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myhahnestopinion · 3 years

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THE AARONS 2020 - Best TV Episode

I had to cancel a lot of streaming services this year. They know what they did wrong. Here are the Aarons for Best TV Episode:

#10. “Take Your Choice” (Batwoman, Season 1, Episode 12)

Coming out of the Infinite Earths crossover, Batwoman is left with a personal Crisis of conscience: Kate Kane’s efforts to redeem the villainous Alice, her presumed-dead sister, are derailed by the arrival of an alternate-universe version of her, one who didn’t suffer the same traumatic events. Multiverse collapse means only one can live, compelling Kate to choose between fighting a righteous lost cause or taking the easier path back to normalcy, the kind of complex moral dilemma that heroes are forged in. The original Alice is seen as both abuser and victim within, torturing Kate over her own lingering trauma, while fearing a second, far-worse abandonment. This enhanced sibling conflict reinvigorated the season’s second half. It’s unfortunate that dynamic is now lost with the decision to replace, not recast, Batwoman going forward, but, well, a choice had to be made.

#9. “The One Where We’re Trapped on TV” (Legends of Tomorrow, Season 5, Episode 14)

With back-to-back shows on this list, it’s clear The CW’s sweeping interconnected universe is still going strong, but they’re not done conquering the airwaves yet. In their latest bit of meta-mischief, the crew behind the show Legends of Tomorrow flexed their creative freedom and trapped the on-screen crew of Legends of Tomorrow within various television parodies, including Friends, Downton Abbey, and Star Trek. Each is brought to life with expert lived-in details by long-term producer and first-time director Marc Guggenheim. The cast gamely tunes in to the needs of each as well, hamming it up with Shatner-impressions and droll sitcom style. It’s all held together by the show’s lovable mush; if you’re looking for unique, heartfelt television, the Legends are on it.

#8. “Zoey’s Extraordinary Glitch” (Zoey’s Extraordinary Playlist, Season 1, Episode 8)

Despite her being the star of the show, Playlist kept skipping over Jane Levy for its big musical numbers, a consequence of its concept that Zoey is the one hearing other people’s thoughts expressed in song. That oversight was paused in the show’s eighth production, which gave her a show-stopping spotlight all her own. It wasn’t just Levy’s rendition of pop songs that were a hit, but how reality hit for the character after signing her heart out. The playful subversion of Playlist’s formula dialed cringe-comedy to the max, while shattering the limitations of its unusual premise. If the show keeps shuffling itself around like it did here, it won’t be played out anytime soon.

#7. “Sundown” (Lovecraft Country, Season 1, Episode 1)

The unknown is an alluring yet dangerous place. That’s the concept at the heart of infamous horror author H.P. Lovecraft’s work, and the principle carries over to J.J. Abrams and Jordan Peele’s inspired TV show. Atticus Freeman can’t resist that unknown when he receives a mysterious letter from his missing father, and sets off on a road trip beset by monsters to find him. The episode is a wicked homage to the petrifying creatures of Lovecraft lore, but its true horror lies in its subversion of those stories. Lovecraft, an unapologetic racist, founded his fears in that bigotry; Lovecraft Country centers people of color in its narrative, contending with those racist fears within monsters that walk among us. This balance of reverence and rejection is never better than in this first episode; “Sundown” is the highest point in the unearthly Lovecraft Country.

#6. “The Curse” (What We Do in the Shadows, Season 2, Episode 4)

STOP! If you are reading this, you have been cursed! You will be visited by Bloody Mary tonight if you do not forward The Aarons to ten other people.

...It was a familiar hoax to earlier adopters of the internet, a bit of viral villany that used the anonymous and unfathomable nature of the world wide web to spook even the most shrewd of children. To a clan of vampires though, incredulity is already out the window. That’s the clever catch of this episode, in which the long-undead crew scramble to get a crash-course in the technological age to avoid such a prophesied ghostly encounter. It’s a devilishly funny dance of dramatic irony… or is it? I can say with certainty that “The Curse” is a real one, so best get forwarding, readers.

#5. “Ego Death” (I May Destroy You, Season 1, Episode 12)

There was always an inevitability to I May Destroy You: a miniseries needs a denouement. That’s a greater dilemma when your subject is recovering in the wake of sexual assault, a situation that’s rarely cleanly resolved. “Ego Death,” the final installment in the resolutely honest show, doesn’t shy away from that difficulty. Creator and star Michaela Cola’s Arabella has a chance recognition of her assailant, and the episode runs through several possible reactions for her to that encounter. It’s as furious and yet funny as the show consistently was, while always holding firm to the promise of its title: assault need not define you, destruction is not inevitable.

