"Get Out" Is Sharp, Funny, And Eerily Relevant

Sketch comedy actor Jordan Peele from Key and Peele as well as MADtv makes an interesting leap behind the camera to bring us us a satirical horror film that brings out plenty of laughs but atypical scares. There aren't any jump scares and there's no boogeyman because it relies heavily on horrors of the real world, mixing colorful wit with depictions race relations in America.

Get Out follows the story of a mixed race couple, a photographer named Chris (Daniel Kaluuya) and his girlfriend Rose (Alison Williams) who go to visit Rose's parents, Dean and Missy Armitage (Bradley Whitford and Catherine Keener). While her parents seem welcoming at first despite Chris' worries at first over whether they'll be accepting despite the fact he is black, over the course of the weekend, Chris begins to sense that something is amiss in the more affluent community he is amongst. Especially when two black servants in the Armitage household, Georgina (Betty Gabriel) and Walter (Marcus Henderson), act strangely.

While there is a strong directing voice from Jordan Peele, his greatest strength lies in his screenplay. The conversations amongst the characters is what helps gives the film its sharpness. For example, when Chris first meets Dean, Dean goes "I would've voted for Obama a third time!" as his way of saying "I'm not racist!" Also, Chris expresses his anxiety over meeting Rose's parents because of how she doesn't tell him that they are unaware of the fact he is black. So the dialogue by Peele is what helps the film's depiction of racial tension unfold.

Aside from the satire, there are moments that are actually laugh out loud hilarious thanks to a performance from Lil' Rel Howery as Chris' TSA friend Rod Williams who does his own investigation into the mysterious community that Chris is residing with. But lead actor Daniel Kaluuya carries the film very well, expressing both realistic anxiety and charismatic magnetism. He is a talent to watch and thankfully somebody we will see in bigger things thanks to his involvement in the upcoming Black Panther movie for Marvel.

As witty as the film gets, there are a few homages to horror films of the past. There's elements of the original The Stepford Wives because of how the story involves a person in a seemingly sugary community with something sour bubbling underneath the surface. There is even a bit of Rosemary's Baby because of how our main character gets the sense that almost everyone is against him mixed with a screechy 60's-style musical score.

So Get Out is a very unique experience with how it offers hilarity mixed with horror and shock value in the form of real-world issues that weave in powerful social commentary as well. I would say "Get Out" and go see this!!!

Grade: A

"Toni Erdmann" Thrives In Its Anomalous Nature

Toni Erdmann is the German entry for Best Foreign Language Film at this year's Oscars and rightfully so. It has also caught such fire that there's already a Hollywood remake in the works with Jack Nicholson and Kristen Wiig. Perfect casting in a remake that in my opinion is unneeded because it'll be hard to top the absurdity mixed with poignancy that the original Toni Erdmann offers.

Toni Erdmann is about a divorced father named Winfried, played by Peter Simonischek, who looks to bond with his career-driven daughter Ines, played by Sandra Huller, after his dog passes away. The eccentric bond they create comes in the form of Winfried undergoing the persona of the titular character, donning a wig and fake teeth. But through all that eccentricities lies a father and daughter realizing their inner loneliness and emotional need for one another.

The main reason the film works so amazingly well is because of the two main actors. Peter Simonischek helps bring the film's funniest moments as Winfried yet he also flawlessly portrays his character's earnest nature. Winfried is an unorthodox figure with how he roleplays and dresses up in costume but he is a man with a heart of gold. Sandra Huller is equally as astonishing as Ines, a character that in lesser hands, could've been written as another cliched shrewd career-driven woman. But in the hands of Huller and director/writer Maren Ade, Ines is given more dimensions. Huller's Ines is prickly and showcases acerbic wit yet she is also very earthly, sexual, and vulnerable. There is a scene where she sings a rendition of "Greatest Love Of All" by Whitney Houston and Huller rather expertly performs the song with comical yet soul bearing deadpan.

Now I'm going to go into something that is likely going to divide a lot of people: the length. This movie is about 163 minutes which didn't bother me TOO much but at ths same time, it could've been a lot shorter. Though if it wasn't for the energetic performances by the two main actors and the writing by Maren Ade that aides their humanistic performances, I probably would've fallen asleep.

In spite of it being pretty overlong, I was absolutely enthralled by Toni Erdmann. I loved the two complex performances by the lead actors and I loved the writing from writer/director Maren Ade who provides a colorful yet poignant demonstration of family love that had me chuckling. By the end of this film, it made me want to sing "Greatest Love Of All" and if you guys check it out, hopefully you will too.

Grade: A-

Everything Is Pretty Awesome With "The Lego Batman Movie"

After The Lego Movie made a huge splash at the box office and after Will Arnett emerged a standout thanks to his voice work as Batman, it would seem to make sense that they would make a Lego Movie spinoff centered around Batman. Spinoffs can often have mixed results. For every Bourne Legacy or Machete, there's a dreadful Minions lurking in the corner. How does The Lego Batman Movie fare, though? Well, it is enjoyable. Admittedly not great. But it is worth the price of admission.

The Lego Batman Movie centers around the life of Batman who lives a life of crimefighting in Gotham City and solitude with his only companion being his butler Alfred Pennyworth (Ralph Fiennes). But he finds himself trying to juggle being both a vigilante, fighting off the Joker (Zach Galifanakis) in the process, and being a surrogate father to an orphaned boy named Richard "Dick" Grayson (Michael Cera). 

The film's greatest asset lies in Will Arnett's voice work. He nails the arrogance that Batman displayed in The Lego Movie while slowly giving him layers of sympathy that lie beneath his deep, gravelly voice. If his voice work were to falter, then the movie would but thankfully, that is not the case. Also, Michael Cera is perfectly cast as the very jittery and optimistic Dick Grayson who's the opposite of the more reclusive, straight-laced Batman. Aside from Arnett, another reason the movie works so incredibly wells is thanks to their chemistry.

While this film manages to be as self-referential as The Lego Movie, what sets this film apart from The Lego Movie is how it focuses more on referencing the DC Comics Universe rather than the Lego toy brand that The Lego Movie does. Lego Batman has a lot of fun with elements to Batman's general storyline. For example, Batman may live a life of loneliness yet it includes watching romantic comedies. Also, the film focuses deeply on the dynamic between Batman and The Joker but incorporates interesting and surprising homoerotic subtext within the dynamic they both have. The film even pokes fun at the different Batman films with Alfred referring to them as various "phases" in Batman's life. Even if the self-referencing tends to go overboard, it still had me chuckling from time to time.

