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Review November 17, 2024 'All You Need Is Blood' Review The result will leave you standing in a blood rain, drenched and humorless Read More List November 21, 2024 Tyler's Favorite Musicals Now would be a great time to sit down and reflect on the movie musicals that have hit the best notes Read More Award November 9, 2024 Awards Update: The Eye of the Hurricane We've still got some awards buzz in the form of the Gotham Awards, and some rumors/reactions from screenings for upcoming titles. Read More 2024 Oscar Predictions 1 Anora 2 The Brutalist 3 Emilia Pérez 4 Conclave 5 Dune: Part Two 6 Nickel Boys 7 Sing Sing 8 Wicked 9 A Complete Unknown 10 Blitz Best Picture movie review website film review website movie news coverage movie blog movie website Reviews 'All You Need Is Blood' Review The result will leave you standing in a blood rain, drenched and humorless SHOP 'Red One' Review I don’t care, and neither should you. SHOP 'Gladiator II' Review I was entertained… kind of. SHOP 'Small Things Like These' Review It seems that Mielants trusted his audience in the wrong areas, and we had to pay the price for it. SHOP 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. SHOP Lists Tyler's Favorite Musicals Now would be a great time to sit down and reflect on the movie musicals that have hit the best notes SHOP TCFF24 Preview Now celebrating its 15th year, the Twin Cities Film Fest provides that central space of celebration for cinephiles within the state of Minnesota SHOP TIFF24: Tyler's Time at the Festival If good things lasted forever, they wouldn’t be as precious. SHOP TIFF24 Recap There’s nothing like having a cinematic buffet such as this, and the experience of gorging is unbeatable. SHOP TIFF24 Preview This year's lineup might the be the best one yet SHOP Essays & Awards Awards Update: The Eye of the Hurricane We've still got some awards buzz in the form of the Gotham Awards, and some rumors/reactions from screenings for upcoming titles. SHOP Tyler’s Takes: 'Terrifier' is a Terrifyingly Awful Franchise A lack of innovation kills these movies in the excessive fashion Leone gives audiences over and over again. SHOP Tyler's Takes: 'When Harry Met Sally' is the Perfect Rom-Com For over 30 years, it has been hailed as perfect and, in my opinion, considered the quintessential romantic comedy. SHOP Awards Update: Fall Festival Winners & Losers Reactions pour in, standing ovations are timed, and prizes are bestowed upon a select few. SHOP Tyler's Takes: How 'Coraline' Possessed 2009 Its legacy continues to influence the world of animation, making it a true masterpiece in stop-motion SHOP

Reviews November 17, 2024 'All You Need Is Blood' Review The result will leave you standing in a blood rain, drenched and humorless November 15, 2024 'Red One' Review I don’t care, and neither should you. November 11, 2024 'Gladiator II' Review I was entertained… kind of. November 8, 2024 'Small Things Like These' Review It seems that Mielants trusted his audience in the wrong areas, and we had to pay the price for it. November 6, 2024 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. November 1, 2024 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. October 29, 2024 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. October 24, 2024 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. October 23, 2024 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. October 20, 2024 'The Shadow Strays' Review Action and Tjahjanto fans will eat the movie up, but regular cinephiles and moviegoers won’t be in as much of a chokehold. Prev Page 1 2 3 4 5 1 ... 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 ... 36 Next Page

Tyler's Favorite Musicals November 21, 2024 By: Tyler Banark When done right, musicals have a beauty to them that can't be beat. This niche interest was a pillar of my upbringing, as I was a theater kid heavily involved in choir before I was a cinephile. Luckily, these two passions often collided. With Wicked and The End singing their way into theater very soon, I figured now would be a great time to sit down and reflect on the movie musicals that have hit the best notes. 10. Willy Wonka and the Chocolate Factory (1971) As the original film adaptation of Roald Dahl's classic book, Willy Wonka and the Chocolate Factory , sees the enigmatic Gene Wilder step into the shoes (and hat) of the titular chocolatier. Although his signature introduction immediately established his remarkability, what sealed the deal was his profound performance of "Pure Imagination." Other numbers, such as "The Candy Man," "Cheer Up Charlie," "I’ve Got a Golden Ticket," and the Oompa Loompa songs stand out. Visually, the film captures the fantastical essence of Roald Dahl’s original story with vibrant set designs, imaginative visuals, and various candy-themed wonders that make the factory come alive. 9. All That Jazz (1979) All That Jazz masterfully mixes autobiographical storytelling, intense choreography, and dark themes into a mesmerizingly raw visual style. Director Bob Fosse's exploration of his own life dives into the highs and lows of a driven artist struggling with obsession, addiction, and mortality. Roy Scheider is charismatic and haunting, precisely capturing the character's relentless ambition and self-destructive tendencies. The thrilling and sophisticated musical numbers embody Fosse’s signature style: sharp, sensual, and complex. 