#4. “Bagman” (Better Call Saul, Season 5, Episode 8)

Vince Gilligan built his empire on exploring what will make a person reach their breaking point; after five seasons of build up, he burdened Saul Goodman with as much as the man can bear. Taking cues from a classic episode of the original series, “4 Days Out,” Saul Goodman is stranded in the desert, forced to degradingly drink his own urine while lugging around duffle bags of cash, after a trepidatious handoff is ambushed by a rival drug cartel. Worse, he’s being chased by a surviving shooter. Gilligan loads the episode up with the distinctive visual flourish, attention to detail, and gripping tension that are the hallmarks of his work; when it comes to making standout television, Gilligan’s got it in the bag, man.

#3. “The Phantom Apprentice” (Star Wars: The Clone Wars, Season 7, Episode 10)

There was a clear force pushing Disney to revive The Clone Wars after seven years off the air: bringing balance to the franchise. The last third of the season finally fulfilled the show’s destiny, running parallel to the events of Revenge of the Sith from the perspective of its original creation, Ahsoka Tano. The entire operatic arc rivaled the power of its cinematic counterparts, but my chosen one is its second part, in which Ahsoka and a revived Darth Maul duel above an under-siege Mandalore. The dazzling lightsaber fight was rendered using motion capture technology, providing viewers with another dizzying high ground from which to watch the fall of the Republic.

#2. “The View from Halfway Down” (BoJack Horseman, Season 6, Episode 15)

The long-standing question of viewers of BoJack was whether it would result in tragedy or recovery; in the end, the show had its horse and ate it too. The series finale, in which BoJack makes peace in his ruined friendships, could have easily grazed this list, but I gave the edge to the penultimate episode in the horse race. “The View from Halfway Down” is a fake out, a fever dream of finality as BoJack lays drowning in his pool, but it’s no half-measure. It’s a merciless manifestation of fears and regrets, forcing BoJack to confront all the darkness he’s been running from, with the haunting sensation that, this time, he might be in too deep. It’s a brutal piece of TV viewing, but the glass is halfway full: BoJack’s at his lowest point, but the episode is Bojack at its highest.

AND THE BEST TV EPISODE OF 2020 IS...

#1. “A Dark, Quiet Death” (Mythic Quest: Raven’s Banquet, Season 1, Episode 5)

Mythic Quest took an unexpected detour early on in its debut season, chronicling the personal and professional growth and decay of couple Doc and Bean, video game designers who originally occupied the current headquarters of the show’s regular cast. Guest stars Jake Johnson and Cristin Milioti give life to “Death,” charming viewers and each other from their meet-cute to their late-in-life reunion. It’s a surprisingly surefooted key stroke for a first season sitcom, developing the entire show’s central thesis on the strength of this standalone episode. Bean and Doc act as a cautionary tale for both the destructive power of ego and the corrosive nature of capitalism; a carved heart from the two adorns the office as an omen while the modern day characters lock horns with the same beasts. Now that’s a scrumptious bit of mythmaking.

NEXT UP: THE 2020 AARON FOR BEST TV PERFORMANCE!

#tv #TheAarons2020 #TheAarons #TheAaronsTV #best of 2020 #batwoman #legends of tomorrow #zoey's extraordinary playlist #lovecraft country #what we do in the shadows #i may destroy you #better call saul #star wars #the clone wars #bojack horseman #mythic quest

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mrawkweird · 5 years

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So about that Spider-Verse..

2018 was Spider-Man’s year.

Let’s never gloss over the fact that this is the first animated Spider-Man film in theaters. A lot of us have grown up with a Spider-Man cartoon on television in some form or another, and in some cases that was our first exposure to the character. Now here we are at the end of 2018, and we have this grand animated feature on the big screen. Not only that but it’s used to mark the cinematic debut of Miles Morales. Hell, it’s the cinematic debut of a lot of characters.

Now let’s touch on the animation real quick because what else can I say about it that hasn’t already been said? The animation is next level top notch stuff. To me Spider-Verse set several bars for animated features with the things they pulled off. Experiencing this film on the big screen is a treat I’d highly recommend for that aspect alone.

Also, the story is something special that I think is really going to stick with a lot of people. This was a grand love letter to Spider-Man, its history, its present, and its future. Not to mention the soundtrack is pretty fucking great.

Into The Spider-Verse is an unmissable experience. It was amazing, it was spectacular, it was absolutely Spider-Man. They need to do more of these because I absolutely loved what they've done with this film.

**Now I’m just going to start talking about some SPOILER shit because I'mma be all over the place with things I liked, and thought were cool..

**SPOILERS**

So they did that shit. We're establishing in this universe that people will get merc'd right in front of your face. They didn’t give you a Kingpin made for a children’s movie, they gave you the “Oh, this is why he’s a problem” Kingpin. You’ll actually feel like characters are in danger in this world, and won’t automatically be saved due to some kid friendly plot convenience.

Stan Lee’s cameo scene was incredibly wonderful. I am going to miss those.

I absolutely adore the respect paid towards the Raimi Spider-Man universe. They’re the ones that started it all for the web slinger on the big screen, and there was a period in time where people were sleeping on them, and what they’ve done. The moment they used the Cliff Roberson soundbite of "With great power comes great responsibility" I was through the roof, and the movie had just started.