Not only does Lego Batman carry the self-referential style of its predecessor and humor, but it carries the same kind of heart as well. The bond that Batman and Dick possess gets very deep as it reveals a lot about Batman's character and how part of the reason he avoids any connection is so he doesn't lose another family like when he lost his parents. So the film delves into the themes of family and loneliness, allowing plenty of poignancy to be found as well as fun humor. Adults will love the self-referential gags to the DC Comics Universe while kids will get a kick out of a few physical gags, like ones involving the two main heroes having a lack of undergarments, as well as the thrilling action scenes that take place. So it definitely has something for everyone.

While I find The Lego Movie to be superior due to its refreshing originality, I still think The Lego Batman Movie is certainly worth the price of admission. It has action, humor, heart, and wit. Everything is still awesome!!

Grade: A- 

"The Salesman" Is Humanistic Yet Often Too Meditative

When news got out of the unfortunate and very racist travel ban on people from Muslim countries, I wanted to go out and see this film to support director Asghar Farhadi who is unable to attend the Oscar ceremony due to the travel ban even though his film that he worked on is nominated for Best Foreign Language Film. While I think people should go see it out of support for Farhadi, I would also suggest that people should go check it out because it is a well-crafted picture.

The Salesman is about a couple named Emad and Rana, played by Shaheb Hosseini and Taraneh Alidoosti, who are actors playing the lead roles in Death Of A Salesman. They becomd forced to move into a new apartment after their old apartment building literally falls apart. But as they get settled in their new apartment, its past tenant, who was a prostitute, begins to cast a large shadow over Emad and Rana once Rana gets assaulted.

Even though the crime committed on Rana is made clear, Farhadi manages to weave in plenty of intrigue. Eventually, we realize who did it and what happened. But the severity surrounding the crime is never made clear and that kind of ambiguity not only allows the audiences to fill in the pieces but it fuels the main arc of Emad.

Emad, played brilliantly by Shahab Hosseini, is portrayed initially as an average everyman yet through the actor's delivery and ever changing eye expressions, slowly peels away his humanity, revealing his thorny and brutish nature. He also leaves the audience wondering how far he may go on his pursuit of vengeance until they're shocked by how far he does go.

Special mention should also go to Taraneh Alidoosti as the battered wife Rana. Even though Rana ends up a victim, Alidoosti veers away from giving her a victim complex. She becomes more weary and fearful of her surroundings yet she still stubbornly tries to fight her way through another day. Plus, even when she is keeping still, Alidoosti always managed to hold my attention when she was on screen.

Other than the brilliant performances by the lead actors and the web of intrigue surrounding the film's most critical event, the cinematography by Hossein Jafarain is expertly done. At times, the camera gets very shaky yet it manages to work because it captures the film's chaotic tone and likely what the main characters are feeling from within. They appear all calm and collected, but deep down, they feel like they are crumbling.

But the film's biggest Achilles heel has to be the pacing. Its meditative pacing may work for some but for others that want high octane thrills, it'll be like watching paint dry. It is a vengeance tale with plenty of suspense but it is also a slow character study about a crumbling marriage.

Other than the slow pacing, I would recommend going to see The Salesman. It has bravura performances by its two main actors mixed with subtle intrigue and it is out in a time where the voices of diverse filmmakers deserve to be heard.

Grade: B+

"20th Century Women" Is An Insightful Delight

  Even though 20th Century Women is set in the past, by the time it was over, it got me to reflect on my current present. It got me thinking about how those around me feel the need to fill an invisible void in my own life. The characters also talk about what may await them in the future which is also something I have pondered. So 20th Century Women carries a lot of insightful humanism along with its moments of joy and wit.

  Set in Santa Barbara back in 1979, 20th Century Women follows the story of a single mother named Dorothea played by Annette Bening who lives with her teenage son Jamie (Lucas Jade Zumann) and tries to figure out ways to guide him into the real world. By doing so, she has two generations of women: Abbie (Greta Gerwig), a tenant in their home who works as a photographer, and Julie (Elle Fanning), Jamie's rebellious classmate, give him their own forms of guidance as they all explore love and freedom.

  The film has a fitting title because this film belongs to the women. Annette Bening delivers another winning performance in impressive career as Dorothea, weaving in layers of magnetic warmth and contradictory reclusiveness. She appears all laid back and open yet she'll suddenly pull away when she lights and hoists a cigarette, calmly saying "You don't know what I'm feeling." Elle Fanning is a standout as the promiscuous Julie who always feels like she has everything and everyone figured out at her young age even though she's slightly oblivious to the feelings of those around her.

   As amazing as those two were, though, the MVP was Greta Gerwig who had a revelatory year with Jackie and this. As Abbie, a punk rock photographer who is also a cervical cancer survivor, Gerwig flawlessly acts as a bridge between the two generations of women, showcasing childlike abandon and wise yet hardcore femininity. I also really liked Lucas Jade Zumann who holds his own against his experienced female co-stars. He provides immense likability and I look forward to seeing where his career goes in the future.

   The humanism that these characters possess is thanks in large part to writer/director Mike Mills. Much like with his previous feature, Beginners which won Christopher Plummer his overdue Oscar, Mills has shown a knack for inducing cinephilic flare into a humanistic story. The editing and some of the writing is very snappy. Sometimes it'll be fast paced while other times, the film will cut to shots of a newborn baby, TV footage from the 60's or 70's, or a moving sketch to help create a rather philosophical tone. The snappy editing makes the film appear rather aimless. But the film still has an aim for character driven storytelling and it succeeds thanks to the actors and the way their characters were written.

   So in spite of its seemingly aimless nature, 20th Century Women is still a delight to watch thanks to the terrific performances as well as its 70's nostalgia. It might not be perfect but it is a perfect demonstration of life and its imperfections.

Grade: B

M. Night Shyamalan's Latest Is 'Split' Down The Middle

M. Night Shyamalan has become famous for his use of twist endings and having a slight career slump up until 2015 when he had a return to form with The Visit. But one big mystery involving his latest picture Split is whether or not this is a continuation of his return to form. Well the twist is.....eh, sort of.

Split follows the story of three female classmates (Anya Taylor-Joy, Haley Lu Richardson, Jessica Sula) who are kidnapped by a man named Kevin with Dissociative Identity Disorder (DID) played by James McAvoy. Kevin has 23 personalities living inside him ranging from a reclusive OCD man named Dennis to a 9-year old boy named Hedwig to a mysterious and dangerous 24th personality known as "The Beast" that requires human sacrifice.