8. The Umbrellas of Cherbourg (1964) With entirely sung dialogue, a radiant color palette, and emotionally resonant storytelling, The Umbrellas of Cherbourg marked a redefinition of the movie musical. Directed by Jacques Demy, the film tells the bittersweet love story of Geneviève and Guy, two young lovers whose romance is tested by separation and circumstance. The perpetual singing creates an operatic feel that intensifies the characters' emotions. The film’s vibrant visuals—featuring bold, pastel-colored sets and costumes—heighten the dreamlike quality of the story, making each frame feel like a painting. And Michel Legrand’s beautiful, sad score, especially the recurring theme "I Will Wait for You," perfectly captures the yearning and heartbreak at the story's core. 7. Hamilton (2020) I know, I know. If animated films didn't qualify for this list, then why did a Broadway recording find a spot? Until we get a proper film version, I believe this Disney+ special was a perfect way to bring Lin-Manuel Miranda’s groundbreaking musical to the masses. It simply can't be ignored, with the original cast (Leslie Odom Jr, Phillipa Soo, Daveed Diggs, Renee Elise Goldsberry, etc.) bringing a charm that translates Miranda'a material to life. As for the music, many of Miranda’s numbers strike a chord, but none do as well as "Wait For It", "Burn," "You’ll Be Back", and "The Room Where It Happens." Once the movie begins, the adrenaline Hamilton brings is non-stop. 6. Sing Street (2016) The best rendition of John Carney's musically-infused oeuvre remains 2016's Sing Street , a coming-of-age drama about a group of prep school boys that start a rebellious band in 1985 Dublin. It’s a soulful movie capitalizing on themes of teen angst, defying expectations, and finding love in the unlikeliest places seen through the leads, played tremendously by Ferdia Walsh-Peelo and Lucy Boynton. Many 80s pop-rock tunes run amuck, with standouts including numbers like "The Riddle of the Model," "Brown Shoes," and the movie’s most famous song: "Drive It Like You Stole It." None of Carney's other works have me wanting to go back and listen to the film’s music. When a movie does that, that’s how you know it’s unique. 5. Hairspray (2007) The 2007 film adaptation of Hairspray is a delightful musical that combines infectious energy, memorable songs, and a heartfelt message about acceptance and social change. The vibrant choreography and bold costumes perfectly capture the era's spirit while underscoring the film’s themes of individuality and equality. The cast, including Nikki Blonsky, John Travolta, Queen Latifah, and Zac Efron, bring a contagious enthusiasm to their roles, balancing humor with the film’s more profound messages (did anyone know this movie got a SAG nod for Best Ensemble?). 4. Tick, Tick... Boom! (2021) Tick, Tick... Boom! is a heartfelt movie musical that captures the raw intensity and vulnerability of an artist on the brink. Andrew Garfield’s career-best performance as Jonathan Larson is electric, bringing depth, passion, and relatability to a character driven by his creative ambition and haunted by the fear of time running out. Lin-Manuel Miranda’s direction, paired with Larson’s poignant music, brings the world of aspiring artists vividly to life, blending humor, warmth, and emotional gravity. The musical numbers are creatively staged, merging realistic and surreal elements to illustrate Jon’s inner turmoil and artistic vision, with "30/90" and "Therapy" being the standouts. 3. West Side Story (1961 & 2021) Both versions of West Side Story care cinematic triumphs in their own right, bringing a unique interpretation to a timeless story. The 1961 film, directed by Robert Wise and Jerome Robbins, set a high standard for musical adaptations with its electrifying choreography, striking visuals, and unforgettable score by Leonard Bernstein and Stephen Sondheim. Natalie Wood and Richard Beymer bring passion to Maria and Tony, while Rita Moreno’s portrayal of Anita earned her an Oscar for her passionate, layered performance. Steven Spielberg's 2021 reimagining of the original stage show infused greater cultural authenticity and modern sensibilities. Newcomer Rachel Zegler brought a fresh vulnerability as Maria, while David Alvarez’s Bernardo and Mike Faist’s Riff stole the show. Tony Kushner’s adapted script offered deeper character development and context, making the stakes feel higher and the tragic romance even more compelling. 2. Singin' in the Rain (1952) Singin’ in the Rain is a quintessential movie musical that remains a timeless masterpiece thanks to its infectious charm, dazzling performances, and brilliant fusion of humor, music, and dance. Co-director and star Gene Kelly delivers an iconic performance as Don Lockwood, combining charisma and extraordinary dance skills, most notably in the legendary title number, where his joyful routine in the rain captures the pure magic of the musical genre. Debbie Reynolds shines as the plucky Kathy Selden, while Donald O’Connor steals scenes with his hilarious physical comedy. The vibrant technicolor cinematography and timeless songs like "Good Morning" and the "Broadway Melody" sequence ensure that every frame is a visual and auditory delight. Beyond its entertainment value, Singin’ in the Rain is also a love letter to the Golden Age of Hollywood, blending satire and celebration in a way that continues to resonate with audiences across generations. 1. La La Land (2016) La La Land is the greatest movie musical because it redefines the genre with a perfect blend of nostalgia, innovation, and emotional depth. Writer/director Damien Chazelle masterfully weaves a contemporary narrative with golden-age Hollywood aesthetics, creating a cinematic experience that feels both timeless and fresh. Justin Hurwitz’s Oscar-winning score and the heartfelt lyrics by Benj Pasek and Justin Paul infuse every scene with a sense of wonder and yearning. Emma Stone and Ryan Gosling deliver career-defining performances, bringing authenticity and charm to their roles while navigating the bittersweet tension between love and ambition. But above all else, what sets La La Land apart is its willingness to embrace the imperfect and bittersweet nature of dreams and relationships. The bold, bittersweet ending—a “what if” montage of the life Mia and Sebastian might have had—cements the film’s status as a poignant exploration of sacrifice and the pursuit of art. La La Land resonates universally by celebrating the joy and pain of following one’s dreams, ensuring its place as a standout in the musical genre and a cinematic achievement for the ages. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'All You Need Is Blood' Review The result will leave you standing in a blood rain, drenched and humorless SHOP 'Red One' Review I don’t care, and neither should you. SHOP 'Gladiator II' Review I was entertained… kind of. SHOP 'Small Things Like These' Review It seems that Mielants trusted his audience in the wrong areas, and we had to pay the price for it. SHOP 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. SHOP