That “leap of faith” scene, HOLY SHIT. To think that’s the scene they teased us with in the first Into The Spider-Verse trailer a year ago to let you know “Aye, look what we got coming out”. Fast forward to now, and that scene when you take into consideration everything that’s happened, and everything that’s at stake multiplies this moment tenfold.

Aunt May is a thug...and she can get web shot’d.

Chris Pine would actually make for a really good animated Spider-Man voice actor.

Jake Johnson as Peter Parker/Spider-Man won me over completely. Initially there was a part of me that thought “Are they sure?” but the fuck do I know? They knew what they were doing. He was a great choice, and I really liked the development in character that we saw with this version.

Doc Ock having to explain to Peter how much it would suck to be disintegrated because surely he’ll never in any of his lives be disintegrated.

While we’re on the subject, I’m also ready to see more of this universe’s Doc Ock. I was not expecting Olivia Octavius but now I’m fully ready to start expecting Olivia Octavius.

Annnnd I gotta stop because I could go on forever.

#Spider-Man: Into The Spider-Verse #Spider-Man #Marvel

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adamwatchesmovies · 5 years

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Spider-Man: Into the Spider-Verse (2018)

Films like Spider-Man: Into the Spider-Verse are why the superhero genre has kept going strong. It’s a hilarious, exciting and surprisingly emotional visual feast, the year’s best animated feature.

After witnessing the death of Spider-Man (voiced by Chris Pine), teenaged Miles Morales (Shameik Moore) develops similar powers to his now-passed hero. As killer Wilson Fisk “The Kingpin” (Liev Schreiber) continues his attempt to access parallel universes - experiments which become increasingly dangerous and unstable - various Spider-heroes from other world are transported to Miles' New York. Inexperienced Miles must team up with them to take the criminal down.

With a screenplay co-written by Phil Lord, writer/director Rodney Rothman, Bob Persichetti, and Peter Ramset bring dozens of new tricks to the big screen. Into the Spider-Verse understands why certain visual or narrative techniques in comic books have been working for decades. Rather than attempt to invent some cinematic equivalent, they just go ahead and embraces them. Speech bubbles, lines accentuating expressions or objects, the use of shapes, colors, tones, and movements are taken directly from the page and brought to the screen. In this dynamic cross between newsprint and graffiti art, these all feel right at home and brand new. This is animation at its best; bold visual eye-candy done who does what would’ve been impossible with live actors.

This film plays with your Spider-Man expectations by subverting them and also rewards fans of the Marvel Comics character. Seeing it a second time, I noticed so many clever moments of foreshadowing or inside jokes snuck in the background. There’s no way you’ll catch everything - from the movie poster parodies to the subtle details indicating the differences between the multiple universes - the first time around. Don't worry if you missed any of the character's previous films or any installments in the MCU, this is a self-contained, original tale.

Each of its aspects simply works. Miles, donning a crappy Spider-Man costume, meets with an aged Peter Parker (Jake Johnson) whose glory days are behind him. Seeing a young man meet his childhood hero… and be disappointed is hilarious and heartbreaking. Their dynamic is so good the movie could be just about them. Their moments together deepen our understanding of Miles' relationship with his father (Brian Tyree Henry), of his newfound responsibilities, of Spider-Man as a whole. Then, we're introduced a bunch more Spider-People who make this big adventure even bigger, more exciting. In the way they are all similar and the ways they differ, you -once again- learn so much about them.

Seamlessly blending one home run of a joke after another with exciting action and genuine drama, Spider-Man: Into the Spider-Verse is the kind of animated picture, of superhero film we seldom see. Once the film's final post-credit scene is over, you can't wait to see more another one. (Theatrical version on the big screen, January 6, 2019)

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aion-rsa · 3 years

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Star Wars Movie and TV Release Date Calendar

https://ift.tt/eA8V8J

The future of Star Wars is secure. The end of the Skywalker Saga didn’t mean the end of the story of the galaxy far, far away. It just meant countless new possibilities, both on the big and small screens. In fact, Disney has already announced more than a dozen live-action and animated projects that explore other corners of the Star Wars universe, from adventures starring the brave X-wing pilots and clone troopers on the front lines of countless wars to tales of bounty hunters and even the Sith. And plenty more in between!

This post is where we’ll keep track of all the upcoming Star Wars movie and TV releases as they’re announced and release dates are set. Hit the links in each entry to read articles that tell you more about what you need to know about all these new Star Wars adventures!

Stream your Star Wars favorites right here!

First up are the movies but scroll down for TV release dates…

Upcoming Star Wars Movies

Rogue Squadron

December 22, 2023

Director: Patty Jenkins

Disney confirmed during an Investors Day presentation in Dec. 2020 that the first Star Wars movie to follow The Rise of Skywalker is Rogue Squadron, a movie that “will introduce a new generation of starfighter pilots as they earn their wings and risk their lives in a boundary-pushing, high-speed thrill-ride, and move the saga into the future era of the galaxy.”

