depth of emotion and sorrow communicated through silent yet profoundly impactful expressions. Jeremy Allen White, Harris Dickinson, and Stanley Simons deliver equally poignant performances, conveying immense trauma and shame with the quiet intensity of their eyes, a mesmerizing display of acting prowess. Holt McCalleny impeccably embodies the toxic patriarch, Fritz Von Erich, exuding a perfectly calibrated harmful demeanor that fits the role flawlessly. On the other hand, Lily James' performance radiates hope, serving as the epitome of resilience in the narrative.
The narrative ventures beyond the confines of wrestling, delving into the tragic tale of the Von Erich family. Poignant performances paint a vivid tapestry of suffering and strength under the weight of paternal oppression. In moments of heart-wrenching sorrow and unwavering fraternal bond, the film unravels a complex story interwoven with resilience rising from profound darkness. "The Iron Claw" deserves recognition from the Academy. Alongside its compelling storytelling, the wrestling scenes are a spectacle, flawlessly capturing the fervor of early '80s wrestling.
My Rating: A-
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estelscinema · 3 months
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Quickie Movie Reviews
Rustin Review
Activist Bayard Rustin faces racism and homophobia as he helps change the course of the Civil Rights history by orchestrating the 1963 March on Washington. 
If you have seen any Civil Rights films, then Rustin will feel very familiar as it follows all of the standard tropes associated with the genre. Yet, even with these tropes that will generate praise no matter how questionable the movie is, Rustin still falls short of the stature of Bayard Rustin. Rustin should be an incredibly compelling character, but Rustin falls short of capturing his life as it refuses to dive into the complexities of his life and his struggles. When the film attempts to explore the themes of Rustin struggling with his sexuality and his race, the execution is disjointed and lacks any emotional impact. Coleman Domingo does his best at trying to elevate the script beyond its mediocre portrayal of this historical figure, but can’t make it work. His performance is good, but short of greatness. Rustin could have been a very interesting Civil Rights film but lacks the balls to do something unique with this historical figure. 
My Rating: C
Leave the World Behind Review
A family's getaway to a luxurious rental home takes an ominous turn when a cyberattack takes out their devices. 
On paper, Leave the World Behind is an interesting movie. It presents the theme of how broken the US is and how easy it would be for the US to crumble in today's modern age. This theme is fascinating, but it feels wasted as this theme is only explored between two families. I am unsure if I wanted a different film, but to see the collapse of the US between two families in the middle of nowhere was boring. The narrative structure is repetitive and drawn out far too long. The cinematography is nauseating. What I wanted to see was how people in the city and government officials would react to this attack. This is where the wasted potential of Leave the World Behind lies, which I believe is a different film. The performances are good with Mahershala Ali being the biggest standout. I think I expected more out of this movie. 
My Rating: C
Rebel Moon - Part One: A Child of Fire
When a peaceful colony on the edge of the galaxy finds itself threatened by the armies of the tyrannical Regent Balisarius, they dispatch Kora, a young woman with a mysterious past to seek out warriors from neighboring plants to help them take a stand. 
Will Rebel Moon finally be the queue for Hollywood to stop giving Zack Snyder fuck all money for his projects? I hope so.
Rebel Moon is a catastrophic misstep in the realm of sci-fi storytelling and filmmaking. This cinematic disaster attempts to blend grandeur and depth, but fails miserably in execution. The narrative is a mishmash of cliches and uninspired tropes, offering nothing but predictable, lackluster plot. The characters lack any semblance of depth or development, reducing them to mere cardboard cutouts parading through a convoluted mess. The dialogue is cringe-inducing, riddled with forced attempts at profundity that falls flat. The acting matches the cardboard cut-outs of their characters. Even Snyder's unique visuals, cannot salvage this train wreck of a movie. Rebel Moon is an utter disappointment that should be a lesson for Hollywood to stop giving Zack Snyder money. 
