Pretty people. Pretty setting. Pretty boring.
Read my full review (https://theoscarproject.substack.com/p/review-anyone-but-you)
I appreciate how the film is driving home the idea of the yin and yang, these two men both on the same mission, but from different sides. In nearly every scene, you wonder who you should be sympathizing with. It’s a difficult decision because one choice gives you the truly good guy (Yan) who is helping the bad guys, even at the same time trying to get information to his superiors. The other choice sides you with the cop who is playing at trying to stop the drug lord, but secretly working for him. It’s all very confusing, but worth every second of moral torment.
Check out my full review at The Oscar Project on Substack (https://theoscarproject.substack.com/p/classic-review-infernal-affairs)
The film doesn’t take itself nearly as seriously as either The Gentleman or Wrath of Man, and that’s a good thing. Henry Cavill is in rare form and the supporting cast of Alan Ritchson, Henry Golding, Alex Pettyfer, and Hero Fiennes Tiffin deliver strong performances.
I love the interplay between Babs Olusanmokun and Eiza Gonzalez, especially her flirtations with the German leader.
The soundtrack was on point too.
Story was a bit lacking and you pretty much know how it's going to end, but I didn't care as I had a ton of fun with this film.
Read my full review on Substack (https://theoscarproject.substack.com/p/review-the-ministry-of-ungentlemanly)
I think the drone shot of Neagley and Dixon getting to the house is my favorite shot of the entire series.
This should be required viewing for every citizen of Russia right now, even though many will disregard it all as fake.
Loved the Blade Runner vibes in this episode. nice way to start off the season.
The strength of the movie is that relationship between Percy and Maddie. Percy gets to learn a bit more about the world outside his room where he plays video games most of the time, and begins to understand how much his parents (Matthew Broderick with an amazing wig and Laura Benanti) have been stifling his growth with their helicopter nature. Maddie on the other hand learns how to be a bit of a kid again, enjoying her time with Percy despite her financial troubles and the fact that she feels stuck in Montauk.
Read my full review on Substack (https://theoscarproject.substack.com/p/review-no-hard-feelings).
For people who like action in their films, you won’t find it here. The Assistant truly is a study in this character and what she deals with on this one day. We get glimpses of the broader world she inhabits when lower ranking managers get called to join the big boss on a cross country trip to L.A. that evening. We see bits of Jane’s relationship with her fellow assistants and her boss when the two men she shares the office with try to help her with an apology email to the boss when Jane says the wrong thing to his wife on the phone.
But it’s the things that go unsaid in the film for the first half that really strikes a nerve and keeps the viewer on edge. It should come as no surprise that the unfaithful film executive is at least loosely modeled on Harvey Weinstein and it’s hard not to envision his face when you hear the boss on the phone. While we never really see his character in the film, he is a weighty presence in the film, just based on his actions.
Read my full review on Substack (https://theoscarproject.substack.com/p/review-the-assistant).
The first thing you’ll notice about The Burial is the cast. While not packed with big names, the top billing of Jamie Foxx and Tommy Lee Jones is excellent. Foxx especially is in top form throughout the film and gets several opportunities to shine through long extended takes, fully inhabiting the personality of Willie Gary. I’m always a sucker for long takes in film, and when Foxx held the spotlight for a good five minutes delivering closing arguments in a courtroom early in the film, I couldn’t take my eyes off him.
Jones is exactly what you would expect from him while playing Jeremiah O’Keefe, an aging funeral home director from Mississippi in financial trouble. He plays the character pretty much one note throughout, but it feels real, exactly how a funeral director would be in every situation. Alan Ruck is chewing scenery as O’Keefe’s longtime lawyer Mike Allred, who brings some Southern “good ole’ boy” prejudice to fuel the conflict himself and Gary. It’s something that is simmers just below the surface of the first half of the film before exploding in spectacular fashion.
The great discovery for me was Jurnee Smollett, facing off against Foxx as Mame Downes, the lawyer hired by the defense. I remembered enjoying her in Birds of Prey a few years back, but don’t recall seeing her in anything else to date. While she is given a tough assignment here, she nails the portrayal as the ruthless young lawyer.