Wonder Woman‘s Patty Jenkins will direct, making her the first woman to helm a Star Wars movie. We’re very excited about this!

Read more about The Bad Batch here.

Obi-Wan Kenobi

2022

Director: Deborah Chow

Writer: Hossein Amini, Joby Harold

Starring: Ewan McGregor, Hayden Christensen, Moses Ingram, Joel Edgerton, Bonnie Piesse, Kumail Nanjiani, Indira Varma, Rupert Friend, O’Shea Jackson Jr., Sung Kang, Simone Kessell, and Benny Safdie

Ewan McGregor is finally returning to the role of Obi-Wan Kenobi in a series set between Revenge of the Sith and A New Hope. The Jedi Master has settled into his life as an exile on Tatooine, where he’s watching over Luke Skywalker from afar. Will his next adventure take him off-world or is he going to have to protect a defenseless village from raiders Toshiro Mifune style?

Here’s what we know about the plot: “The series begins 10 years after the dramatic events of Star Wars: Revenge of the Sith where he faced his greatest defeat, the downfall and corruption of his best friend and Jedi apprentice, Anakin Skywalker turned evil Sith Lord Darth Vader.”

Hayden Christensen is returning to play Vader, which is very exciting!

Andor

2022

Writer: Tony Gilroy

Starring: Diego Luna, Alan Tudyk, Genevieve O’Reilly, Stellan Skarsgard, Denise Gough, Kyle Stoller

There’s a Rogue One spinoff series starring Rebel secret agent Cassian Andor coming to Disney+! According to the press release, “The rousing spy thriller will explore tales filled with espionage and daring missions to restore hope to a galaxy in the grip of a ruthless Empire.” This sounds very good.

This series was set to film in early 2020, but Covid-19 pandemic delayed the show. It finally wrapped filming in August 2021.

The Acolyte

TBA

Executive Producer & Writer: Leslye Headland

Russian Doll co-creator Leslye Headland is developing a new series called The Acolyte, which is set during the High Republic era, a time period that predates even The Phantom Menace. The series is said to be “female-centric” and seems to be a darker Star Wars story than what we’re used to seeing on screen.

Lucasfilm describes the show as “a mystery-thriller that will take the audience into a galaxy of shadowy secrets and emerging dark side powers in the final days of the High Republic era.” Sounds intriguing!

We have some theories as to what the show could be about here.

Ahsoka

TBA

Executive Producers: Jon Favreau & Dave Filoni

Writer: Dave Filoni

Starring: Rosario Dawson

Described as a limited series that continues the story of Ahsoka Tano after the events of The Mandalorian season 2 episode “The Jedi,” Ahsoka will likely bring the beloved hero one step closer to finding her missing Jedi friend Ezra Bridger and taking down Grand Admiral Thrawn once and for all.

Rangers of the New Republic

TBA

Executive Producers: Jon Favreau & Dave Filoni

We don’t know anything about this show except that it’s set within The Mandalorian timeline and will “intersect with future stories and culminate into a climactic story event.” It sounds like Star Wars may be on its way to having its first big TV crossover.

That said, recent reports suggest this show’s been put on hold due to the dismissal of Gina Carano, who was said to star on the show as Republic marshal Cara Dune. At the very least, it’ll likely be a while before we finally see this one.

Lando

TBA

Writer: Justin Simien

The smoothest scoundrel in the galaxy is finally getting his own event series on Disney+. It’s currently unclear whether this series will follow the younger Lando played by Donald Glover or the original one played by Billy Dee Williams. Maybe it’ll star both?!

A Droid Story

TBA

This animated TV movie will follow C-3PO and R2-D2 as well as introduce a new hero to the Star Wars galaxy. That’s all we know at the moment!

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

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thefilmsnob · 5 years

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Glen Coco’s Top 10 Films of 2018

As with my Oscar Predictions, I’m just going to forgo a flowery prelude and dive right into this nonsense. But first, I’ll list the runners-up and the traditional bonus track. There’s always a bonus track.

Runners-Up

-Annihilation

-At Eternity’s Gate

-Avengers: Infinity War

Full Review: http://thefilmsnob.tumblr.com/post/173652439630/avengers-infinity-war-12-out-of-5

-Can You Ever Forgive Me?

-First Man

-Game Night

-Grinch, The

Full Review: http://thefilmsnob.tumblr.com/post/180497247345/the-grinch12-out-of-5

-If Beale Street Could Talk

And here are my top 10!

#10b. (Bonus Track) Spider-Man: Into the Spider-Verse

Director: Bob Persichetti, Peter Ramsey, Rodney Rothman (Three directors. Jesus.)