The film's greatest aspect lies in James McAvoy's performance. McAvoy really commits to pulling off a man with multiple personalities, making you believe him as the different personas living inside one being. The three actresses who play the kidnapped girls also do a very good job. In particular, Anya Taylor-Joy who broke out last year with The Witch. She pulls off plenty of quiet likability to her portrayal of a girl who underwent severe trauma that becomes revealed as the film progresses.

I also appreciated how the film was very character driven. There aren't many special effects or scenes of grotesque violence. Its main focus is on the girls trying to escape their prison as well as on Kevin's personalities that take over him in his day to day life. But the fact that it emphasizes so much on its actors is what makes McAvoy's portrayal so great. He has to continuously sell the frequent personality switches through facial and body tics yet he nails it.

All of that being said, though, there wasn't a whole lot of tension to be found. It goes on a lot longer than it needs to and without spoiling anything, it didn't feel like it had much of an ending. The ending drags on until it suddenly ends without much payoff. Also, don't go in expecting jump scares every few minutes. It is a very slow burn and requires plenty of patience. There are small chilling moments thanks to the screechy sound effects as well as occassionally dark cinematography that captures the unforgiving, closeted nature of the basement where the girls are being kept. But it's not too scary. So if you go see this, expect a suspenseful character study.

Overall, Split lives up to its title because it features a committed performance by James McAvoy and amazing work from the three main actresses. But it becomes brought down by its rather muddled storytelling and never ending climax. Not M. Night Shyamalan's worst but it's no The Sixth Sense either. Hopefully, he'll do a little better next time around.

Grade: C+

"Silence" Speaks Pretty High Volumes

Martin Scorsese is the greatest director working today. He is one of the few directors working where no matter what film he does, I'm ready to buy a ticket. The fact I would see a 3 hour meditative film about religion because he did it is a huge testament to his drawing power and having seen the film, I can say it is a challenging yet rewarding film watching experience.

Silence is based on a novel by Shusaku Endo about a couple of 17th century Jesuit priests named Father Rodrigues and Father Garupe (Andrew Garfield and Adam Driver) who travel from Portugal to Japan to find their mentor Father Ferrera, played by Liam Neeson, who has abandoned his faith. As they try to find him, they attempt to spread their Christian faith in what is a rather unforgiving land with religious persecution being used on those who practice Christianity.

Religion is what plays a prominent role in the film's story and it also philosophically plays a part in the film's title. There is a scene where Father Rodrigues is trying to pray to God but asks "I pray but I am lost. Am I just praying to silence?" Do we get our answers from above by talking or from within our thoughts? In what ways do we prove our faith? Through physical, non-verbal acts or by verbally devoting our faith to those we worship? Those are the kind of questions the film asks us.

Not only that, but there are plenty of points where cinematographer Rodrigo Prieto lets the camera roll on the faces of the actors to demomstrate their conflicted faith with hardly any dialogue. There is plenty of expositional narration given but because it is heard rather sparsely throughout the picture, it is never overbearing and never feels unneeded.

As for the actors, they all do a very good job. Despite fluctuations with his Portuguese accent, Andrew Garfield does give a very raw and unflinching performance as Father Rodrigues, a priest who is constantly being pushed to the edge as he is questioning his faith and morality. Adam Driver and Liam Neeson are also effective in their supporting roles but a few standouts include a few of the Japanese actors.

One is Yosuke Kubozuka as Kijichiro, an alcoholic fisherman who abandons the Christian faith yet continuously pleas to Father Rodrigues for forgiveness. The other is Issei Ogata who plays Inuoe Masashige, a villainous inquisitor who pushes Rodrigues to abandon his faith through mental and physical torture. Even though Ogata plays a very sneery and sinister character, he is a very magnetic presence when he is on screen.

I will admit, the film is longer than it perhaps could've been. If it had been trimmed by about 20 to 25 minutes, it probably could've been perfect. But other than that, I can hardly find amy flaws with this picture.

Silence is a quiet and meditative yet ultimately rewarding film watching experience. Even if you don't undergo the physical pain they do, it'll still likely have you questioning your faith the way the characters do by the time the credits roll. Master Scorsese, you have done it again!!

Grade: A

"Hidden Figures" Is A Surefire Crowdpleaser

Back at the Democratic National Convention last year that celebrated Hillary Clinton, Meryl Streep asked the question, "What does it take to become the first female anything? It takes grit. And it takes grace." Those are the qualities possessed by the three women in Hidden Figures who overcame boundaries to become the first African-American women in their respective fields at NASA.

Set in the 1960's, Hidden Figures follows the story of Katherine Johnson, Dorothy Vaughan, and Mary Jackson, three mathematicians who worked in the segregated West Area Computers division at NASA. But they are then asked to calculate the data needed to help launch NASA's first successful space missions and catch up in the Space Race between the U.S. and Russia while overcoming prejudice within their workplace.

One of the film's greatest strengths lies in the actresses playing the titular hidden figures. Taraji P. Henson is aces as Katherine Johnson, letting us see the anxiety behind her steely determination as she takes on a grand task and lets her hands work as fast as her intelligent mind. A star is born in Janelle Monae who provides spunk and fierce independence as Mary Jackson while Octavia Spencer infuses a stoic warmth to her performance as Dorothy Vaughan. All three ladies have such good chemistry together that brings both light, bubbly energy and emotional groundwork.

However, their co-stars manage to do their part as well. Kevin Costner plays Al Harrison, the leader of the Space Race mission and sheds what could've been a stock "white savior" character of any nobility. He does have a noble scene where he tears down the sign from a colored people bathroom and says how people at NASA should look past color. Yet Costner avoids veering towards any heroic qualities which is admirable. Also, Kirsten Dunst and Jim Parsons, who play the rather condescending supervisors to our main characters, avoid veering towards any kind of slithering villainy in their performances. Their characters do recognize the prejudice in their workplace but they are still people trying to do their own assigned duties.

Another one of the film's greatest strengths lies in the screenplay by Theodore Melfi and Allison Schroeder. Their script manages to capture the right historical context and the events in which the film depicts. But thanks to the strong writing, the film has a modern and universal message: When times get desperate, we can't all be separated. As we reach for a common goal, we need to look past skin color and gender so we can accomplish it. That message does manage to be hand delivered to the audience thanks to scenes like the aforementioned scene where Al Harrison tears down the "colored people's bathroom" sign. But it isn't always force fed and while there are points in the film that get emotional, the screenplay never feels sentimental. There aren't any forced police brutality scenes to hammer down the fact that this takes place in a period of segregation or anything like that.