My Rating: D
Ferrari Review
A biopic of automotive mogul Enzo Ferrari, whose family redefined the idea of the high-powered Italian sports car and practically spawned the concept of  Formula One Racing. 
Michael Mann’s Ferrari gives us a glimpse into the world of racing which is a mix of flair and mediocrity. The film delivers the visual spectacle that is expected of the racing genre. However, it stumbles in its character depth and storytelling, leaving must to be desired in terms of emotional resonance and narrative depth. Even though the characters lack depth, the performances are solid except for Shailene Woodley who is grossly miscast. The pacing and the lack of a gripping story prevents “Ferrari” from achieving its full potential. It's a decent watch, but it definitely could have been better. 
My Rating: B
Wonka Review
Willy Wonka - chock-full of ideas and determined to change the world one delectable bite at a time - is proof that the best things in life begin with a dream, and if you're lucky enough to meet Willy Wonka, anything is possible. 
Wonka surprised me with its whimsical tale into the world of imagination and chocolate. It's a fresh new take on the character that does not feel like a cheap cash grab, but it is a bit of a mess. The first half of the film leans into a musical fantasy that is a mixed bag of songs forced into the narrative. However, once it gets away from the music in the second half, it becomes a good story of never giving up your dreams. The story fully embraces the camp that it sets itself up in and has fun with it. Timothee Chalamet is a mixed bag as the iconic Willy Wonka. In the serious moments, he is great but fails to pull off the whimsical charm of his character. Furthermore, the CGI is overused and is sometimes the stuff of nightmare, (yes, I am talking about Hugh Grant as an Oompa Lumpa). Wanka is a pleasant surprise that no one was expecting. 
My Rating: B
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estelscinema · 3 months
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The Boy and The Heron Review
While the Second World War rages, the teenage Mahito, haunted by his mother's tragic death, is relocated from Tokyo to the serene rural home of his new stepmother, Natsuko. As he tries to adjust, this strange new world becomes stranger when a grey heron begins following him. 
The Boy and The Heron is continuing the long line of remarkable filmmakers reflecting on their childhood through the medium of film. Hayao Miyazaki steps out of retirement to take this reflection through his unique fantastical style. Yet The Boy and The Heron is different from his previous works. In his latest film, it's an exploration of death and grief from a filmmaker who is not only reaching the end of his career but also his life. 
We follow Mahito and his father moving to the countryside to move in with his father's new wife, who happens to be the younger sister of Mahito's late mother. Mahito is still reconciling the loss of his mother in a horrible fire during the firebombing of Tokyo. He struggles to adjust to his new home as he is unable to process his grief and anger. Soon a heron begins to harass him, inviting him to the abandoned fortress that his great-grandfather built. He refuses until his stepmother is taken by the fortress thus forcing his hand. As he enters the fortress he discovers a world filled with fantastical creatures that are both beautiful and the stuff of nightmare. In this strange world, Mahito confronts his grief and anger.
The Boy and The Heron delicately navigates these existential themes as portraying them as a integral part of the human experiance. Through the relationship between the boy and the heron, the film subtly addresses the cyclical nature of life and the inevitability of loss. Eventhough the heron is a strange creator in this film, this heron becomes a metaphor for mortality, emphasizing the transient beauty of existence. The heron and many others cause Mahito to confront his grief. This grief is portrayed with all the sensitivity of and complexities that come with mourning, and the acceptance of being gone forever. The film gently reminds the view that within the tapestry of life, death is not the end but a part of the natural order, inviting contemplation on the transformative power of loss and the enduring essence of memories that transcend time. 
