When the DCEU’s first iteration of Wonder Woman was released 2017, for many, including myself, it was considered the first good (if not fairly decent) DCEU film adaptation of a classic superhero – and not only a classic superhero, but one that inspired generations of women and girls. Of course, a sequel was inevitable, and, after three long years and a global pandemic, it was finally released. So, how does it hold up?
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I’m going to be real for a second: I’ve never seen Inception, partly because I wasn’t really ‘into’ film at the time and also because I was, like, eight years old. But that doesn’t mean I didn’t know about Inception; at this point, I don’t think there’s anyone that hasn’t. I knew it was the favourite film of a lot of people, that it had a really dope fight scene in a hotel, and that it single-handedly popularized the use of the DUNNN sound effect you hear in basically every trailer ever these days. So, when it was announced that Inception would be re-released in theatres as a celebration of its tenth anniversary and to promote Nolan’s new film Tenet, I knew this was my chance to actually watch the film that has been talked about non-stop for a decade.
So, what even is Inception about? Described in the least complicated way possible, the story follows Cobb (DiCaprio) and his partner Arthur (Gordon-Levitt), who work as spies… of a sort. In short, they use experimental technology to infiltrate and manipulate the subconscious and extract information through dreams. On one mission, their target, Saito (Watanabe), offers the two a seemingly impossible task: placing an idea in an already subconscious mind. In exchange for convincing the son of a rich man to dissolve his father’s company, Saito promises to also dissolve Cobb’s status as a criminal. Taking on the offer, Cobb assembles a team of experts, including Ariadne (Page), a somewhat naïve but talented architecture student. But the team of six are up against the clock, and it will require more than just luck to make the impossible possible.
First things first, I can definitely see why this film is upheld as a classic of modern cinema. Not only does it present a unique idea (well, for the time at least), but it is able to combine this idea with a tight script and good film-making, something that most ‘unique’ films today lack. The characters, while not the most in-depth, offer no shortage of entertaining quirks and talents, and every actor present gives it their all. The score, composed by Hans Zimmer, is tailored to every scene, and the action sequences are nothing short of impressive; you can tell how much work went into them and I’m surprised at how well they hold up 10 years later. Watching this film on the big screen was definitely an experience!
When you’ve got a film as well put-together as one directed by Chris Nolan, it’s difficult to find a fault. If anything, a scene in the film where the team stake out a fortified mountain base, aside from reminding me of Metal Gear Solid, goes on for a little too long and is rather boring to look at compared to the colorful scenes seen previously. Furthermore, as you may have already guessed from my plot description, it is not a film most people can walk away from understanding everything that happened. It definitely requires rewatches, that’s for sure.
But my complains are merely small potatoes compared to the full-course meal that is Inception – an intriguing story, all-star cast, and never-ending excitement. Though some may argue that it is ‘overrated’, I personally believe that it is ultimately deserving of its spot as a modern classic, if all those imitations of it haven’t already proved that. Now, off to watch Tenet!
Final score: 9.5/10
It’s safe to say that Little Women is not only one of the most iconic novels of all time, but it’s also one of the most popular go-to’s when it comes to adapting a novel for the silver screen. With film adaptations of Louisa May Alcott’s classic going back as far as 1917 (though, sadly, this adaptation is now considered lost), it is only fact that each generation has their own version of the famous book. It is also a piece that becomes more relevant with the passage of time, and it was clear that yet another film should be added to the collection. So enters 2019 Little Women, directed by Greta Gerwig, a filmmaker with more than her fair share of praise as of recently. But does it live up to that praise?
Although I think most people probably already know the general plot of Little Women, I’ll try and recap it quickly. The story centers around the four sisters of the March household: the oldest, graceful Meg, spunky tomboy Jo, quiet Beth, and the youngest, the artistic but bratty Amy. Unbeknown to these four girls, their lives are about to change – be it because of romance, secret ambitions, or heartbreak. Chronicling their lives from adolescence to adulthood, the film follows the inseparable four as they live, laugh, cry, and struggle together through the challenges and hardships of life.
Right off the bat, one thing that immediately sets this film apart from the rest is its use of structure and pacing. Instead of simply following the story by-the-book, that is to say starting from when the four are all teenagers and ending when they’re all adults in a linear fashion, Gerwig employs interesting techniques that involve the plot cutting back and forth between different time periods in their lives, all the while making it rather easy to follow (at least, I thought so) and not boring. It’s also clear that Gerwig has definitely learned a lot about cinematography and shot composition since her previous film, Lady Bird. This film is simply gorgeous to look at. Another aspect of this production that blew me away is the amount of acting talent involved (as I wrote this, I found out that Laura Dern, who plays the girls’ mother Marmie, won an Oscar for Best Supporting Actress, which is very much well-deserved!) from everyone involved. I was especially surprised by Timothée Chalamet as Laurie, who I felt was really playing a character, not just playing himself. Of course, it would all be empty without Alexandre Desplat’s charming score, which makes the film’s quiet scenes speak the loudest.