So Hidden Figures is an inspiring crowdpleaser that is infused with outstanding performances by its ensemble cast and smart writing. Not only are the titular hidden figures thankfully no longer hidden, but watching this film leaves me hopeful that we get more films like it.

Grade: A-

"Lion" Purrs More Than It Roars

Lion is based on a true story about an Indian boy named Saroo Brierley who became separated from his family when he was younger and ended up being adopted by a wealthy Australian family. As he grows older and becomes haunted by how distant he is from his home, Saroo uses Google Earth to set out to find his family. 

Some may think that this is Slumdog Millionaire 2.0 due to its Indian setting and Dev Patel starring in a portion of the picture since it focuses on Saroo's life as a child and an adult. But what sets this apart from Slumdog Millionaire is that it's based on a true story, allowing it to pack a bigger yet quieter emotional punch, and it is also a much different story. While not perfect, in my opinion, this is a slightly better film than Slumdog Millionaire.

It features solid performances from Dev Patel as the older version of Saroo and Nicole Kidman as his adoptive mother. Even from her opening scene where she says so little, Kidman still sends off waves of emotion throughout each frame that she appears in. Patel does his best work to date as older Saroo who is content with his life yet is still unsure of where he belongs, resulting in him trying to follow his instincts. Rooney Mara has a role as Saroo's girlfriend Lucy, and even though her character didn't have anything to do, Mara still had a nice presence and she shows that no matter how big or small her role is, she always manages to leave an impression.

I also loved the cinematography by Greig Fraser which is absolutely beautiful. Even the earlier scenes in India that showcase its grimey, unforgiving nature, Fraser still captures the beauty that can be found in the darkness. Between this and Rogue One: A Star Wars Story, he had a solid year.

Speaking of the earlier scenes, I loved how in the first half which is set in India, the characters speak Indian to help maintain some authenticity. Yet the rest of the screenplay by Luke Davies has its fair share of flaws. There is a subplot involving Saroo and his other adoptive brother that goes nowhere. Plus, during a big emotional scene that Nicole Kidman's character has, she gives a speech about being inspired to adopt by seeing a brown-skinned boy that felt a little weird. Kidman did her best to sell that part of her big speech but I still felt how it was written was pretty off.

Not only was the writing flawed but there are the times where the pacing is very slow. I would say that at least 15 minutes could've been cut out but I'm unsure exactly what could've been cut out. Probably the aforementioned subplot involving Saroo's adoptive brother and the character of Lucy. Again, Rooney Mara was very good, but her character didn't really add anything to the story.

So while Lion doesn't roar, it doesn't let out a small meow either. It does feature a trio of solid performances by Patel, Kidman, and Mara and it has a more subtle emotional punch. But the story does get predictable while the writing is flawed. It is a well-meaning story but I don't know if I'll be revisiting it more often.

Grade: B-

"La La Land" Is Pure And Enchanting Movie Magic

Fresh off of directing the Oscar-winning film Whiplash, director Damien Chazelle gives us La La Land which is a film that will enchant you in numerous ways. Whether it'd be its tribute to Old Hollywood, its sparkling chemistry between the two leading stars, or the musical numbers that may have your bursting into dance, La La Land is sure to work its magic on you before and after the credits roll.

Set in modern day Los Angeles, La La Land follows both an aspiring actress named Mia played by Emma Stone and a jazz musician named Sebastian played by Ryan Gosling who are looking to make it big in Tinseltown. After running into each other a few times by chance, they begin to fall in love and slowly realize how optimistic yet turbulent the road to chasing your dreams can be.

One reason the film works so amazingly well is because of Emma Stone and Ryan Gosling. On their third on screen pairing after Crazy, Stupid Love and Gangster Squad, both actors prove that they have charisma that is made for the big screen and they have such intoxicating chemistry that I would watch these two in maybe 90 more movies just to see them be charming. As great as Gosling is, though, Emma Stone is the film's beating heart. Stone gets to a play a role that plays to her best skills: She gets to be witty, hilarious, and musical. Yet there are more dimensions underneath all that charm. She's hopeful about making it big yet Stone lets us see the anxiety that her hopes and aspirations will start to crumble. Gosling's character is also pretty three-dimensional because of how he is a traditionalist devoted to jazz which is said to be a dying musical genre yet he tries to make it big in a more modernized musical world.

Along with Gosling and Stone's chemistry, the cinematography by Linus Sundgren helped my eyes become glued to the screen. Whether he uses long tracking shots during some of the musical numbers or evokes green lighting like in a dinner scene that pays homage to Alfred Hitchcock's Vertigo, Sundgren always uses his lens to keep the audience entranced. The film was also shot using the CinemaScope lens that was prominent in the 50's and that helps maintain the film's ode to old school Hollywood.

Since this is a musical, a mention has to go to the songs that are done expertly by Justin Hurwitz. Interestingly enough, there weren't as many musical numbers as I thought there would be. But each one plays an integral part to the storyline. "City Of Stars" is sung in different melodies and lyrics but it is demonstrated as a symbol for how the relationship between Mia and Sebastian grows as the song has more and more lyrics and also how the both of them keep "reaching for the stars."

The song "Someone In The Crowd" talks about how there is someone to guide you when moments start to get tough and is sung before Mia and Sebastian cross paths. Also, "Audition" which will likely be Emma Stone's Oscar clip serves as a culmination for Mia's entire journey. The score, also by Justin Hurwitz, is beautifully done and I loved when it played over the wordless montages and sequences of Mia and Sebastian falling in love because it helped capture the mood of their romance.

While the story involving people trying to make it big may be rather simple, I definitely didn't mind. Mainly because La La Land was an experience that not only enthralled me from beginning to end but is one that I didn't want to end. It made me laugh, cry, hum along to its music, and by the time credits rolled, left me smiling. La La Land is a perfect example of why we go to the movies and is in my opinion, the best musical to come out in years.

Grade: A+

"Fences" Overcomes Separation Anxiety From Its Source Material With Powerhouse Acting

Stage to film adaptations can be very tricky. Sometimes, they can feel like you're watching a filming of the stage play. It can allow the adaptation to be faithful to the source material but it can also be to its own detriment because the adaptation doesn't feel distinctive. Fences does feel like you're watching a filming of the stage play but that is overlooked once you absorb the amazing acting from its cast.

Fences is based on a play by August Wilson about a former Negro baseball player named Troy Maxson, played by Denzel Washington, who works as a garbage man after he was deemed too old to play baseball professionally. After Troy's son Cory gets recruited to play college football which'll allow him to succeed where Troy couldn't, tensions start to emerge between him, Cory, and his loyal wife Rose, played by Viola Davis.

