Mainstream movie-goers have embraced the superhero film as a genre of its own. Besides the regular offerings from major studios Marvel and DC, other studios have dipped their toes into the genre, spinning tales of characters with spectacular abilities on a mission to save the world. The major studios, Marvel in particular, have spent years creating an ever-expanding universe that builds to a blockbuster team-up movie. But, by now, fans and casual viewers alike know what to expect from the modern superhero film. And really, how many times can one be exposed to the same story in which people with CGI superpowers fight a CGI villain? Where Marvel Studios in particular shines is when they strive to create another genre of film, and then just add the superheroes. The best example of this is 2014’s Captain America: The Winter Soldier, which felt more like a spy thriller than a superhero sequel. And Marvel has done it again, with Doctor Strange in the Multiverse of Madness, the studio’s first horror movie.
Review: ‘The Power of the Dog’ Finds Another Worthy Vessel
Her first film in 12 years, Jane Campion’s The Power of the Dog is a venomous, suppressed exploration of masculinity on a disappearing Western front. Based on Thomas Savage’s book of the same name, the film follows two ranchers: Phil Burbank (Benedict Cumberbatch), and his brother, George (Jesse Plemons). George is stocky and plodding, wears suits and is always polite. Phil is lean and whip-smart, but with a cruel tongue and a savage instinct at the scent of any perceived weakness – including his own. He dominates the ranch, castrating bulls with his bare hands and commanding the property with the steely swagger of a true “cowboy”. So, when George disrupts the ranch hierarchy and unexpectedly brings home a wife, Rose (Kirsten Dunst), Phil utterly rejects her, beginning a campaign of psychological torture. But he faces an unlikely foe in Rose’s son, Peter (Kodi Smit-McPhee), as Phil and Peter’s growing relationship brings up deep secrets and a long-hidden yearning.
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Review: ‘1917’ Takes the Genre to a Whole New Level
It’s been almost a decade since a Hollywood film depicted the events of World War One, the last being Steven Spielberg’s War Horse. Not since then have we seen the bloody conflict on the big screen. Christopher Nolan’s Dunkirk is often lauded as one of the best suspense oriented war films, I can now confidently say it is now number two to 1917. Sam Mendes’ entry into the genre, 1917, may very well be the best the entire war genre has ever seen. This piece of cinema redefines what it takes to be truly excellent in a market of ever crowding blockbusters and “theme park rides,” as Martin Scorsese would say.
The cast is a who’s who of the BBC’s finest actors, with loads of short cameo roles including everyone from Colin Firth to Benedict Cumberbatch. The two leads however, Dean-Charles Chapman and George Mackay, play two corporals sent on a mission to save sixteen hundred men from walking into an impending German trap. The story feels personal and grounded, as it is based on stories Mendes’ grandfather had told him. Despite being with the characters for mere minutes, their struggles and plights hit home. Performances of quite literally every person on-screen, down to the extras, are exemplary. World War One has never felt more real outside of the actual event than as seen here. This is a testament not only to the acting ability of the whole crew but the power of the script as well, not to mention the way it was shot. Cinematographer Roger Deakins delivers a likely Oscar-winning job, showing the audience this conflict like never seen before. The way he plays with color and lighting is truly a wonder to behold and well worth a second viewing.
What held this from perfection for me in the theater did not have to do with the actual movie I was seeing, but my expectations going in, a dangerous thing in cinema today. The movie advertised itself as one long take, an unbreakable scene moving for the entire one hundred and nineteen minutes. Unfortunately, while there are clear impressive long shots, there is no illusion that this is one long take. Most moviegoers know that this feat is largely impossible, only achieved through editing tricks. However, 1917’s biggest drawback is that these hidden cuts are not hidden whatsoever. I should reiterate that this movie is beautiful and impressive in every way, but it doesn’t feel like one continuous shot. I wouldn’t have had a problem with this if the film hadn’t been so heavily marketed as otherwise.
In conclusion, 1917 is a marvelous technical achievement layered on a compelling narrative that was even able to drive some in my screening to the point of tears. This is an unparalleled spectacle like no other that will deliver you a satisfying theater-going experience at the very least. While this may be an awards movie, it is not just an awards movie, it deserves to be seen by as many people as possible. Please do yourself a favor and go see this movie.
4.5/5 STARS
Review: ‘The Current War’ is Not Worth the Two Year Wait
Since its production, The Current War has hit several obstacles on its way to wide release. Due to its connections to The Weinstein Company, it was shelved after Harvey Weinstein’s sexual harassment allegations came to light. After the distribution rights were twice resold, two years later, the movie is finally here. The Current War is supposed to be about the “War of Currents” of the late 1800s, but it comes off more like a documentary about Edison and Westinghouse where the “current war” takes a backseat.
There are some great things about this movie, like its ensemble cast. Benedict Cumberbatch plays his classic “arrogant genius” role as Thomas Edison, and Michael Shannon does a great job of portraying George Westinghouse. The supporting cast, consisting of Tom Holland, Nicholas Hoult, and Matthew Macfadyen, set up an amazing stage for the main cast to showcase their amazing performances. The excellent costume and set designs take you right back to 19th century America. Dustin O’Hallora and Hauschka do an excellent job in creating the soundtrack; it readily captures the theme of the movie. The cinematography is fantastic too, as a lot of the scenes are visually appealing. However, there is one fatal flaw in this film that makes it fall apart: bad writing.
The Current War is too abstracted for a general audience. It assumes that the audience is already aware of certain concepts, such as the differences between direct and alternating current. It would have been better if they had took the time during the film to explain these scientific concepts to the audience. Additionally, Tesla’s two Phase solution was realistically one of the most important turning points for the war, but it is hardly mentioned in the movie. Another flaw is that the narrative only showcases the events from the point of the experts (Edison, Westinghouse, or their employees). We never get to see how the people of America felt at the time. A common man’s perspective would have been refreshing and would have provided the necessary contrast in the movie.
Secondly, the pacing was off. The first 30 minutes of the movie covers over five years of the war, but the rest of the movie only focuses on the following three years. The transitions between the scenes and beats seem abrupt. A particularly important scene involving Westinghouse is split throughout the movie and is shown in parts. By the time we can get to its ending, it falls apart and loses its meaning. Throughout the film, the characters come across various life-altering moments. However, it feels like these moments have no effect on them. The dialogue is uninteresting and the interactions between the characters feel unnatural.
Even though Nikola Tesla was an integral part of the War of Currents, he was a missed opportunity in The Current War. Telsa’s ability to demonstrate his ideas using simple experiments was the key reason for his success. But, The Current War fails to showcase this quality of Tesla. That said, it did a great object in highlighting Tesla’s Obsessive Compulsive Disorder and germophobia. It’s referenced to in multiple scenes throughout the film.
This is one of the movies where the individual parts, such as the acting, cinematography, and sound, are impressive. However, the flawed writing fails to bring these aspects together for a good story. Considering the success of National Geographic’s American Genius episode on the same topic, the big screen adaption of the War of Currents failed in providing an engaging story and experience despite having a ton of potential.
2.7/5 STARS
Review: The Glass is Half Full with Marvel’s Avengers: Infinity War
Like with our Star Wars Reviews, the first half of this review will be spoiler free, and the end will have a spoiler section that better develops the critiques in the first half.
Is the glass half full or half empty?
Well folks, they did it. After ten years and *checks note sheet, raises eyebrows* 18 films, Marvel Studios has reached the first half of their master plan. Avengers Infinity War represents the finish line of a project that had never been achieved before and the culmination of years of work.
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