Reviews

I don’t remember ever seeing a sports-related horror-adjacent movie, until now. HIM is about Cam Cade (Tyriq Withers), a footballer influenced by his football-religious family, determined to be the next “GOAT” (Greatest Of All Time). He idolizes the current GOAT, Isaiah White (Marlon Wayans) who is looking for a successor. After a bad head injury (not from football), he gets the opportunity to train for a week at Isaiah’s home in the middle of nowhere. As the days go by, Cam develops a lingering uncertainty due to Isaiah’s unconventional methods and behavior, as did I. This premise is intriguing, but this is where the movie fumbles. It bashes you in the head with its symbolism (speaking of head trauma), it never really grounds itself in reality. Not knowing what’s real or not gets annoying after a while. Wayans does a great job in a dramatic role, being unhinged and terrifyingly intense. There are some outstanding special effects displayed here. They work to emphasize how damaging football can be to the human body and mind. The characters are magnetic and intriguing, but the messaging is a little too “on-the-helmet”. I can see how the stylistic choices might be a bit much for people. It tries to be about way too many things, all of them never breaking the surface. Yes, the actors are putting in the work. Yes, it’s stylistic AF. I wouldn’t blame you if you thought this movie was made by Jordan Peele, since his name is plastered everywhere in the marketing. His production company Monkeypaw produced this fever dream of a movie. This is actually directed by Justin Tipping and written by three different people. I’m sorry, but if you have a poor script, no amount of visual flair or high level of acting is going to save your movie. I didn’t hate it, and I don’t regret seeing it, but I can’t recommend it. Overall, HIM throws a lot of visual flair and captivating performances on the screen, but it just feels hollow, until the last scene, which is way too late. I recommend you see DEVIL’S ADVOCATE instead. It’s eerily similar; I mean, just look at the posters.

Most millennial romance movie ever (derogatory).

"A Big Bold Beautiful Journey" is a film so saccharine that it made me nauseous, so self-important and so insistent in rubbing its “Live Laugh Love” messages and themes across my face that I just couldn’t take any of it seriously.

Farrell and Robbie are great, and Kogonada directs this with such a beautiful eye for detail in colors and lighting that I would have rather watched the film just in stills. Joe Hisaishi’s instantly recognizable touch, too, gives us some of the most rousing and complex compositions of any movie from this year.

The problem is that these great elements are in support of one of the weakest scripts of the year. The two main characters have zero chemistry, so it’s a challenge to root for them to stay together. The “doors leading to moments from their past” gimmick looks cute on paper, but its execution is so trite that you end up getting tired by the time they walk into their third door. And everything feels so forced, so manufactured, that the checkpoints in the characters’ emotional arcs feel more obligatory than cathartic.

To be fair, this wasn’t made for me. I have a really hard time enjoying corny films. That said, I don’t think that’s the only issue here—or even the main issue. The issue is that A Big Bold Beautiful Journey is written with such little sincerity that it keeps you wondering why you should bother to care at all.

El cine siempre nos a dado historias conmovedoras, situaciones espejo que nos disecciona como personas, que nos muestran la cara brillante de la vida, pero también el reverso de esa cara, que a veces preferimos no mirar, pero que no significa que no este ahí.
Esta película es justamente ese lado oscuro, la historia de alguien perdido, que siente no encajar en ningún lugar, que aunque lo poco que sienta que tiene sentido, no le garantice un salvavidas para la realidad que le golpea en cada rincón.
Relatos como estos suelen ser comunes en el cine, pero quizá por su crudeza, por su manera de retratarnos como personas vacías y sin rumbo es que no llegan a tener mas repercusión.
No es una cinta para todos, y es entendible, quizás para las personas mas acostumbradas a la hiperestimulacion, esta historia sea algo innecesario de ver y hasta carente de sentido. Su principal virtud radica en mostrarnos una realidad que esta ahí y que aunque no queramos ver es una realidad latente, y que por sobre todas las cosas, duele, y de que manera.
Magnifica actuación de una jovencisima promesa llamada Liv Hill, que dota a su personaje (y de que manera) de esa rabia e insatisfacción tan característica de la juventud.
En fin, una historia que quizás, no sea objeto de alabanzas, ni de criticas que la encumbren como una obra maestra, ni que alcance el estatus de cinta de culto, pero lo que si es cierto, es que, es una mas que estimable mirada a nuestra realidad, a lo mas cotidiano de nuestra existencia (quizá ahí radique lo perturbador de todo esto), y que sirva, a los que nos atrevamos a dejarnos llevar por la vida de su protagonista, que la vida puede ser maravillosa, de ensueños y de infinitas alegrías, pero que también puede ser desgarradora, cruda y visceral...