Read my full review on Substack (https://theoscarproject.substack.com/p/review-the-burial).
For my money, “The Swan” is the weakest of the four films in this little series. Perhaps my vision was clouded because of how much I enjoyed “Henry Sugar,” but this one just felt a little flat. The acting is still top notch from Rupert Friend as an adult man telling the story of the time his younger self was tortured by two neighborhood bullies. The set design is also similarly excellent and integrated so well with the cinematography, but a few of the directorial choices left a bit to be desired.
Read my full review on my Substack. (https://theoscarproject.substack.com/p/review-the-swanthe-rat-catcherpoison)
This short returns to one of the best parts of “Henry Sugar” and that is Patel’s rapid delivery of narration even while acting out the things he speaks. Toward the midpoint of the film, when Woods calls Dr. Ganderbai for help, Patel’s narration indicates a pause for three seconds…which the two actors quickly oblige, holding the audience’s attention in rapt silence before continuing.
Read the full review on my Substack. (https://theoscarproject.substack.com/p/review-the-swanthe-rat-catcherpoison)
The high point of this short has to be Fiennes’s acting as he inhabits the role of a man who focuses so intently in thinking like a rat, that he has become quite ratlike himself. Ayoade provides the narration similar to Patel and Cumberbatch in “Henry Sugar,” but is able to interact with the other actors more than in his previous outing.
Read the full review on my Substack. (https://theoscarproject.substack.com/p/review-the-swanthe-rat-catcherpoison)
I remember reading this book as a boy and it appealed to me because it was short. Much the same way the book Henry finds in this story, you can sit and read Dahl’s story in just a half hour or less.
While the entire production is top of the line, the cast is where this film really hits it out of the park. Cumberbatch is perfect as the titular Henry Sugar and Kingsley makes a fantastic man who can see without his eyes. All of the actors play multiple roles and Ralph Fiennes shines as Dahl himself, setting up the story from his writing chair and looking rather like the BFG or the pictures you’ll find of the real Dahl in the back of his books.
Read my full review on my Substack-https://theoscarproject.substack.com/s/reviews
Wondered why it felt like I'd just watched this episode and then I remember my son had the bool with this story out from the library last week.
So glad to have a meatier episode. I could tell right away this was one that Filoni directed. Going to have to go back and rewatch some CW for those flashback scenes.
Somehow these shows always have me missing the days when an episode was a standard hour (with commercials). This was so short after the first two tremendous episodes.
That said, I liked the training sequence and we got to see some Force stuff that was newish during the space battle. Still waiting for the big baddie to show his face but damn if that bureaucracy doesn't keep getting in the way.
What an end to the season! This had really strong "I am Locutus of Borg" vibes at the end and can't wait for another dose whenever we get it.
Part of my really hates that we know the fate of certain characters. I mean, I never truly thought Chapel and Spock were in any peril. However, I was distracted enough by the action in the second half of the episode that I didn't think about the fact that M'Benga, La'an, and Ortegas were missing until the very end. I absolutely love those characters and don't want them to go anywhere, but it opens up spots for McCoy and Sulu. Especially since they chose this moment to introduce Scotty and we've already seen Kirk in this season, I feel like it's only a matter of time before we put the rest of the originals together
That said, this episode had me on the edge of my seat, and left plenty of things open ended going into the next season. My hope is that the Hollywood studios figure their stuff out yesterday with the writers and actors and get back to production on content like this. This is what we need and the fact that we might have to wait two years before we find out what happens to these great characters pains me to no end.
Enjoyed this for what it was, an action film that tries to look at things in a little different way. Thought the trailers set things up a bit differently than the actual film, insinuating that Mills was sent back in time rather than from another planet entirely. I did like the fact that the story took place EXACTLY at that point 65 million years ago and actually appreciated the fact that I didn't initially connect that to the asteroid impacts that disable the ship in space. It could be seen as a bit of a contrivance, but thought the visual attention to that cataclysmic event was well done and was an interesting turn since that was the true danger, not the dinos we already knew about in the trailer.
Looking forward to more Adam Driver in action roles like this and absolutely loved Ariana Greenblatt ever since she played young Gamora in Infinity War. Don't go into this expecting perfection, just have some fun with the ride.