As with all of Miyazaki’s previous works, the animation is nothing short of memorizing. Every frame is a canvas painting with breathtaking artistry showcasing a blend of vibrant colors and elicate details that bring the story to life in a truly magical way. The attention to detail is immaculate. For each movement, weather its a rustle of leaves in the wind or the graceful morning light, the animation is breathtaking. Miyazaki’s visual storytelling is just as strong as it was 10 years ago. The animation elevates the narrative through its enchanting atmospheres, evoking emotions that resonate with the emotions of the scene. This animation paired with the beautiful score composed by Joe Hisaishi, that will simply bring tears to your eyes. This simple, yet immaculate detail work of Miyazaki’s animation proves yet again that he is one of the best animated storytellers in the business. 
I chose to watch the English dubbed version after seeing the ensemble that Miyazaki was able to conjur in his latest film. The voice acting is on point as every performance breathes life into their respected characters. The voice work resonates with authenticity and emotional depth that resonate depply within the film thematic exploration. My favorite performance was easily from Robert Pattinson as the heron. His voice is unreconizable as it is raspy and high pitched. His comedic timing is impeccable as is easily the best performances of the film. 
The Boy and The Heron stands as a timeless testament of the power of storytelling, artistry, and the profound connection between humanity and the spiritual and natural world.Its transanding animation and thematic exploration will pull ones heartstrings as we are left to explore the balance between life and the unknown. Miyazaki proves again at the age of 82 that he can put out stellar films that contemplate our existence. 
My Rating: A
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estelscinema · 3 months
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Poor Things Movie Review
Brought back to life by an unorthodox scientist, a young woman runs off with a lawyer on a whirlwind adventure across the continents. Free from the prejudices of her times, she grows steadfast in her purpose to stand for equality and liberation. 
Since the beginning of his career, Yorgos Lanthimos has been pushing the boundaries of filmmaking. He is unafraid to handle difficult themes and complicated subjects with his strange aesthetic. So when he decides to adapt a whimsical Victorian science fiction novel that explores the complexities of what it means to be a woman, I would be down immediately. However, I wish I didn’t get my hopes so high for Poor Things as I am left deeply conflicted. On one hand, it is a technological achievement for Lanthimos. The world-building and the aesthetics of the film are beautiful. But on the other is an alarming and problematic story that is framed as female empowerment. 
A mad scientist (Willem Dafoe) discovers a dead pregnant woman (Emma Stone)  floating in the River Thames. Using his Frankenstein methods, he revives the woman by replacing her brain with that of her unborn child. As the weeks and months go by, her speech begins to become more coherent and her motor skills more refined. When she discovers masturbation, her “father” drafts up a contract for her to be married to his assistant (Ramy Youssef). However, before the marriage, she runs off with the lawyer (Mark Ruffalo) where she discovers her sexuality and the reality of human nature. From this synopsis, it sounds like a modern retelling of Mary Shelly’s “Frankenstein”. However, Poor Things is more of a horror story than Frankenstein will ever be. 
Throughout Poor Things, we witness Bella (Emma Stone), be groomed, sexually assaulted, and r*pe by men. However, instead of framing these atrocities for what they are, it is framed as female empowerment as she experiences her sexual awakening. As previously stated, Bella has the brain of a literal child, thus causing her to be emotionally immature and mentally handicapped, despite having the body of a fully grown woman. Many men immediately see her mental capacity and take full advantage of her. For example, when Duncan (Mark Ruffalo) arrives to draft up the marriage contract, he immediately notices that Bella is mentally handicapped, so he sexually assaults her. However, instead of framing it as a crime, Bella enjoys it and furthering her sexual awakening. Then the next thing you know, she runs away with her groomer, despite the fact she can barely put together a full sentence. However, her grooming does not end there. During a low point, she is manipulated by a Madam of a brothel, to sell herself to make some coin. But instead of framing this situation as a cautionary tale of selling yourself for money, it's framed as female empowerment as she is owning her sexuality. Despite the Madam being fully aware that she is mentally handicapped. 