Starring: Shameik Moore, Jake Johnson, Hailee Steinfeld

At first glance, this seems like an unnecessary endeavour, especially since we’re not hurting for Spider-Man films. Yet, although the final act is a bit of a blur and there’s some clutter here and there, this a gorgeous, innovative and hilarious spin on the Spider-Man mythology. We follow Miles Morales, an Afro-Latino teen who becomes another universe’s Spider-Man and must unite with even more alternate-universe web-slingers to save the day in the classic comic book tradition. Miles and his supporting cast are beyond likable, especially Spider-Ham who has the likeness of a little pig. It’s also refreshing to see some eye-popping animation that diverges from the standard Disney/Pixar fair. It even changes styles with various characters. The cherry on top of this cinematic desert is the humour which includes one of the funniest throwaway lines you’ll ever hear regarding a bagel.

#10. Green Book

Director: Peter Farrelly

Starring: Viggo Mortensen, Mahershala Ali, Linda Cardellini

You could argue that it’s been done before or that it’s a little too corny in places or that Viggo Mortensen’s performance verges on caricature. Or you can accept the minor flaws and enjoy this beautiful story of friendship and its undeniably charming characters. Frank Vallelonga aka Tony Lip is tasked with driving pianist ‘Doc’ Don Shirley through the racially intolerant American deep south of the ‘60s for a concert tour in a film that’s important and informative, especially in today’s sociopolitical climate. But, what makes it so charming is the friendship that forms gradually between two polar opposites--the boorish, ignorant loudmouth, Tony, and the sophisticated, articulate gentleman, Don--a friendship that’s completely engrossing and a wonderful example of how people can and should look past their differences. It helps that Mortensen completely transforms himself as Tony and Mahershala Ali gives a pitch perfect performance, maybe the best of his career. So, ya, there’s some sap, but maybe we can use a little of that right now.

#9. Isle of Dogs

Director: Wes Anderson

Starring: Koyu Rankin, Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, Scarlett Johansson

2018 was a great year for animated features and like Into the Spider-Verse, Isle of Dogs moves away from the Pixar model to give us a uniquely textured and imaginative look at a dystopian Japan of the near-future. By turns charming and unsettling, the story follows a young boy named Atari who searches for his dog Spots on Trash Island after the species was banished there following a canine flu outbreak. He’s helped by a group of dogs voiced by a who’s who of Wes Anderson favourites including most of the actors listed above. The dogs are already well developed and fun to watch, but these familiar voices make it that much easier to identify with them. There are plenty of intriguing social and political themes at work for a cartoon and Anderson adds his signature quirky tone and deadpan humour, but it’s the impeccably detailed stop-motion animation coupled with some truly inspired action sequences that make this movie come alive.

#8. Roma

Director: Alfonso Cuaron

Starring: Yalitza Aparicio, Marina de Tavira

One of cinema’s greatest qualities is its ability to challenge society and its ugliest of tendencies. Whereas men like Donald Trump would try to convince you that Mexicans are all drug dealers and rapists, director Alfonso Cuaron and his film Roma introduce you to the real Mexico and an ordinary group of people not so dissimilar from you and me. But, because Cuaron’s at the helm, the commonplace becomes a thing of beauty and, with the help of newcomer Yalitza Aparicio, an ordinary maid to a wealthy family becomes a hero, a transformation that sneaks up on you before taking your breath away. As you begin to watch, you may struggle to understand what all the fuss is about, but gradually you become almost hypnotized by Cuaron’s slow, smooth, contemplative camera pans and crisp black & white presentation that feels more colourful than most films. These qualities factor into some of the most quietly powerful scenes you’ll see in film like the beach sequence, devoid of the usual pyrotechnics yet destined to become iconic.

#7. Widows

Director: Steve McQueen

Starring: Viola Davis, Colin Farrell, Michelle Rodriguez, Elizabeth Debicki, Liam Neeson

Director Steve McQueen follows up his 2013 masterpiece 12 Years a Slave with another extraordinary film about a group of resilient women who take up the work of their husbands who died in a botched robbery and steal a large sum of money to pay back a crime boss in order to finance his electoral campaign. Did you get all that? If not, you will during a viewing because, though screenwriters McQueen and Gillian Flynn weave a complex web of crime, revenge, political corruption and social injustice, ultimately it’s easy to follow and even easier to enjoy. This quartet of ladies is a pleasure to watch in action, especially the Oscar snubbed Viola Davis, facing numerous threats including a truly sinister villain played by Daniel Kaluuya and a few corrupt politicians in a movie that has no shortage of plot twists and turns. The best shot of the movie, thanks to McQueen and cinematographer Sean Bobbitt, places our vantage point on the hood of a limo during a fabulous extended take. The wealthy politician played by Colin Farrell discusses business with his assistant within the car as our eyes remain fixed on the neighborhoods around them that start out impoverished then become gradually wealthier until they reach their headquarters. This one shot tells us so very much. Widows is more plausible, insightful and nuanced than most heist films and one you really ought to see instead of Ocean’s 8.