A fine addition to the franchise that unfortunately doesn't really do much to further the stories already told. That said, I won't ever get tired of hearing Peter Cullen's voice as Optimus Prime.
Interesting concept brought down by what felt like forced accents and a bit of dialogue that didn't fit the period. Sound direction is strong as with "Yellow Belt Fury."
After watching Hughes's short "Happy Mart," I didn't have high expectations for this, but this actually had some story to it that I could engage with. I loved the tight editing and the sound design struck me, especially in the final scene. Fun piece.
After all was said and done in this episode, I'm a bit confused and conflicted. I get that this was supposed to show the toll that war can take on those involved, but the ending seemed very abrupt. There were no consequences for M'Benga in this episode and with only two left in the season, I wonder if they will ever come. I think the individual character focused episodes this season have been great, but this one just felt a bit "off". I still stand by my earlier love of the Clint Howard cameo though. :)
Tried and true Trek theme with the time travel and after nearly sixty years it works just as well as it always has. While I missed most of the rest of the crew throughout the episode, I loved seeing Christina Chong nail the ending and give her character some added depth. Can't wait to see what the rest of the season brings us throughout the summer!
Television needs more 10 minute cold opens like that.
Deadpool 2 brings the return of Wade Wilson and all his wisecracks, this time teaming up with a group of mutants he calls X-Force to help save a young mutant named Russell who is being chased by the time traveling Cable.
This is the rare sequel that lives up to the original while at the same time furthering the story of the central character. Deadpool (Ryan Reynolds) is up to his old tricks, fighting crime and living his best life with his now fiancé Vanessa (Morena Baccarin). When Vanessa is killed by a baddie that Wade didn’t do away with, he falls into despair and tries to end things in a fiery gasoline-fueled explosion in his apartment. Of course, his healing abilities allow him to come back even from that, and team up yet again with Colossus Stefan Kapičić), and Negasonic Teenage Warhead (Brianna Hildebrand), both returning from the first film.
After an abject failure in their first team-up, Wilson is thrown in a mutant prison with Russell/Firefist (Julian Dennison), a young mutant who had been abused at the hands of the staff of the “Mutant Re-education Center” where he lived. The prison facility is attacked by Josh Brolin’s Cable, taking a break from playing his better-known Marvel villain, Thanos. As Deadpool enters the MCU arena, it will be interesting to see how this is reconciled over the coming years.
Deadpool puts together his team of heroes that he calls X-Force, again failing at the outset of their mission to save Russell, with only Domino (Zazie Beetz) and Wade’s cab driver friend Dopinder (Karan Soni) surviving. In the final standoff, we learn that Cable is not what he seemed at first, and get to see another classic Marvel villain, Juggernaut, appearing on film for the first time since 2006’s X-Men: The Last Stand.
Deadpool 2 continues the idiosyncrasies from the first film including breaking the fourth wall and narrating the action at times. There is also a plethora of hidden cameos in the film from such actors as Matt Damon, Brad Pitt, and Terry Crews. It also deals with the ideas of time travel, something that the greater Marvel Cinematic Universe has delved into more deeply in recent years with Avengers: Endgame and Loki, just to name a few.
What works for the first film, continues to work here. But while the first film is a true origin story, this sequel takes Deadpool in a different direction, shifting from trying to save his damsel in distress by himself, to working with others to save someone not so much unlike himself. I hope that the third film is allowed to work in this same way and not hamstrung by Disney and Marvel executives trying to fit it into the more traditional MCU mold.
With the announcement recently that Deadpool 3 is in the works and includes a final(?) appearance by Hugh Jackman as Wolverine, I felt it was time to revisit the first two Deadpool films and deliver some official reviews. So, without further ado, my Deadpool review.
This was such a nice pallet cleanser after the Venom films I reviewed the last two weeks. Looking back, it almost feels like both Venom and Venom: Let There Be Carnage were trying to have the humor and wit of Deadpool, but couldn’t take the leap, stumbling in the process. That said, Ryan Reynolds is the straw that stirs the drink in this film. It doesn’t work with anyone else playing Wade Wilson/Deadpool, but you can probably put just about anyone around him, and it will work.