I don’t know about you, but if this does not make your skin crawl, I don’t know what I could say to you. This is a disgusting portrayal of feminism, as it frames these disgusting scenes of abuse and r*pe as sexual exploration. Poor Things is a r*pe fantasy of what men think female empowerment is, as it sexually exploits and sensationalizes Bella Baxter’s journey. From the uncomfortable close-up of Emma Stone experiencing orgasmic pleasure, to the sheer amount of fully nude shots Stone had compared to her male counterparts, is disgusting. I am fine with sex in film, but here it is so uncomfortable and unnecessary. Bella is reduced to nothing more than an experiment and a sex toy for men, as the film primarily focuses on her physicality and her relationships with men rather than showing her autonomy or resilience to sexism. Furthermore, by the end of the film, you wonder what it is saying. What I got was that the only way a woman can be enlightened, empowered, and strong is by having a lot of sex with other people. No offense but that comes across as a man's version of feminism. 
Now within this r*pe fantasy, there are moments in Poor Things where it becomes classically feminist. While Bella is traveling on a boat to Alexandria she meets Martha (Hanna Schygulla) and Harry (Jerrod Carmichael). Unlike the rest of the film, Martha challenges Victorian-era norms as she exhibits a strong sense of independence and intelligence, unafraid to assert herself in a male-dominated society. While Harry acknowledges her intelligent wit and autonomy. Not once do they treat Bella as a sexual object. Together they teach Bella philosophy, literature, and human nature. Thus empowering her mind and spirit as she discovers there are more pleasures to life than sex. She learns of the mutual respect and admiration they have for one another, thus she begins to challenge her views of Victorian gender roles.  Furthermore, when Bella is working in the brothel, she develops a close relationship with her co-workers highlighting the bonds between women. It’s a perfect highlight of feminine strength. However, these scenes are few and far in-between. I wish Poor Things would have explored these areas of feminism, as it shows that women are more than sexual objects. But sadly today feminism believes the only way women can be empowered is by having a lot of sex or by turning them into a man (it would have been funny if the baby was a boy). 
To further add to the positives, I mostly enjoyed the performances, but I don’t think they are as groundbreaking as many people consider them to be. Emma Stone gives a very interesting performance. She is a very charismatic and versatile actor, which clearly shows in her performance when studying her body language and mannerisms But when studying her performance more, it does come across as a stereotype of someone who is mentally disabled. Her character is one-dimensional and her struggles and resilience seem to be non-existent in her performance. Whether this was writing, direction, acting, or all of the above, I expected more out of her than this stereotypical portrayal of someone who is mentally handicapped. Mark Ruffalo gives the standout performance in Poor Things. He is hysterical as his pathetic manchild of a character. However, an element missing from his performance that would have been a great extra layer would have been to frame his character for the sexual predatory that he is. Willem Dafoe is good here, but nothing really special. He is wasted as his character feels one note not only in writing but in theme. He never confronts his unethical Frankenstein methods, which is a massive waste of an opportunity. I greatly enjoyed the presents from Hanna Schygulla and Jerrod Carmichael, and I wished they were in the film more. 
Furthermore, as with all Yorgos Lanthimos films, you know they will be technically spectacular. The production and costume design will fully immerse you into this Steampunk fantasy. The costumes are intricate and delicately textured, which feels both old and futuristic. The production design feels both old and futuristic with the flying rail cars to the Victorian interiors. The cinematography is beautiful with pastel-like colors that fill every frame. Furthermore, the score is unique and ties perfectly into Lanthimos’s aesthetics. 
Yorgos Lanthimos’s Poor Things presents a troubling array of issues that undermine its potential. If Bella had been a fully grown adult (both mentally and physically) who had just been sheltered her whole life, with predatory characters being framed as predatory characters, and less of the male gaze, I most likely would have enjoyed Poor Things. However, because Bella is a child who is being sexually exploited, whatever themes Poor Things tries to tell are immediately tainted by the film's predatory nature. It lacks the nuances of feminism and female empowerment, as it misunderstands what it is to be a woman. It is a shallow and distorted depiction of women’s agency and struggles told through the eyes of a man. 
My Rating: C-
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