The film hinges entirely on not just the words of August Wilson, who wrote the play and gets a posthumous credit on the screenplay, but Denzel Washington's brilliant performance as Troy Maxson. Through his never ending dialogue and body language, Washington is able to channel the different dual layers to his character. He'll be imposing and brutish one minute and then reveal a piece of his tragic backstory in a more somber manner. I would say this is Washington's best and most complex work in years and he helps the film that has about a 2 hours and 10 minutes, move at a fast pace. Only a true movie star is capable of pulling that off.

But while Denzel Washington may be the bigger star of the show with more screentime, it is Viola Davis' movie as much as it is his and she steals every scene she is in. Davis is flawless as Troy's wife who always puts up with his mouth and erratic behavior. Sometimes in a joking and wistful manner, allowing her and Washington to have initial playful chemistry. But it eventually starts to haunt her after a big reveal that takes place. I won't reveal what it is but during the reveal, Davis has a raw and volcanic buildup that gives you chills up until she finally bursts. During that buildup, she exudes such power with just her eyes and even her tears.

The other actors also do an amazing job. Stephen Henderson, who plays Troy's closest friend Bono, provides moments of light banter between him and Washington while acting with his eyes to contradict to Washington's verbal histrionics. Jovan Adepo holds his own against his veteran co-stars as Cory, the son trying to carve out his own path to escape his family, breaking free of both the literal and metaphorical "fences" holding him back. Russell Hornsby and Mykelti Williamson, who play Troy's eldest son Lyons and disabled brother Gabe, respectively, are also terrific.

So Fences is mostly an acting showcase that may be limited by its familiarity with the stage but still overcomes that with its strong acting across the board as well as by the words of August Wilson who is the mastermind behind the play itself.

Grade: A-

"Jackie" Is An Effective Psychodrama Anchored By Natalie Portman's Performance

With Jackie, Chilean director Pablo Larrain handles a genre that can easily veer towards tired formula: the biopic. For every Selma, there's an Iron Lady. While the film does focus on a portion of Jackie Kennedy's life and the infamous event the film depicts, at its core, it is a demonstration of personal trauma balanced with historical context.

Jackie is about former First Lady Jackie Kennedy, played by Natalie Portman, and depicts the aftermath of the assassination of JFK. The film follows Jackie juggling her personal grief, her husband's legacy, her public image, her struggling faith, and her motherhood.

The film relies heavily on Natalie Portman's performance and she absolutely nails it. Through Portman's facial and body expressions, we get a glimpse of Jackie's reluctant celebrity, her steely anguish mixed with her teary vulnerability, and her neuroticism even as she is in control with her stillness. She'll even weave in those different layers together in one frame.While she nails the impersonation with the wig and the airy voice, the performance and the film itself are all her and she manages to top her Oscar-winning turn in Black Swan.

Some of the other supporting performances are pretty solid. In particular, Greta Gerwig is a standout as Jackie's assistant Nancy who provides steady warmth when Jackie is on the verge of grand turmoil. Peter Sarsgaard is also pretty good as the rather stern Robert Kennedy as is the other supporting players like John Hurt as a priest Jackie makes confessions to and Billy Crudup who plays a journalist that interviews Jackie about her PTSD experience. But this is Portman's show through and through.

Another reason Portman's performance works is the cinematography by Stephane Fontaine. Anybody who has seen Rust and Bone knows that he knows how to let the camera focus on and relate to its performers. So Fontaine lets the camera linger on Portman so we can absorb the rampant emotions she is going through as well as how she relates to the other actors in the movie. It is also shot as if Jackie is walking through, and slowly awaking from, a nightmare. For example, the scenes we get of her dealing with the aftermath of the assassination are filmed rather hazily, demonstrating how Jackie is in her nightmare. But when she's talking with the journalist interviewing her, it looks as if she has slowly woken up.

Composer Mica Levi, who created the eerie score for Under The Skin, composes a similarly atmospheric score that aides the film's psychotic feel. One of my favorite sequences has to be the scene where Jackie and JFK are walking off the plane to the motorcade where he was assassinated. In that scene, the moody score looms over the sequence that takes place in daylight, making it seem as if the scene was done by the likes of Roman Polanski who is an absolute master of psycho-horror.

Jackie may not be a typical biopic yet it is all the better for it. How it breaks the mold is a demonstration of how innovative filmmaking can be. But with all its technical precision, at its core is a virtuoso performance by leading actress Natalie Portman.

Grade: A

"Passengers" Gets Seriously Lost Into Orbit

     Chris Pratt and Jennifer Lawrence are two of the most bankable stars in Hollywood today, starring together in what is perhaps one of the biggest box office risks this year: An original non-tentpole project with about a $100 million price tag relying on star power in a day and age where superhero and brand franchises are bigger movie stars than actual movie stars. But when you leave two stars hanging in space, trapping them in a film with a misguided script and poor execution, why else would you think this is such a huge risk?

    Passengers is set in a spaceship carrying 5,000 passengers to a distant, utopian planet so they can move away from Earth. After an asteroid shower, one of the passengers, Jim Preston played by Chris Pratt, accidentally wakes up from his hibernation pod, leaving him stranded on the spaceship, unable to go back to sleep. An android bartender, played by Michael Sheen, ends up being his only companion. That is until he wakes up another passenger named Aurora played by Jennifer Lawrence, leading to them falling in love along with further complications.

    Now the plot point of Jim waking up Aurora is one aspect of the film that has been subjected to major criticism and is what ultimately drags the film down. It did not gel with me that I would sympathize with a man that wakes up a strange woman that he fell in love with while she was asleep, dooming her to die with him. While Jim was alone on the spaceship and the filmmakers make an effort to justify his decision, I feel that no matter how you slice it, it is bound to cause uncomfortability. Right after Jim wakes Aurora up, I immediately found him irredeemable.

  However, the script is plagued with flaws. For one, how is it that despite the spaceship being incredibly high tech, if someone were to wake up from their pod, there is absolutely ZERO way for them to go back to sleep? The people behind the ship can create fancy cappuccino machines yet they can't come up with some kind of emergency method in case one of the passengers wakes up early so that they don't die? Also, why would all those passengers leave their loved ones on Earth behind? They're tired of how overpopulated and overpriced Earth is? What bullcrap. Why not just rewrite the script so that they're leaving Earth because it is slowly dying?