#6. BlacKkKlansman

Director: Spike Lee

Starring: John David Washington, Adam Driver, Laura Harrier, Topher Grace

This is one of the most bizarre stories told this year and would be so unbelievable if it wasn’t based on real events. In a return to form for writer/director Spike Lee, BlacKkKlansman recounts that crazy time when the first black detective in the Colorado Springs Police Department, Ron Stallworth (played with boundless charisma by John David Washington) infiltrates a local chapter of the Ku Klux Klan. The only thing is, that plan would be insane. So, fellow detective Philip ‘Flip’ Zimmerman (Adam Driver) acts as his surrogate when ‘Stallworth’ has to meet the Klan in person. This old story, right? In this briskly paced film full of snappy dialogue, Lee does the impossible and finds the humour in the situation. He walks the finest of lines and keeps his balance, imbuing the film with a light tone and some actual laugh-out-loud moments while refusing to allow the comedy to undermine the serious nature of the issues he raises. The movie works as a comedy, drama, thriller and, with the help of Terence Blanchard’s nostalgic score, a ‘70s style action flick. Honestly, Topher Grace portraying the nonchalantly evil ‘Grand Wizard’ David Duke is worth the price of admission.

#5. A Star is Born

Director: Bradley Cooper

Starring: Bradley Cooper, Lady Gaga, Sam Elliott

How is it that a film that’s been remade 57 times starring a woman who’s never headlined a movie, directed by a man who’s never directed is one of the best films of the year? It’s due to writer/director/actor *huff puff* singer/producer Bradly Cooper who’s made the familiar gritty, more contemporary and painfully honest, enlivened by stellar performances, both musical and dramatic. The old story of the the scruffy, alcoholic veteran singer (Cooper) who meets, falls in love with, mentors and harms the career of the vivacious undiscovered prodigy (Lady Gaga) feels surprisingly fresh. We know Cooper is a great actor and Gaga can sing like an angel, but who knew the former could sing and the latter could act? When the duo sings ‘Shallow’, the best original song of the year, it starts out great, but when Gaga takes center stage and belts out that chorus, it’s purely sublime. This film really benefits from its authenticity; not only is this true of the acting and dialogue, but of the musical performances as well. Each one feels like an actual live event and, in fact, some were even filmed at real music festivals like Coachella and Glastonbury with real audiences. And, yet, they feel deeply personal, despite the grand scale which is true of the film as a whole.

Full Review: http://thefilmsnob.tumblr.com/post/179054198000/a-star-is-born-out-of-5

#4. The Favourite

Director: Yorgos Lanthimos

Starring: Olivia Colman, Emma Stone, Rachel Weisz

If you’ve overlooked The Favourite out of fear that it’s a stereotypically stuffy historical drama, you might want to reconsider because this isn’t your grandma’s period piece. This film has everything: crazy monarchs, duck racing, gun-toting duchesses, rooms full of bunny rabbits, aristocratic love triangles and even some insane 18th century breakdancing. And that’s not including the deliciously alluring plot involving Queen Anne’s (Olivia Colman) advisor Sarah (Rachel Weisz) and her impoverished younger cousin Abigail (Emma Stone) vying for the affections of the queen in order to become her ‘favourite’ with the schemes growing more ruthless as the movie unfolds. The goal of this farce is to highlight the ridiculousness of unlimited power and those who’d strive for it, especially amidst an unseen war occurring in the background. You’d be hard-pressed to find a better trio of performers in 2018; the three lead women are sensational and deserve their Oscar nominations. You’d also be hard-pressed to find a more peculiar looking film. Director Yorgos Lanthimos and cinematographer Robbie Ryan use some truly bizarre yet stunning lenses and camera pans. At certain points, it’s as if we’re looking through a telescope, observing these snobs and their shenanigans like a twisted social experiment, luckily from a safe distance.

#3. Leave No Trace

Director: Debra Granik

Starring: Ben Foster, Thomasin McKenzie

For a film that’s the second-most reviewed motion picture with a rating of 100% on Rotten Tomatoes, you’d think more people would know about it or at least give it some recognition at awards shows. But, that wasn’t in the cards for this incredibly touching indie film about an Iraq War vet, Will (Ben Foster), suffering from PTSD and living with his 13-year-old daughter, Tom (Thomasin McKenzie), in a public park in Portland, Oregon. They live in fear of being discovered and forced to live in society. Both actors give such raw and convincing performances within this heartwarming, at times heartbreaking, father-daughter relationship. This, combined with director Debra Granik’s naturalistic approach and Michael McDonaugh’s vivid photography, makes the movie feel almost like a documentary. Consequently, some passages feel so intense that the characters’ anxiety becomes palpable as when the two are lost in the dangerously cold forest with only minutes to build a shelter. Writers Granik and Anne Rosellini do a masterful job at exposing the agony of mental illness and the awful treatment of some veterans yet refuse to paint Will as a saint and the authorities as evil. We understand the perspectives of everyone involved who are just trying to do what’s right for the young girl born into someone else’s pain.