Lists November 21, 2024 Tyler's Favorite Musicals Now would be a great time to sit down and reflect on the movie musicals that have hit the best notes October 11, 2024 TCFF24 Preview Now celebrating its 15th year, the Twin Cities Film Fest provides that central space of celebration for cinephiles within the state of Minnesota September 23, 2024 TIFF24: Tyler's Time at the Festival If good things lasted forever, they wouldn’t be as precious. September 21, 2024 TIFF24 Recap There’s nothing like having a cinematic buffet such as this, and the experience of gorging is unbeatable. September 1, 2024 TIFF24 Preview This year's lineup might the be the best one yet August 16, 2024 Ranking the Films of James Cameron As he turns 70 years old today, it’s time to look back at the audacious filmography of Big Jim. July 1, 2024 The Top 10 Films of 2024 (So Far) I’d like to take a moment and be thankful for the best that cinema has had to offer us in this initial half. June 11, 2024 Top 10 Pixar Films Here’s a look at ten of the most exemplary movies Pixar has made in its three decades of existence. May 19, 2024 Ranking the Mad Max Franchise Here’s a look back on the previous four entries in this ever-changing franchise. May 7, 2024 Ranking the Planet of the Apes Franchise Now is the best time to look back and rank all nine films in this primal franchise once and for all. Prev Page 1 2 3 4 5 1 ... 1 2 3 4 5 6 7 ... 7 Next Page

'Gladiator II' Review November 11, 2024 By: Hunter Friesen One of the hottest TikTok trends of the year centered around raising the question of how often men think about the Roman Empire. Answers ranged from "a few times a month," "at least once a week," and "almost every day." As is usually the case with social media, everything surrounding this viral moment was performative. But if you were to glance at this year's crop of movies, there is evidence to support the modern popularity of Rome. Francis Ford Coppola's long-gestating Megalopolis found Rome in the new world, with Madison Square Garden transformed into a coliseum and everyone flashing their favorite togas and olive branch crowns. And now, Ridley Scott returns us to the epic world of his Best Picture-winning film. Similar to Coppola, Scott finds his version of Rome in an anarchic state. The legend of Marcus Aurelius has become all but forgotten by the commoners, replaced by the tyrannical rule of brothers Geta (Joseph Quinn) and Caracalla (Fred Hechinger). "They can eat war!" is their response to General Acacius' (Pedro Pascal) subtle plea that their bloodlust is starving the empire. He's just returned from conquering Numidia (modern-day Algeria), although there weren't many spoils to be had in the victory as the bodies of the slain men and women were burned right in front of their families. One of those victims was Arishat, the wife of Lucius (Paul Mescal) who only spoke in sentences that characters say before they die. Rage and bloodlust are the only currency that Lucius possesses while he's enslaved as a gladiator, two skills that make him worthy of the sponsorship of Macrinus (Denzel Washington). In the gladiator pits, Lucius faces off against some of the nastiest animals on the planet, including rabid baboons, sharks, and a man tall enough to be in the NBA riding an armored rhinoceros. It is entirely forgivable for anachronistic creatures to appear upon the sands of The Colosseum. Like the spectators lining the rows, we're sitting in the theater for thrills, and the sight of Paul Mescal taking a bite out of a howling monkey and a shark jumping out of the water to snatch a random gladiator off a boat is something to behold. What's less forgivable is the CGI used to render these creatures to life, specifically the primates. Quite a few snickers emerged from the rows behind me as the image of Mescal flailing on the ground pretending to fight a monkey formed in their heads. For Scott, age is still just a number, a fact that he can flaunt with even more swagger as he continuously eclipses the technical prowess of almost all his peers. While Gladiator II doesn't contain the unparalleled scale of Napoleon or the unforgettably brutal hand-to-hand combat of The Last Duel , it executes itself well enough to avoid faltering under the threat of comparison. The opening siege of Numidia follows a D-Day pattern as the Romans crash their vessels on the jagged shores. Arrows and catapults are exchanged at will, and bodies are returned to the sea in droves. Things never get much bigger than that, with subsequent violence being reserved for the circular walls of The Colosseum. Fueling the background for those skirmishes is backdoor politics between various parties looking to ascend to the throne. Lucius is Macrinus' instrument for gaining favor from the current emperors, while Lucilla (Connie Nielsen) tries to rally the old guard of senators and generals. Writer David Scarpa returns to Scott's side after collaborations on All the Money in the World and Napoleon . The sweep and authentic drama from the original isn't to be found here, with a majority of the nearly two-and-a-half-hour runtime spent wading water. It's Denzel Washington that breaks the movie out of that funk. He turns in a true movie star performance, twirling in his fine robes and chewing on every syllable. Nothing is more amusing than