   Also, I wish the script had delved into the ramifications of Jim's decision to wake up Aurora more. Though maybe it is described in its original draft in more detail. I don't know. Maybe there was more focus and it was left out of the editing room. Personally, I would've preferred that they went with a director that has experience with science fiction films that focus on character drama. Someone like Denis Villeneuve or Alfonso Cuaron because director Morten Tyldum, to me, was the wrong choice to helm this project. He focuses too much on the film's spectacle aspects rather than giving it much substance.

    Now that I've gotten my major griped with the picture out of the way, how are the two actors? Well, they do give it their all. Chris Pratt proves that he is capable of carrying films on his shoulders and as for Jennifer Lawrence, what can I say? She's great in everything she does. She was perhaps the most sympathetic character in the entire film. Even when her character becomes reduced to a stock worrying girlfriend role towards the end, she still delivered.

  The fact that Aurora becomes a stock girlfriend actually irked me. Granted, the script doesn't do the character a whole lot of justice minus some backstory thrown in. But when you look at how we've seen such rich, complex sci-fi heroines like Ellen Ripley, Sarah Connor, Imperator Furiosa, and even Michelle from this year's 10 Cloverfield Lane, it's unfortunate that Aurora isn't allowed to really be a hero. Heck, Jennifer Lawrence has experience playing complex sci-fi heroines with Katniss Everdeen from The Hunger Games. Why waste her talents in such a way?

    Anyhow, despite its star power doing what they can with what they're given, Passengers fails to deliver in execution. It had a lot of potential to be better and more thought provoking than it actually is. But it's not. Not much more I want to say here.

Grade: D+


 
 

"Rogue One: A Star Wars Story" Is Refreshing Yet Still Had Me Wanting More

This is the first of the Star Wars movie that isn't an episode. It also doesn't open with the famous theme or the typical opening crawl. Does the film itself still feel refreshing and new. Thankfully, it does yet interestingly, despite being one of the better blockbusters to come out this year, the film didn't have me completely mesmerized by the time it was over.

Rogue One: A Star Wars Story is the prequel to Star Wars Episode IV: A New Hope that follows the story of Jyn Erso, played by Felicity Jones, who joins a group of rebels (played by Diego Luna, Donnie Yen, Riz Ahmed, and Jiang Wen) to steal the plans of a weapon base known as the Death Star that will threaten to destroy planets.

Since the film is a part of the Star "Wars" universe, I thought it was very interesting how this film felt like an actual war movie with characters entering unforgiving terrains and engaging in constant battle. So it was neat to see a film that lives up to the name of its saga.

I also want to give this film major points for not just its incredibly diverse cast but how it has people of different genders and races together without ever making a political statement or having any forced tokenism. However, in spite of its representative slate of actors, some of their characters weren't as fleshed out as I would've hoped they would be. They are given parts to play in the main conflict that takes places yet I never felt like I got to know any of their characters.

Felicity Jones and Diego Luna do fine jobs in their respective lead roles as Jyn Erso and Rebellion leader Cassian Andor, yet they didn't have much chemistry. One of the reasons Star Wars: The Force Awakens was so entertaining was because of the energy and charisma from stars John Boyega and Daisy Ridley.

However, Donnie Yen was a scene stealer as Chirrut Imwe, a blind warrior who isn't a Jedi yet still tries to learn the ways of the Force. He had some of the best fight scenes and he even brought some much needed comic relief. Also, Ben Mendelsohn was reliably good as the main villain, Director Orson Krennic. He's slightly hammier than his usual performances but he was still in sync with the fantastical world the film is set in and you can tell he was having a blast with the role he was playing.

Another problem this film has is that in spite of its high octane action, it takes a while for things to pick up steam. It could because there were three editors on the picture and how there were re-writes and reshoots. So there were a bit too many cooks in the kitchen which could also explain the focus on some of the main characters.

Despite its flaws, Rogue One: A Star Wars Story does bring a refreshing uniqueness to its universe. It may not be as entertaining as The Force Awakens or have an instant iconic feel like its technical successor A New Hope. But I hope that the upcoming spinoffs they have in store have the same uniqueness as this one does.

Grade: B

"Miss Sloane" Fires Thanks To Its Dynamite Performance By Jessica Chastain

   Jessica Chastain has proven herself as one of the absolute best actresses of her generation. Ever since her breakthrough year back in 2011, she's been churning out amazing performance after amazing performance whether it'd be a lead or a supporting role. But Miss Sloane shows that no matter how flawed or muddled a project that she carries on her shoulders may be, Chastain will certainly be the best part of it.

   Miss Sloane is about a lobbyist named Elizabeth Sloane played by Jessica Chastain. Once Sloane decides to lead the fight on gun control in Washington D.C., she leaves behind her old firm and is joined by a few of her assistants. As she plays a game of cat and mouse with perhaps the most powerful group of people in Capitol Hill, she reveals how she will do whatever it takes to win and no matter what the cost.
 
   The film works so amazingly because of Jessica Chastain's performance. Chastain is an absolute firecracker as the ruthless Miss Sloane, a woman who rubs her makeup off like it's war paint, treats every conversation like a battle, pops pills so she never sleeps, and betrays her own colleagues without thinking twice. She's a woman of all grit and no grace yet Chastain makes her fascinating to watch as she dominates every single frame she has on screen.

    As dynamite as Chastain is though, she still has an amazing cast surrounding her. Mark Strong plays a rare non-villain role as a head in Sloane's new law firm and he is reliably good. Gugu Mbatha-Raw is also terrific as Esme, a fellow lobbyist and provides a sensitivity that makes her a perfect foil to Sloane. Michael Stuhlbarg is so good you want to punch his character in the face as he expertly plays a slithery former employee of Sloane's at her old law firm. The other actors, Allison Pill, Jake Lacy, Sam Waterston, and John Lithgow, all do outstanding work as well.

     While the snappy and rapid fire dialogue from the screenplay from Jonathan Perera may feel like it's in Aaron Sorkin territory, at the same time, its dialogue helps make the film that depicts a serious topic enjoyable to watch and it helps sustain a lot of pulsating energy present throughout the picture. I also appreciated how Perera reveals both sides of the equation. It mostly focuses on Sloane's point of view yet it also reveals the point of view of those trying to strike her down. I will say, though, that the ending was a bit of a weird copout. Nothing terrible but it almost felt kind of predictable. It didn't bring down what I appreciated about the rest of the film, though, which is the extraordinary performances by the cast.

      In spite of its slight flaws, Miss Sloane is a high octane political thriller elevated by a knockout lead performance by Jessica Chastain along with its rapid fire screenplay and outstanding ensemble. Its ending may have had the film lose a bit of steam but watching the rest of the film is quite a ride.