Although this is normally the part where I list my dislikes, I find it very hard to think of any particular gripe I had regarding this film. Yes, not everything in the book is present in the film, but all that mattered to me was that the important ones were. Yes, not every sister gets an equal amount of screentime, but all the actresses did the best they could regardless, and Saoirse Ronan as Jo is such a good performance that it doesn’t really matter if the focus is mostly on her.
Overall, compared the previous film disaster I reviewed, The Rise of Skywalker, Greta Grewig’s Little Women is a breath of fresh air. When you combine a rapidly-improving director with a talented cast, beautiful cinematography, and a tight script, you get a once-in-a-lifetime cinema experience. Whether you’re a fan of the book or not, this is certainly one film you wouldn’t want to miss.
Final score: 9/10
So, it finally happened. Six years, two (canon) movies, two (spin-off) movies, and millions of dollars have led to this very moment. Thousands of hours have been spent planning the ending to this grand saga, one that, six years ago, hadn’t been seen for over a decade in the Star Wars universe. It’s definitely been a wild ride, with epic highs and lows (see: The Last Jedi) and leaps and bounds. All that being said, now that it’s finally over, how was it really?
First off, I’d like to say: wow, this movie is not kind to people who have epilepsy. My goodness. Watch at your own risk; my eyes still hurt. By now, I assume you all have a general idea of how the plot will go: Emperor Palpatine (yes, that Palpatine) is back, so buckle up. Rey is growing stronger, but she still is afraid of who she really is. Kylo Ren’s loyalty to the dark side is being tested by the minute, and the Resistance is ready to take a final stand. Amongst tested loyalties and uncertainty, which side will emerge victorious?
Let’s start by listing what I liked about this movie. It’s visually stunning, whether you watch it in 3D or not. The action scenes are intense (if not a bit too fast-paced) and some of the cinematography is downright stunning, which sounds weird when talking about a movie where people fight with giant glowsticks, but it is true. Our main three have some great interactions with one another, which is certainly more than I can say for The Last Jedi, where the main trio was separated for most of the film. Aside from our main trio, the other cast members do a good job as well, with Adam Driver definitely being my favourite new actor from this trilogy. Whether you like Kylo’s ending or not, you have to admit that he’s giving it his all. For old-timey and hardcore fans, there’s plenty of fanservice and cameos, which you will likely enjoy if you’re into that stuff. Overall, there is a lot going on in this movie, but that’s where my problems with it begin.
Due to (I think) the mainly negative response fans had to The Last Jedi, this film feels like JJ Abrams and co. were rushing to undo it by doing pretty much the opposite of what TLJ at least tried to do differently. In short, there’s a bit too much of what hardcore fans like – returning characters, old settings, and epic space battles. Moreover, because the previous story was a bit slow in its plot, this film is trying to cram everything of what I just mentioned above and more into a two-hour and a half runtime. New settings, characters, and plot devices are introduced every moment, and the editing department is trying to finish this story so quickly that you rarely ever get time to breathe before you’re shown the next plot point or chase scene. Aside from a few quiet moments of reflection here and there, the whole film is more or less like this, which left me very confused as to what I was actually supposed to focus on. Personally, although TLJ left me feeling quite conflicted as to how this trilogy would end, it was hard for me to dislike something that honest and ambitious. With this movie, although it doesn’t have the same low points as TLJ, it never hits the same high points as TFA, leaving it feeling bland and watery.
In conclusion: Rise of Skywalker isn’t as terrible as some people make it out to be. On the whole, it’s a serviceable conclusion to this trilogy, and regarding fanboys, there’s a lot for them to enjoy. However, despite the team’s best efforts, its oversaturation of fanservice, action, and story beats leave it feeling lackluster, and I doubt that, ten years from now, people will look back on this finale as fondly as they’ll look back on, say, Avengers: Endgame.
Final score: 6.5/10
It’s that time of the year, folks. A time to reflect on all the films we’ve watched, both the great and the not-so-great. As you can probably tell, I’m not here to talk about the not-so-great – rather, I’m here to talk about my 5 favourite films of 2018. I didn’t have much time to watch anything this year, but nonetheless… on with the show. (Please note that these are my own opinions!)