being in his presence, a feeling that will surely net him his tenth career Oscar nomination. While not necessarily miscast, Mescal never reaches the heights expected of him. The same goes for Pascal, who was caught in a functionary role. "Indulgent" wouldn't be a word I'd use to describe Ridley Scott, but that's just what Gladiator II is. It's the sequences and performances that lean into the schlock that fare the best, although that's what disassociates it from the superior original and will likely hinder its memorability. To answer Maximus’ famous question: I was entertained… kind of. Must Read 'All You Need Is Blood' Review The result will leave you standing in a blood rain, drenched and humorless SHOP 'Red One' Review I don’t care, and neither should you. SHOP 'Gladiator II' Review I was entertained… kind of. SHOP 'Small Things Like These' Review It seems that Mielants trusted his audience in the wrong areas, and we had to pay the price for it. SHOP 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. SHOP

Awards September 28, 2024 Awards Update: Fall Festival Winners & Losers Reactions pour in, standing ovations are timed, and prizes are bestowed upon a select few. August 26, 2024 Awards Update: Final Pre-Festival Predictions The runners have taken their positions on the starting block. July 26, 2024 Decoding the Fall Festival Lineups We’re a lot closer to realizing which pieces the studios are prioritizing. Oscar Predictions ​ Last Updated: 09/28/2024 Next Update: 10/26/2024 1 Anora 2 The Brutalist 3 Emilia Pérez 4 Conclave 5 Dune: Part Two 6 Nickel Boys 7 Sing Sing 8 Wicked 9 A Complete Unknown 10 Blitz Best Picture 1 Brady Corbet (The Brutalist) 2 Sean Baker (Anora) 3 Jacques Audiard (Emilia Perez) 4 Denis Villeneuve (Dune: Part Two) 5 RaMell Ross (Nickel Boys) Best Director 1 Anora 2 The Brutalist 3 A Real Pain 4 The Seed of the Sacred Fig 5 Hard Truths Best Original Screenplay 1 Conclave 2 Sing Sing 3 Emilia Pérez 4 Nickel Boys 5 A Complete Unknown Best Adapted Screenplay 1 Timothée Chalamet (A Complete Unknown) 2 Adrien Brody (The Brutalist) 3 Ralph Fiennes (Conclave) 4 Colman Domingo (Sing Sing) 5 Daniel Craig (Queer) Best Lead Actor 1 Angelina Jolie (Maria) 2 Karla Sofía Gascón (Emilia Perez) 3 Mikey Madison (Anora) 4 Marianne Jean-Baptiste (Hard Truths) 5 Nicole Kidman (Babygirl) Best Lead Actress 1 Kieran Culkin (A Real Pain) 2 Guy Pearce (The Brutalist) 3 Denzel Washington (Gladiator II) 4 Clarence Maclin (Sing Sing) 5 Edward Norton (A Complete Unknown) Best Supporting Actor 1 Zoe Saldaña (Emilia Perez) 2 Danielle Deadwyler (The Piano Lesson) 3 Felicity Jones (The Brutalist) 4 Aunjanue Ellis-Taylor (Nickel Boys) 5 Saoirse Ronan (Blitz) Best Supporting Actress 1 The Brutalist 2 Maria 3 Dune: Part Two 4 Emilia Pérez 5 Nickel Boys Best Cinematography 1 The Brutalist 2 Anora 3 Emilia Pérez 4 Conclave 5 Dune: Part Two Best Film Editing 1 The Brutalist 2 Conclave 3 Emilia Pérez 4 The Wild Robot 5 Challengers Best Original Score 1 El Mal (Emilia Pérez) 2 Kiss the Sky (The Wild Robot) 3 Mi Camino (Emilia Pérez) 4 Like a Bird (Sing Sing) 5 The Journey (The Six Triple Eight) Best Original Song 1 Dune: Part Two 2 Blitz 3 Gladiator II 4 Emilia Pérez 5 Wicked Best Sound 1 Wicked 2 Dune: Part Two 3 Blitz 4 Gladiator II 5 Nosferatu Best Production Design 1 Wicked 2 Dune: Part Two 3 Maria 4 Gladiator II 5 Nosferatu Best Costume Design 1 Dune: Part Two 2 Beetlejuice Beetlejuice 3 The Substance 4 Nosferatu 5 Maria Best Makeup & Hairstyling 1 Dune: Part Two 2 Gladiator II 3 Kingdom of the Planet of the Apes 4 Blitz 5 Twisters Best Visual Effects 1 The Wild Robot 2 Inside Out 2 3 Flow 4 Memoir of a Snail 5 Wallace & Gromit: Vengeance Most Fowl Best Animated Feature 1 Emilia Pérez (France) 2 The Seed of the Sacred Fig (Germany) 3 I'm Still Here (Brazil) 4 Universal Language (Canada) 5 The Girl with the Needle (Denmark) Best International Feature 1 No Other Land 2 Sugarcane 3 Daughters 4 Black Box Diaries 5 Will & Harper Best Documentary Feature 1 Blitz (10) 2 Dune: Part Two (10) 3 The Brutalist (9) 4 Emilia Pérez (7) 5 Sing Sing (6) 6 Gladiator II (6) 7 Anora (5) 8 Conclave (5) 9 A Complete Unknown (4) 10 Maria (4) Nomination Leaders

Essays October 31, 2024 Tyler’s Takes: 'Terrifier' is a Terrifyingly Awful Franchise A lack of innovation kills these movies in the excessive fashion Leone gives audiences over and over again. September 30, 2024 Tyler's Takes: 'When Harry Met Sally' is the Perfect Rom-Com For over 30 years, it has been hailed as perfect and, in my opinion, considered the quintessential romantic comedy. August 30, 2024 Tyler's Takes: How 'Coraline' Possessed 2009 Its legacy continues to influence the world of animation, making it a true masterpiece in stop-motion July 7, 2024 Tyler's Takes: 'Pearl' Is A Slice Below 'X' While Pearl does have moments where it attempts to delve into being a different kind of horror movie, they are often overshadowed by the film's shortcomings. June 22, 2024 Tyler's Takes: In Defense of 'Elemental' It was a risk-taking effort that stuck the landing in a way I wish a lot of others could see. May 4, 2023 The New Hollywood of the 1970s How Scorsese and Coppola revolutionized the concept of the American director and the connection audiences had with cinema April 5, 2023 The Influence of Howard Hawks in John Carpenter's 'Assault on Precinct 13' Carpenter honors the past and blazes a trail for the future March 29, 2023 1967: A Dramatic Shift in Film A pivotal change in how filmmakers see their audience and how audiences see themselves on the screen. March 22, 2023 'Night of the Living Dead': The First Liberal Horror Film As entertaining and as it is timeless, George Romero’s Night of the Living Dead shows that society can be even scarier than zombies. March 15, 2023 How 'The Godfather' Signaled Hollywood Change 50 Years Ago Looking through the lens of “New Hollywood," we can see why and how Coppola’s film was a monumental work for film history. Prev Page 1 2 1 ... 1 2 ... 2 Next Page