Grade: A-

'Nocturnal Animals' Is Beautifully Chaotic

After making a splash with his 2009 directorial debut A Single Man which netted Colin Firth a Best Actor nomination, fashion designer turned director Tom Ford makes a return to the director's chair with Nocturnal Animals which not only demonstrates his distinctive visual flare he had demonstrated in A Single Man but has me hoping that we don't have to wait another 7 years for his next film.

Nocturnal Animals is told through three nonlinear storylines: Art gallery owner Susan Morrow (Amy Adams) who reads a manuscript of a violent novel dedicated to her by her ex-husband Edward (Jake Gyllenhaal); Edward and Susan's crumbling marriage; the story within the story involving Tony (Jake Gyllenhaal), a Southern everyman who finds himself on the brink of vengeance after a tragic occurrence involving his family.

Normally, a film that has a nonlinear structure can scramble with an audience member's mind because the story can get all over the place. But I think in this case, director Tom Ford and editor Joan Sobel trust the audience enough for them to know when the film is at what storyline. So kudos to them. The screenplay by Tom Ford also aids the film's nonlinear structure and is packed with intrigue, having you ask questions like "How will the novel end?" and "Why would her husband dedicate this novel to her?" Even if some questions aren't answered, that's still the beauty of if because it is interesting when a film has you revisit it to continue to try and piece the puzzle yourself.

Also, much like A Single Man, the cinematography manages to feel like it is its own character and manages to keep your eyes glued to the screen. The cinematographer is different with Seamus McGarvey behind the lens this time around after Eduard Grau lensed A Single Man but the palette is just as colorful. McGarvey's cinematography manages to capture the mood of each storyline: The main "Susan" storyline is very bleak to capture the mundanity of the empty fashion world she lives in, the "Edward and Susan" storyline has rather normal lighting with tints of red to hint at the darkness that'll follow, and the "Tony" storyline has yellowish lighting to capture the sweaty raw feel of the deserted Texas landscape.

Another reason this film keeps you engaged throughout is the actors. Amy Adams delivers yet another knockout performance as the rather chilly Susan, using her eyes to capture a woman who is trapped in the rubble of her current yet hollow high scale world while also showcasing her initial lovelorn nature that she once displayed. Jake Gyllenhaal is also fantastic in his dual roles: the lovelorn yet betrayed Edward and the kindly everyman turned agent of vengeance Tony. Exemplary work from both lead actors who consistently keep upping their game.

Even though she literally has one scene, Laura Linney leaves you wanting more as Susan's hard nosed Manhattanite matron. From her sorrowful yet scornful eyes to the way she comically sips her wine, she packs plenty of large detail about her character into so little. Michael Shannon is also a scene stealer as Texan sheriff Bobby Andes from the "Tony" storyline. Through his dry comic relief and sinister penance stare, Shannon manages to keep you glued to him whenever he's on screen as a loose cannon cop with little moral regard.

Overall, Nocturnal Animals is a chaotic visual experience mixed with flawless acting performances that had me hooked from beginning to end. It proves that A Single Man was not just a one-off and director Tom Ford has a very keen eye for storytelling.

Grade: A

"Manchester By The Sea" Is The Most Realistic Family Drama In Years

    Grief is something that follows us around in numerous ways. Whether we are grieving the loss of a loved one, grieving over a breakup, or grieving over the fact that we have to get up every morning to do the same tired routine. It is also the main theme for Manchester By The Sea which also successfully deals with the humor, joy, and the heartbreak that come with life itself.

    Manchester By The Sea follows the story of a misanthropic janitor named Lee, played by Casey Affleck, who finds his life in turmoil when his distant brother Joe, played by Kyle Chandler, passes away. Lee is left to be the guardian to his young nephew Patrick, played by Lucas Hedges, while he also tries to confront demons of his past.

    One main reason this film works so well is Casey Affleck who successfully carries it on his shoulders. Rather than portray his grief-stricken character with caricatural histrionics, Affleck plays Lee as a neurotic everyman. Someone who just wants to fight his way from one day to the next and not worry about emoting his inner turmoil while avoiding any connection to those around him.

    As terrific as Affleck is though, Lucas Hedges is a scene stealer as Patrick. For such a young actor at about 19 years old, he matches his veteran co-star tit for tat while possessing a potent mix of light youthful charm with dramatic vulnerability. Thanks to the chemistry that he and Affleck have, even as their characters are at odds with one another, I still wanted them to find some kind of happiness in the end. I look forward to what the future holds for this amazing young talent.

    There's also a lot of awards hype around Michelle Williams for her brief work as Lee's ex-wife Randi. While she has a small amount of screentime, whenever she is on screen, she does have an impact so i'd say her buzz is pretty warranted. Especially during her penultimate scene where she expresses shock, sadness, and regret in just a span of minutes.

    Not only do the actors make their characters true to life, but writer/director Kenneth Lonergan writes the film close to life as well. His writing flourishes in its simplicity, showcasing a portrait of dealing with grief along with a portrayal of normal family life. Lee and Patrick fight, make up, and then have a few laughs the way a regular family does. Lonergan even manages to weave in constant flashbacks that deal with Lee's backstory. Some of them weren't always necessary yet they still reveal why Lee is the way he is.

   Overall, Manchester By The Sea is a masterful and subtlely complex portrayal of dealing with grief and the power of family love brought to life by its naturalistic performances by Casey Affleck, Lucas Hedges, and Michelle Williams along with the screenplay by Kenneth Lonergan. It shows the tears, laughs, joys, and heartbreak of life itself and does it seamlessly.

Grade: A

"Allied" Is A Flawed Yet Ambitious Star Showcase

Robert Zemeckis is someone who's responsible for such classics as Back To The Future, Forrest Gump, and Who Framed Roger Rabbit? As you watch this film, you get the sense that Zemeckis is trying to create another classic by making a film with a period setting and its movie star romance, joining the ranks of films like Casablanca and The English Patient. It does so with admirability yet also to its own detriment.

Allied follows the story of a Canadian spy named Max Vatel played by Brad Pit who is assigned to assassinate a Nazi general
with the mysterious Marianne Beausejour played by Marion Cotillard. As they pretend to be a married couple, they eventually fall in love and start a family. But thingst take a turn for the worse when Marianne is accused of being a Nazi spy.

Now Brad Pitt and Marion Cotillard are both perfectly casted. They both have the right old school movie star aura that fits a period film such as this. It helps that their performances are good as well. While the film centers more on Brad Pitt's character, Marion Cotillard makes the most of what she's given, always keeping up with the various tonal shifts that take place throughout the film as she gets to be sensual, enigmatic, and frail. Another great performance from a very consistent actress.