5. ISLE OF DOGS (DIR. WES ANDERSON)
Have you seen this dog?
I like dogs. I like science-fiction. I like Japanese-based dystopia. So, of course, it was obvious that I’d at least gain some enjoyment out of Anderson’s latest venture; a story involving a young boy searching for his canine companion after the whole species have been banished to a remote island after a sudden epidemic of ‘canine flu’. What I didn’t expect, however, was how much this little indie film would stick in my mind. This simple story, featuring a heroic young teen and his equally likable dog friends, all supported by wonderful stop-motion sequences and a talented voice ensemble cast, will be sure to remind you that dogs really are man’s best friend.
4. LIZ AND THE BLUE BIRD (DIR. NAOKO YAMADA)
That’s what friends are for.
You really get two films for the price of one when you watch Liz and the Blue Bird. The first is a slice-of-life story involving the Kitauji High School Music Club: will the band be able to complete their final concert piece of the year? Then there’s the more grounded story involving the outgoing Nozomi and shrinking violet Mizore, a flutist and an oboist respectively, who’ve been close friends since middle school: can the two remain coordinated in their duet, considering their strained relationship? Can the two truly survive without each other? Does friendship really last forever? Directed by the respected Naoko Yamada, it really pulls at your heartstrings, and with the combination of beautiful animation (courtesy of Kyoto Animation), touching dialogue, and seamless blending of visuals and sound, this film is more than what meets the eye – a poignant and nuanced look at music, high school, and, most importantly, relationships.
3. SHOPLIFTERS (DIR. HIROKAZU KORE-EDA)
The family that steals together, stays together.
If I had to list my favorite trope in media, it would be the ‘band of ragtag but lovable misfits who learn to place trust in one another’. This trope is definitely present in Kore-eda’s newest film, in which a family of petty thieves find and take in a little girl who’s seemingly been abandoned on the streets, is similar in tone to his other films that involve unlikely families, such as After The Storm and Our Little Sister. However, Kore-eda is a director who always strives for improvement and finding ways to be better at his craft, and this film is no exception – its bittersweet moments shine just as bright as its tender ones, and, when added to a recipe that includes some great character performances by (mostly) newcomers, amazing cinematography, and subtle yet effecting dialogue, what comes out the oven is a film that is both understated and quiet, yet deeply emotional and resonating within our human core.
2. MAQUIA: WHEN THE PROMISED FLOWER BLOOMS (DIR. MARI OKADA)
Don’t worry, mama’s here.
To segue into the next film, just like Shoplifters above, Mari Okada’s (another awesome female writer like Ms. Yamada of Liz) directorial debut also focuses on the concept of unlikely families: when Maquia, a young girl belonging to an elf-like tribe known as the Iorph, who age slowly in comparison to humans, is separated from her fellow people when the neighboring kingdom of Mezarte decide to attack their peaceful village, she finds Ariel, a baby boy who’s been left to die after a previous Mezarte ambush. Unwilling to leave him for dead, she adopts him as her own son, and, as the years go by, is faced with various adversities: their relationship, Ariel’s maturation, the growing conflict between Mezarte and the Iorph, and her own personal dilemma: what does it mean to be a mother? Okada’s film is nothing short of a masterpiece – its stellar production quality, brilliantly-realized characters, and phenomenal musical score by Kenji Kawai will certainly make you smile, laugh, and cry throughout. Nobody will be spared from Okada’s all-out attack on our hearts!
1. AVENGERS: INFINITY WAR ( DIR. ANTHONY & JOE RUSSO)
The storm’s brewing…
Marvel’s come a long way. And I’ll admit it, I haven’t been with Marvel since the very beginning, nor since the beginning of their whole cinematic universe, which started with 2008’s Iron Man. But as a person who’s seen almost every single film they put out, I’ve enjoyed all of them to some degree, which is why Infinity War really got my heart pumping. Seeing all these characters, which we’ve all grown to know and love, not just as superheroes, but as people, band together to defeat a common enemy was a spectacular sight to see and experience. This is a film filled with grandiose battles and fun-filled character interactions and ideas; a film where you can find sadness in happiness, and a glimmer of hope in the most desperate situations; a bit of optimism in the cynicism, if you will. Infinity War takes everything you know about the MCU and turns it on its head – you’ll likely leave the movie feeling like a different person than you were before. Whether that feeling be a burst of joy or a stab in the heart, its safe to say that this Marvel blockbuster subverts everything you know of Marvel blockbusters, in the best ways possible.
The Art Archive 