'Blitz' Review November 1, 2024 By: Hunter Friesen Blitz screened at the 2024 Twin Cities Film Fest. Apple TV+ will release it in theaters on November 01, followed by its streaming premiere on November 22. Blitz opens with a crew of London firefighters fighting tooth and nail to put out a house fire. The heat and smoke are almost too much for any man to bear, with wooden beams and piles of brick crumbling down upon them. They eventually start to get a handle on the blaze, although there isn't much cause for celebration as they must now begin their recovery operation for those who are dead or wounded. A moment of silence bridges those tasks, interrupted by the hissing of another Nazi bomber flying overhead. More bombs rain from the sky, signaling another beginning to the cycle of death and destruction that Hitler has inflicted upon England's capital. Lasting for nearly nine months between 1940 and 1941 and known as The Blitz, it comes as no surprise that a big screen adaptation of this iconic moment in British history has been commissioned and released during the thick of this year's Oscar race. What comes as a surprise is that the visual artist turned filmmaker Steve McQueen is responsible for telling the story, as the likes of Sam Mendes, Joe Wright, and Tom Hooper (before Cats ) would have probably topped the betting odds. Despite being a recipient of the Oscar for Best Motion Picture (the first black filmmaker to be awarded) for 12 Years a Slave , McQueen has always steered at least a few steps away from the stuffier material that follows that kind of success. Even something like his recent World War II documentary, Occupied City , defies the prestige trappings with its 240-minute runtime and ruminative nature. While that opening scene and a few others that follow certainly find themselves akin to many of the viscerally demanding moments littered throughout McQueen's filmography, Blitz marks his most radical departure from form to date, opting for a more classical story filled with the sights and sounds that have come to define this genre for almost a century. That's not an inherently bad thing, as no artist should feel threatened to seclude themselves in a single box. I'm also not accusing McQueen of pandering to the awards bodies. But there is a feeling that the more typical McQueen approach would have given this film the little extra provocativeness it needed to be anything more than just politely good enough. Anchoring this sprawling story is Rita (Saoirse Ronan) and her nine-year-old son George (Elliott Heffernan). With the frequency of the bombings reaching their peak and inching their way toward their street, Rita decides to send George away to the countryside, much to his reluctance. He rebels by jumping from the outward-bound train, dodging the authorities as he makes the trek back to London. Several other side quests emerge along his way in the form of a trio of delinquent brothers, a Nigerian immigrant police officer just trying to preserve cool heads amongst the shellshocked masses, and a group of bandits led by their bipolar chief (Stephen Graham). It all feels out of a Charles Dickens novel, although some of these branches certainly feel as if they were planted from entirely different films. McQueen mounts a directorial showcase with each vignette, delivering several stunning sequences set across the spectrum of carnage and beauty. Moments that capture the macroeconomic scale of London during this moment have an awe-inspiring terror to them. People bang on gated stores as explosions rattle only a few blocks down, parents in a daze on the street as they call out for their missing children. The scale and production detail are immaculate across every department, especially Adam Stockhausen’s production design and Yorick Le Saux's cinematography. Similar to his work in Greta Gerwig's 2019 adaptation of Little Women , Le Saux invites us into each frame with warm hues and gradually cools down as the sun begins to set and the sounds of engines pierce through the sky. It's when things start to get a little more microscopic that McQueen fumbles. George may be able to run away from those pursuing him, but he can't escape the fact that he's a mixed-race boy during a time of rising xenophobia and intolerance. It's alluded through flashback that his father was forcefully removed from the country, a practice that a majority of the white Londoners seem to support. And even in a time when all of England should be gathered together against a common enemy on their front doorstep, many still view their neighbors as less than themselves. McQueen has always been a blunt filmmaker when it comes to his themes, yet he always found a way to weave them into the narrative tapestry seamlessly. Things are much more segmented this time around, with several moments overplaying their hand and grinding the action to a halt. No actress can escape the Hollywood demand that they play a doting mother, with Ronan making her debut in that role here. And similar to anyone of her high caliber who's been placed in this scenario, she rises far above what she's been provided. She's always the best in show amongst this cast, with Heffernan coming into his own the more the film progresses. Many of the performers don't have that luxury of time, leaving them in a hurried state of needing to act as much as possible. Although he manages to make a good impression, Harris Dickinson gets the brunt of that treatment, appearing so seldomly that one is forced to assume that this 120-minute film is the result of a lot of pruning. McQueen has certainly earned himself the right to an extended runtime, and this conceptually grand story liekly would have benefitted from it. A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. Must Read 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. SHOP 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. SHOP 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. SHOP 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. SHOP 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. SHOP