#2. A Quiet Place

Director: John Krasinski

Starring: John Krasinski, Emily Blunt

Like Bradley Cooper, John Krasinski is way out of his comfort zone, taking on triple duty as writer, director and star of a horror film despite his mostly comedic background. In a genre whose output is usually pitiful, Krasinski excels by eschewing the standard group of disposable teens for an intelligent and loving family for whom we care deeply and instantly. The premise, involving the few survivors on Earth trying to avoid creatures with impeccable hearing by staying virtually silent, might seem gimmicky at first, but Krasinski explores its full potential as it evolves in ways that are so creative and complex that you could argue it’s one of the best allegories for our current political climate or dictatorships in general. The film also looks and sounds gorgeous with crisp shots from Krasinski and cinematographer Charlotte Bruus Chistensen that are rich in information and sheer beauty, accompanied by the wonderful score from Marco Beltrami. The acting is great all around, but Blunt is on another level, expressing terror in some of the most nerve-wracking sequences imaginable, exquisitely staged by her real-life husband. And the ending is pitch perfect; at once revelatory and obvious, it makes complete sense with regards to the film’s established rules yet makes us look at what preceded it in an entirely new light.

Full Review: http://thefilmsnob.tumblr.com/post/173081465380/a-quiet-place-out-of-5

#1. First Reformed

Director: Paul Schrader

Starring: Ethan Hawke, Amanda Seyfried, Cedric Kyles

*I promise this is the last time I’ll talk about this film. It’s the start of a new movie cycle and I’m looking ahead. You will not here another word out of me about how this movie and Ethan Hawke were robbed of accolades as I cried myself to sleep 27 times since the nominees were announced......anywho:

Paul Schrader is responsible for writing some of history’s most lauded and iconic movies like Taxi Driver, Raging Bull and The Last Temptation of Christ, and now he’s written and directed First Reformed, a movie that rivals even those classics. It’s tragic that no one’s heard of it. In possibly his most demanding, powerful, complex and, ultimately, greatest performance, Ethan Hawke plays Ernst Toller, reverend of the First Reformed Church that mostly serves as a tourist attraction. Already dealing its declining attendance, alcoholism and the death of a his son, he now has to deal with a crisis of faith after speaking with a despondent radical environmentalist who challenges Toller’s beliefs, causing the reverend to mentally and spiritually unravel throughout the film while battling physical illness just for good measure. Obviously, this isn’t a popcorn flick, yet it’s so profound, topical, haunting and mesmerizing. Cinematographer Alexander Dynan helps Schrader create an almost horror movie feel which is appropriate for dealing with issues like a deteriorating man and the end of the world. There are so many striking, if not shocking, images on display and at times the film enters into the realm of the surreal. This is truly a work of art that challenges you to think critically about the world and where we’re headed. When you add these heavy themes to the stellar acting, directing, writing and overall grandeur of the film, you get the one true masterpiece of 2018.

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jillmckenzie1 · 5 years

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Anyone Can Be Under the Mask – Local Movie Reviewer Takes a Ride Through the Spider-Verse

Just imagine it. You step up to the corner of the skyscraper. You look down through the plastic lenses of your mask — and down is a long way down. But who cares? It’s a beautiful spring day, the sun is out, and you’re in New York City. So you step off into space, gravity catches you, and you’re cannonballing toward the ground. Lazily, you stretch your right arm out, aim, and double-tap your web shooters. The webline streams out and adheres to a wall. The line goes taut, but you’re holding on as you swing in a tight parabola. Then you let go, pull a pretty slick backflip, and momentum carries you past a window and a group of shocked office workers. Maybe you give them a jaunty wave as you pass. That’s what you do.

There’s a reason why Spider-Man matters still. Stan Lee and Steve Ditko created the character in 1962, and he appeared in the pages of Amazing Fantasy #15. Would you believe me if I told you that Stan Lee’s boss hated the idea, the very concept of the character? I’ll let Stan explain.

“My publisher said, in his ultimate wisdom, ‘Stan, that is the worst idea I have ever heard,'” Lee explained. “He said, ‘First of all people hate spiders, so you can’t call a book Spider-Man. Secondly, he can’t be a teenager. Teenagers can only be sidekicks and third, he can’t have personal problems if he’s supposed to be a superhero. Don’t you know who a superhero is?'”

That’s just it. A superhero can be anyone. You don’t have to be a rich white dude like Batman, a patriotic white dude like Captain America, or a scientific genius white/green dude like The Hulk. Under that mask? Anybody. You. The tragedy is that none of the wall-crawler’s cinematic appearances have dealt with that idea. Well, it would be a tragedy, but luckily the new film Spider-Man: Into the Spider-Verse examines that, and a lot more.