Good movie

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DOWNTON ABBEY was (and still is) a great TV series I remember binge-watching it on Netflix, laughing and crying my way through all six seasons. I remember thinking “Why do I love this so much?”. Well, it’s because of the characters I met along the way. I got to know them all, care about them all. Now, after six seasons and two movies, there is one final movie, appropriately called DOWNTON ABBEY: THE GRAND FINALE. Everybody you know and love is back, including the addition of Paul Giamatti and Alessandro Nivola. This movie is quite literally a warm cup of tea. The actors slide back into their characters like one of those fancy extremely long white gloves. The filmmakers make a big deal of seeing the magnificent mansion, they know we love it. When I see it, I think of everything that has happened there. All of the history, the good and the bad. Plot-wise, this movie continues each characters’ stories with a consistent pace. So consistent I wanted even more. Mary (Michelle Dockery) is trying to deal with the absolute scandal of divorce (you can clutch your pearls here), her uncle Harold (Paul Giamatti) comes to Downton with money troubles, a couple retirements, and an amazing dedication to the series that began it all. The emotions run high here, I don’t care if they’re manipulative. DOWNTON ABBEY: THE GRAND FINALE is a must-see movie for fans, probably not for the general public. I don’t want to end this review because then it would be truly over. Well, it’s time to say a fond farewell. I’m not crying, you’re crying.

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It includes autism representation in the series, and I love it

The Bad Guys 2 is fast, funny, and bigger than the first—but what really makes it pop are the female additions. Kitty Kat, Doom, and Pigtail bring bite, wit, and muscle in ways that make the team feel fresh again, and Diane finally gets more agency as governor instead of just the moral compass. The plot can get a little overstuffed, but watching it as a family film, it delivered laughs, energy, and sharp new dynamics that everyone enjoyed.

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Very good

There have been many adaptations of Stephen King’s books, most of them good, with a few exceptional ones. THE LONG WALK was one of his first, written in 1979 after the Vietnam War, under the pseudonym Richard Bachman. This psychological thriller is about a dystopian version of America. The economy has crumbled and everyone is poor. Being run by a totalitarian military regime, they have an annual televised contest called The Long Walk, to supposedly revitalize hope and work ethic. They choose one lucky winner from each state to participate. The rules are simple: Walk or die. Last man walking wins an unimaginable amount of money and one wish. They are commanded by “The Major” (Mark Hamill), who delivers platitudes with a vigor that seem more meaningful than they actually are. What elevates this movie are the performances. Each of these young men are amazingly talented. There are too many to name here, but the highlights are Cooper Hoffman (Phillip Seymour Hoffman’s son) and especially David Jonsson (who was also amazing in ALIEN: ROMULUS). Their relationship is the core of the movie, the comradery between all of them is palpable. Judy Greer’s performance in the very first scene broke my heart, leaving me to pick up the pieces along the seemingly endless stretch of road that these boys walked on. JT Mollner (who wrote/directed STRANGE DARLING) writes a tight script, focusing on the dialogue to keep us entertained and to show us different sides of these characters. I was emotionally invested in each of them. The pace is as steady as if it was in The Long Walk itself, keeping me enthralled the entire time. Director Francis Lawrence doesn’t shy away from the brutality of the simple rules these young boys need to follow in order to survive. It makes perfect sense for him to direct this, as he has directed most of the HUNGER GAMES movies. The movie’s message is more relevant than I’d like it to be. I could get political, but I won’t here. The scariest part of this movie is how the horror aspect becomes normalized, both for the characters and the audience. It’s extremely graphic, realistic, and emotional. It makes some bold choices, differing from the novel quite a bit, I’d say for the better. This movie hit me very hard, and I was tired by the end of this, and I didn’t even walk! I know it’s a high bar, but this is one of the best Stephen King’s best adaptations. It’s heavy and hard to watch, but important. At its heart, THE LONG WALK is about brotherhood, about human beings caring for each other, no matter their background, race, or beliefs. It’s gonna stick with me for a while. This is a walk to remember.