'Here' Review October 29, 2024 By: Hunter Friesen The right concept meets the right creative person in Here , the film that finally breaks Robert Zemeckis from the hellish CGI hole he dug himself with his previous three features of Welcome to Marwen , The Witches , and the Disney+ Pinocchio . I shouldn’t get too ahead of myself though, as that wish has come true in monkey paw fashion, with Zemeckis veering his sights on the next step in the technological evolutionary cycle: artificial intelligence. It only makes sense that the two words that have invaded every aspect of our lives in such a short time finds its way onto the silver screen. And, most surprisingly, it’s only one of a handful of notable gimmicks that run amok in this intergenerational story that will surely be a sweeper at this year’s AARP Movies for Grownups Awards. The rabbit hole concept of place and time are at the heart of this story, itself adapted from the graphic novel of the same name by Richard McGuire. What would you see if you could turn back time on one single spot? Did dinosaurs roam proudly? Did Native Americans hunt and gather on this land? Did the first colonial settlers lay claim to it? All that and more happened in the living room of Richard (Tom Hanks) and Margaret (Robin Wright), a baby boomer couple who serve as the anchor throughout the millennia. Small windows into the past are interspersed throughout: Benjamin Franklin’s son planting his estate on the land, an aviation enthusiast who buys the property at the turn of the twentieth century, the couple who invent the La-Z-Boy recliner in the living room, and a present-day African-American couple dealing with the pandemic and raising a son in politically charged times. All of this freely flows nonlinearly, the dots of each timeframe being connected by literal rectangular frames that similarly overlap each other to the source material. The camera is fixed in an observational position within one corner of the room, never moving for a moment. It’s a way for Zemeckis and his Forrest Gump writer Eric Roth to zoom out from all the commotion of details and take a big-picture look at how we’re part of the circle of life. It’s a bold concept tangentially akin to Richard Linklater’s Boyhood , although Zemeckis opts for the shortcut of visual effects here. Hanks and Wright first appear in the frame as their characters at seventeen years old, their faces de-aged by artificial intelligence and their bodies slightly animated to hide away all the mileage. It’s certainly a showcase for how far the technology has come over the years, more convincing than what Martin Scorsese tried to do with The Irishman and Ang Lee with Gemini Man , mostly due to Hanks and Wright still carrying a youthful energy. But it’s still an uncanny valley, and at no point can you fully buy famous actors in their sixties playing characters under the legal drinking age. With the implication of imagery and traditional editing stripped away, the actors are forced to pick up the slack. They perform their parts as if they are in a black box theatre production, a scenario that might not have been foreign to them as the sets often look shoddily digitally created through green screens. Details about their lives and circumstances are announced with such cornily dramatic effect that’d be impossible to forget, which would have probably been a real threat considering such little time is spent with certain characters. How else can Michelle Dockery illustrate an entire chapter in the adult life of her character, the wife of the aviator, in just a few short minutes without overacting? The drubbing of the message doesn’t take away from its effectiveness, especially as Alan Silvestri’s heart-tugging score works overtime. Richard allows his dreams to fall by the wayside due to words like downsizing, taxes, and mortgages. As time flies by, those things seem less and less important, with only the people closest to him and the memories he shared being what’s left behind. Even though we say “Yeah, yeah, I got it,” to every person older than us insisting that we cherish the time that we have, we never really seem to properly do that. For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. Even if you think you might fall in line with the latter camp, the concept, and potential to be touched by its message, is simply too great to nonchalantly pass up. Must Read 'Juror #2" Review The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. SHOP 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. SHOP 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. SHOP 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. SHOP 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. SHOP

'The Shadow Strays' Review October 20, 2024 By: Tyler Banark The Shadow Strays was a quiet addition to the TIFF Midnight Madness lineup this year. Continuing the theme of raucous action, director Timo Tjahjanto, known for his visceral action and horror films, brings his signature intensity. Visually, it’s a knockout. Tjahjanto has a great eye for detail, and the world he creates has a fittingly grim atmosphere, with rugged and harsh cinematography that casts gloomy shadows that mirror the inner torment of 13, an agent of a ninjalike task force called The Shadows. Tjahjanto’s distinct style is evident, and while he delivers suspense and violence, the film doesn’t fully capitalize on its more profound themes. Simply put, The Shadow Strays met expectations, but it doesn’t go for anything more than surface-level substance. In true Tjahjanto fashion, the fight scenes are brutal and expertly choreographed, giving the film a raw, kinetic energy. Constant tension is in the air as 13 tries to fend off anyone who will stop her from rescuing a young boy from a crime syndicate. Masked with brutal