Right out of the gate, things are a little different. There’s still a Peter Parker (Chris Pine) who swings around in his longjohns. Only this Peter is mega-popular and mega-successful. So when he’s battling the Green Goblin in a cavernous underground lair, why wouldn’t he think it’s just another day at the office? Only it isn’t since the Kingpin (Liev Schreiber) has been bankrolling the creation of a machine, one that can open portals to alternate dimensions. Why? His wife and son have died, but he can always grab another family.

The plan is for Peter to shut down the Kingpin’s machine and save the day. Only he doesn’t, and the Kingpin kills him. Dead. That isn’t that, because we’re introduced to Miles Morales (Shameik Moore). He’s a bright high schooler who’s a little unsure of his place in the world. Jefferson Davis (Brian Tyree Henry) is his dad and as a cop, he wants to push his son just a little bit harder. Rio Morales (Luna Lauren Velez) is his mom, and she loves him regardless. Miles idolizes his uncle Aaron (Mahershala Ali), who’s estranged from the family and just might be up to something a little sketchy.

Oh, yeah, and then Miles is bitten by a radioactive spider. And he witnesses the death of Spider-Man. And he’s having some issues with the fact that he can stick to stuff, leap around like an Olympic gymnast, and occasionally turn invisible and emit electrical energy. And he’s being relentlessly pursued by The Prowler, a bruiser in the employ of the Kingpin.

If you’re thinking we’re dealing with a standard hero’s journey where Miles must learn that With Great Power Comes Great Responsibility, think again. Things get weirder because the dimensional thingamabob yanks out a few other Spider-People from other dimensions. They are:

Peter B. Parker (Jake Johnson), a middle-aged crimefighter who’s divorced, depressed and sporting the beginnings of a gut.

Gwen Stacy (Hailee Steinfeld), a Spider-Woman who carries around both power and guilt.

Peni Parker (Kimiko Glenn), a middle-schooler who’s psychically linked to a mech suit.

Spider-Man Noir (Nicolas Cage), a hard-boiled hero from the 1930s.

Spider-Ham/Peter Porker (John Mulaney), a cartoon spider that’s been bitten by a radioactive pig.*

Along with Miles, they must work together to stop the Kingpin, shut down the extradimensional doodad, and get home to their respective planes of existence.

Hating superhero movies has become fashionable. It’s even more fashionable than tweeting about ironically drinking Pabst Blue Ribbon.** I get it. After the Marvel Cinematic Universe got up and running in 2008, a template was established that was rarely deviated from. Those films have made billions and entertained billions. If the MCU isn’t your jam, it can sometimes feel a little…oh….omnipresent, no?

Bear in mind that the superhero genre isn’t the problem, and when a movie pushes a genre into daring new territory, magic happens. With Spider-Man: Into the Spider-Verse, directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have made an animated film that’s unlike anything I’ve ever seen. They have created a hybrid style that feels like a living comic book panel, using rendered CGI frames layered over with old-school 2-D animation. The feeling is otherworldly, where bright colors jostle the frame with comic-booky sound effects. You could take any image from this film, frame it, and you’d have some pretty respectable pop art.

The better news is that the script by Rodney Rothman and Phil Lord of The Lego Movie is just as clever and speedy as the look of the film. There’s an absolute blizzard of jokes referencing the 56-year legacy of Spider-Man, everything from the annoyingly catchy cartoon theme song to iconic film moments to deep-cut trivia likely only noticed by nerds such as myself. At times, the script slows down to get serious. When it does, the emotion is genuine and real.*** The character work is outstanding, and everything from broad gags to quiet reflection is all in service toward telling us who these folks are. While I felt like we had a fairly underwritten villain in the Kingpin, it almost didn’t matter to me with all the other people jumping and thwipping around.

The cast in this thing? Holy God. We don’t have a bunch of lazy celebrities slumming doing voice work. Everybody is taking a cartoon about a superhero deadly serious, particularly the jokes. As Miles, Shameik Moore does the majority of the heavy lifting, and he’s able to bring the humor and pathos. I loved his relationship with Brian Tyree Henry’s Jefferson, as well as his hero worship of Mahershala Ali’s Aaron. Midlife crisis Spidey as portrayed by Jake Johnson is entertaining, and he’s able to sling self-pity as fast as a quip. Listen closely for Lily Tomlin as Aunt May and the mighty John Mulaney as Spider-Ham.

Spider-Man: Into the Spider-Verse is amazing. Spectacular. Perhaps even the ultimate iteration of the beloved character. This is easily the best animated film of the year, and one of the best films of the year period. It captures both the spirit of Spider-Man and the spirit of the medium he was born in. More importantly? It tells us that whoever you are or whatever you look like, you can be a hero.

*Seriously.

**Now that I think about it, maybe it’s become fashionable to complain about ironically drinking Pabst Blue Ribbon.

***As opposed to Thor: Ragnarok. I really dug that film, but it has a nasty habit of undercutting the emotion with gags.

from Blog https://ondenver.com/anyone-can-be-under-the-mask-local-movie-reviewer-takes-a-ride-through-the-spider-verse/

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