That’s not to say that the supporting cast is bad. Just the opposite. T. J. Miller is great in a limited role as Wade Wilson’s best friend and Morena Baccarin’s Vanessa goes toe to toe with Wilson as their relationship grows through the film. Ed Skrein’s portrayal of Ajax is not as memorable, but sufficient as the lead villain. Further down the supporting cast list, Gina Carano as Ajax’s sidekick Angel Dust feels very one dimensional, and a bit of a wasted opportunity. On the other hand, Negasonic Teenage Warhead (Brianna Hildebrand) and Colossus (Stefan Kapičić) provide a lovely connection to the world of the X-Men, and feel like fuller characters than either of the villains.
Now, Deadpool does things often considered no-nos in film. There is plenty of narration from the main character and Deadpool breaks the “fourth wall” numerous times, giving the audience a knowing wink from behind his mask. It also blends comedy and brutal action into an R-rated piece that was well overdue from Marvel at the time.
Even being so self-aware, the film doesn’t diverge into ridiculousness. It toes that line, while flinging itself completely across the line of violence, something not seen in most other Marvel films. Not for the faint of heart, rather than tell you Deadpool is nigh indestructible, you see it in all the bone breaking detail. One scene is even reminiscent of Monty Python’s Black Knight with Deadpool fighting on despite having only one leg to stand on.
If yours is a family that likes watching Marvel movies together, make sure to put the kids to bed before putting this one on. It earns the R-rating, but everything that contributes to that rating feels relevant. Some of the blood and gore could be a bit excessive, but it still serves to drive home the point of Deadpool’s physical resilience, even if he is a bit weaker emotionally. A well put together film and worthy of a place in the MCU once that connection is made.
Last week I posted my review of the first Venom film from 2018 and made it a point to follow it with the sequel, Venom: Let There Be Carnage, this week, hoping the series would improve. Sadly, I was disappointed, despite the best efforts of cast and crew.
The sequel was set up very obviously at the end of the first film with a credits scene, something Marvel is so well known for. However, in this instance, it didn’t connect to some other character or series, but rather simply foreshadowed the obligatory sequel for films like this, regardless of the quality of the original.
Did we need another Venom movie? Probably not. Are we going to get even more after this one? Probably.
When it comes to the character, I echo what I said for the first film that I prefer Hardy’s version of Eddie Brock/Venom to Topher Grace’s. I also appreciated the fact that Venom and Eddie became a bit more distinct in this film, with a few characters in the know addressing Venom directly, regardless of whose body he was in at the time. Michelle Williams ups her game in this film from the first despite her limited screen time.
As far as the villains, I believed less in Woody Harrelson’s Cletus Kasady/Carnage and Naomie Harris’s Shriek than I did in the first film’s version of Riot. Don’t get me wrong, I love both Harrelson and Harris as actors, but this material didn’t quite suit them, and it never seemed like they really inhabited the roles.
And of course, I have to mention director Andy Serkis. Gollum himself has moved into the realm of directing, initially helping Peter Jackson with some second unit work on the Hobbit films, before directing full features. I love his work as an actor, but I think Serkis is still trying to find himself as a director and I would love to see him take on some smaller projects to hone that craft. Not everyone can jump right into the deep end on projects like this, and it shows.
I’m sure we’ll keep getting more offshoot films like this from Marvel. There is a credits scene here which connects this directly to SpiderMan: No Way Home but I think this part of the franchise would do well to come fully under the Kevin Feige Marvel umbrella and officially jump into the MCU.
This is what cinema was created for.
I came into this with no prior knowledge of the video game series and probably for the better. Many reviews I've read from fans of the game are not happy with this film, but I found it fun. Wahlberg and Holland have a great chemistry together and I always love Antonio Banderas, even with the limited screen time he got here. Sophia Ali and Tati Gabrielle, both new names to me, put in strong performances against the 'A' list headliners.
This film felt like a modern Indiana Jones with a touch of Lara Croft all mixed with a Dan Brown novel. At times, I definitely had the sense that I was in a video game world, where the main characters were unlocking puzzles, each one leading to the next, but never in a way that didn't belong.
Judging by the credits scene, there will be more uncharted films to come, I just hope we get to see more of the cat!