kills and cheeky dialogue, Tjahjanto made The Shadow Strays the way people would expect it to be narratively. The film’s premise is basic, blending clichéd action plot points and character developments that either feel forced or insufficient. The story often feels disjointed, jumping between flashbacks of 13’s past and her current mission. While this provides insight into her backstory and eventually connects the dots to other characters in the movie, it sometimes disrupts the flow and makes the plot convoluted. There are moments where the story feels like it’s holding back, as if there are more layers to explore, but the film chooses action over introspection. Character development is another area where The Shadow Strays could have pushed further. Yet, apart from 14, played with quiet intensity by Aurora Ribero, the other characters don’t feel as fully realized. Their motivations are hinted at but not explored in depth. From the helpless kid to the hardnose instructor and the mysterious handler to the tall, muscular henchman, The Shadow Strays finds every action movie cliché and throws it at the wall. Some may argue that characters such as these need no development, but it’s hard to understand or relate to them in some capacity when the movie gives them no room to breathe. That said, the film excels in its execution of tone and action. Tjahjanto effectively uses silence and slow-build tension, and when the action does hit, it’s relentless. This blend gives the film a unique edge, and fans of Tjahjanto’s previous work will find plenty to enjoy in his signature blend of brutality and style. Every punch, jab, and creative kill brings the movie its wow factor that never lets up. There are also tiny moments that speak loudly, like the finale finding a needle drop in M83’s “My Tears Are Becoming a Sea.” 2024 has been a year chock full of chaotic action movies worldwide. South Africa and Germany had Boy Kills World , India contributed with Kill and Monkey Ma n , and now Indonesia added themselves to the list here with The Shadow Strays . It’s a film that hints at greatness but ultimately stays within the confines of being a well-executed genre piece, and for fans of brutal action, it’s a journey worth taking—even if it doesn’t quite stick the landing. Action and Tjahjanto fans will eat the movie up, but regular cinephiles and moviegoers won’t be in as much of a chokehold. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. SHOP 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. SHOP 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. SHOP 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. SHOP 'The Shadow Strays' Review Action and Tjahjanto fans will eat the movie up, but regular cinephiles and moviegoers won’t be in as much of a chokehold. SHOP

'Presence' Review September 6, 2024 By: Hunter Friesen Presence had its International Premiere at the 2024 Toronto International Film Festival. Neon will release it in theaters on January 17. To label Presence as a horror film feels a bit misleading, as is the indication of quality with the flag for the film’s January release having already been firmly planted by distributor Neon. The scares are never in your face, although the camera (also helmed by Soderbergh under his now-famous pseudonym Peter Andrews) does get quite close to the actors. That’s because the camera is a character, not just in the metaphorical sense, but in the literal sense that the camera acts as the first-person perspective for a character. This character can’t be seen or heard by anyone else in the cast, as they are a ghost roaming the halls and rooms within an upscale house residing in a suburban neighborhood. The story is told entirely from their perspective, a silent protagonist who observes everything, yet (mostly) takes no action. This bold experiment is another in a long line of Soderbergh’s forays into altering the perception of what stories should be told in this age of digital cinema. iPhones were used as cameras for his one-two-punch of Unsane and High Flying Bird , and Mosaic allowed the audience to experience the mystery through an app. But while those projects were meant to radicalize the process of making films, Presence opts for what’s right in front of your eyes. There’s a Michael Haneke-esque feeling of tension and voyeurism to every scene, each unfolding in a single take and being broken up with cuts to black. Some of the characters can feel that they are being watched, while others are totally oblivious to it. The most sensitive is teenaged Chloe (Callina Liang), the youngest in the newly moved-in family. She’s dealing with the trauma of recently losing two of her friends, both of them dying under mysterious circumstances. Her feelings of unease are only exasperated by the happenings around the house, such as doors creaking shut and objects suddenly falling off shelves. The rest of the unit is either in some stage of denial or acceptance of what’s going on around them. None of them know the 5 Ws and H for this entity, but they all realize deep down that something is happening. The initial buildup to the mystery is where Soderbergh and veteran screenwriter David Koepp (also the writer for Soderbergh’s Kimi and upcoming Black Bag ) flex their creative muscles to their fullest potential. As the homeward-bound camera weaves its way around, we gather snippets of the dynamics between the family. Mom (Lucy Liu) is controlling and pushy, obviously showing greater favor to the oldest son (Eddy Maday), while the dad (Chris Sullivan) tries to keep the peace. Secrets and subplots start interweaving from there, with mundane lines of dialogue from one scene acting as the hidden puzzle piece to unlock something later. Even at 85 minutes, nothing about Presence can be described as brisk, with the latter half of the film not following through with as much vigor as the setups would promise. A few reveals and twists are not as satisfying as they should be, with a little bit of a “Is that it?” energy permeating the entire experience as you walk out of the theater. The actors are all fine, especially Liang and Sullivan, with their characters sharing a deeper bond, and the technical experiment is perpetually interesting. This is more than a VR experience, although it could be a more than worthwhile starting point for something of that caliber in the future. Must Read 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. SHOP 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. SHOP 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. SHOP 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. SHOP 'The Shadow Strays' Review Action and Tjahjanto fans will eat the movie up, but regular cinephiles and moviegoers won’t be in as much of a chokehold. SHOP