Another major highlight is the costume design, in particular on the character of Marianne, which is absolutely spectacular. I loved how luscious and otherworldly the design on Marianne's clothes was because it helps capture her mystique.

Speaking of tonal shifts, the film starts off as a sexy actioner and then it starts to have more Hitchcockian flare towards the second act once Max becomes suspicious of his wife. While it is neat to see a film weave in as many genres as it can, at the same time, the film loses its momentum once its pace becomes smoother.

Personally, I think the film would've been better if maybe the film builded up to the Nazi general's assassination at the very end. It would've made the tone more consistent and pulsating throughout. I also would've left out the mystery surrounding Marianne out because, and hopefully I'm not spoiling anything, but by the time the reveal took place at the end, it felt like such a big copout. So I think the filmmakers would've maybe benefitted from ommitting that storyline entirely.

Also, while Pitt and Cotillard are able to shine in their performances, pretty much everybody around them is underutlized. The supporting players like Matthew Goode, Lizzy Caplan, and Jared Harris all see their talents go to waste. In fact, Matthew Goode literally has like 2 minutes of screentime.

So overall, while Allied tries so hard to become another Casablanca with its depiction of glamorous star actors falling in love against the backdrop of WWII, ultimately it ends up being faulted by its aspirations. I do applaud Robert Zemeckis for trying to recapture a golden age of filmmaking. But if it had more rewrites, it could've perhaps been a classic for the history books.

Grade: B-

"Moana" Sails Into Familiar Oceans But Makes An Entertaining Splash

Put in an archetypal princess, a few musical numbers, and a morality story about finding your inner voice and you have yourself a traditional Disney Princess movie. Moana does fall under such familiarity yet regardless. is still a treat for the whole family.

Moana follows the titular heroine voiced by Au'li Carvalho who sets out to save her village that is being threatened by enviromental hazards despite concerns from her parents. On her journey, she meets the shapeshifting demigod Maui voiced by Dwayne "The Rock" Johnson who is initially reluctant yet accompanies Moana on her journey anyhow.

One thing that makes Moana such a treat to watch is the actress that voices her. A star is born in newcomer Au'li Carvalho breathes such life into Moana as she portrays her character's stubbornness as well as playing her as down to earth. Here's hoping that in the future, we get to see more of this young talent and not just hear her voice.

Dwayne "The Rock" Johnson has proven himself as an action hero, a comedian, and now he can add voice actor to his resume as well as his amazing singing chops. He is aces as the charming yet arrogant demigod Maui and both he and Carvalho make such a dynamite duo.

A Disney movie wouldn't be complete without its music and Moana manages to deliver in that regard thanks to its songs co-written by Hamilton breakout Lin Manuel-Miranda. My favorite song has to be "How Far I'll Go" where Moana finally decides to go on her journey. Although the catchy "You're Welcome" sung by Maui isn't completely far behind. Despite it being a Disney Princess film, there are points where Moana has to point out that she's not a princess. Especially because there is no actual prince there to save her. But thankfully, the movie never goes overboard with that reminder.

I also want to point out how the film's environmental message is conveyed early on yet isn't completely ham-fisted. After it becomes introduced, the screenwriters let it become subtlely weaved into the storyline. That way, the story manages to capture different layers, making it a story about trusting your inner voice as well as a demonstration about environmental hazards.

Lastly, I want to applaud the film for not only having all the characters be Polynesian but also voiced by a predominantly Polynesian cast. I think it's wonderful they went that route because it allows those within that heritage to become the literal voice of their own stories.

Overall, Moana may fall under the same tropes of a Disney Princess movie but it still sails quite smoothly thanks to its "star is born" voice performance by Au'li Carvalho along with voice work by "The Rock," its catchy tunes, its stunning visuals, and its subtle enviromental message.

Grade: B+

"Arrival" Is Thoughtful And Cerebral Sci-Fi With A Timely Landing

Arrival could not have come at a better time. In the wake of this recent Presidential election that has invoked fear and hate amongst American citizens, it is nice to see a film where humanity comes together, trying to solve problems through rational thought rather than radical violence. Whether its timeliness was intended or not, though, remains as mysterious as the film's marketing.

Arrival is based on a short story called Story Of Your Life by Ted Chiang and follows the story of a linguistics professor named Dr. Louise Banks (Amy Adams) who is called upon to investigate the arrival of several UFOs across the globe along with theoretical physicist Ian Donnelly played by Jeremy Renner and U.S. Army Colonel Weber played by Forest Whitaker. In order to figure out why the aliens have arrived, Banks, along with Weber and Donnelly, tries to decode their language.

One thing that is so genius about this film is how, even though it is a larger scale blockbuster, it has the intimate feel of an arthouse science fiction film. Mainly because director Denis Villeneuve chooses to focus more on the film's storytelling and has the visual effects used as an aid to it. That is the kind of science fiction movie I love to see. The kind where effects are visible but aren't a complete focal point. Not only that, but a good science fiction film has to have some kind of moral or message. Here it is about the power of words. Louise Banks, who's the heroine of the story, plans to work with the aliens by figuring out their language so that they can literally and figuratively understand each other. The film shows how if we act irrationally after receiving confused messages or put actions before words, it can lead to dire consequences.

While the film has an amazing cast, it is really Amy Adams' show. Throughout each scene, Adams is always giving us a glimpse into Louise's thought process through the use of her expressive eyes. She allows us to see when she timid, optimistic, vulnerable, and feelings that are too complex to describe. As an actress who reinvents herself with each performance, this is perhaps her best performance to date.

Along with Adams' performance, one thing that helps bring a lot of emotional heft is the score by Johann Johannsson which feels as if it is its own character with how it sets the mood for each scene. For example, when the main characters first enter the UFO, the music captures the mood of them entering an unceratin unknown territory. Also, while cinematographer Roger Deakins, who has become a Denis Villeneuve regular, is absent this time around, Bradford Young more than steps up to the plate. Some of my favorite sequences are the ones in the UFO where the aliens or encased in a bright white light yet are hidden in a grayish fog, capturing their uncertainty. Plus, the Malick-esque flashback sequences were all beautifully shot as well. Lastly, the sound work done with the alien language is some of the best I've heard all year.

Overall, Arrival is a masterful film anchored by Amy Adams' luminous performance that shows not only how innovative science fiction films can be, but reminds us about the power of words. The carefulness of what we say and our ability to provide reason and solve problems is a far greater tool than violent weapons and irrational action.

Grade: A+