'The End' Review September 13, 2024 By: Hunter Friesen The End had its Canadian Premiere at the 2024 Toronto International Film Festival. Neon will release it in theaters on December 06. Time is an illusion for the family at the center of The End . They’ve lived in their underground bunker for about 25 years now, the only reference to that being the youngest child now being in his later 20s after moving in early childhood. They have perfectly synchronized watches and senses of time, even though they haven’t seen the sun since submerging, and, for the most part, there’s no one else left on the surface. So, what’s the point of being able to tell time, then? That question could be extended to almost everything the family occupies themselves with. Father (Michael Shannon) is tasking Son (George MacKay) with writing his biography, complete with a triumphant origin full of fearless charity work and sacrifice. Never mind that he was the president of one of the most polluting energy companies in the world, or that this book will never be read by anyone who doesn’t already know these fables. Mother (Tilda Swinton) spends her time creating galleries in the living rooms out of the assortment of paintings they took with them. They are a perfect family unit, so much so that they must break into a harmonious song to prove it. Yes, even in the darkest depths of the Earth at the end of humanity, you can still find a reason to sing and dance. Co-writer/director Joshua Oppenheimer, famed for his one-two documentary punch of The Act of Killing and The Look of Silence , makes sure that his fiction feature debut is as bold and audacious as one would expect. The joys and guilt of still being alive merge through the dozen-ish musical numbers, all of them allowing the characters to momentarily express the deep feelings they perpetually repress. The Golden Age influences of Jacques Demy and Vincent Minnelli supply the bravura necessary to surpass the inherent limitation of a confined space. The camera swirls endlessly throughout the halls and rooms as the actors, supplemented by Marius De Vries and Josh Schmidt’s booming orchestrations, sing to the balcony, their confidence more important than their physical abilities. They sing in a literal echo chamber, with the widescreen cinematography capturing the monumental beauty of the enormous salt mine that encloses their bunker. The paintings that cover every inch of the wall have an unrealistic beauty to them, portraying the Earth as a heavenly paradise. They are the windows for this windowless prison, ironically romanticizing the world that these characters may or may not have had a heavy hand in destroying. Oppenheimer and co-writer Rasmus Heisterberg don’t spell it out for us, leaving little drops that our doom-scrolling mentalities can use to fill out the rest. All we know is that the world has gone to shit, the family left everyone behind, and they refuse to talk about it. That all changes once Girl (Moses Ingram) enters the picture. She’s the sole survivor of her family, sharing the horror stories of the surface that the family refuses to reckon with. Oppenheimer’s documentaries about the Indonesian genocide held up a mirror to their subjects, forcing them to listen to their evasive explanations. This isn’t much different, with the family lying to them, keeping them from doing anything more fulfilling than just surviving. This could have so easily been an “eat the rich” satire in the same vein as Triangle of Sadness . There are several opportunities where Oppenheimer could have taken a cheap shot at these characters, putting them through the wringer while having us point and laugh at them. This is an absurdist concept with humorous moments, but it’s also so deftly sincere that you can’t simply excuse it. These are rich characters, both emotionally and financially, with their inner delusions offering a complex lesson on how we handle the horrors that are right in front us. Our irony-pilled culture may not have the skills necessary to appreciate something so genuine as this, especially with a cast of such despicable characters (at least on paper). The cast all deliver stellar performances, especially MacKay, who remains emotionally stunted as he’s had never had any references for how to grow up. There’s beauty and horror in how he comes to realize him and the family’s place in all this, a microcosm of how the glitziness of the musical numbers and the seriousness of the messaging creates a long-lasting experience that will not be forgotten. Must Read 'Blitz' Review A good film is still a good film, although it still tastes a little bitter when you know it could have easily been better. SHOP 'Here' Review For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. SHOP 'A Real Pain' Review By the time the ninety minutes are up, A Real Pain has taken you on a journey with not just these characters, but also with yourself. SHOP 'Magpie' Review It’s a delectable cake, with just a bit too much sugar added. SHOP 'The Shadow Strays' Review Action and Tjahjanto fans will eat the movie up, but regular cinephiles and moviegoers won’t be in as much of a chokehold. SHOP