Week 10

Brokeback Mountain (2005)

Genre: Western-romantic-drama

Ang Lee’s Brokeback Mountain still remains an absolutely groundbreaking film, not just for its fantastic story and detailed visuals, but how it introduced LGBTQ+ themes into mainstream cinema. Before Brokeback, gay themes were scarce, even shunned in Hollywood, but Lee’s film, propelled by A-listers Heath Ledger and Jake Gyllenhaal found extreme box office and critical success amid conservative controversy. It even garnered a Best Picture nod at the 2006 Oscars, though it infamously lost to Crash, most probably due to Brokeback Mountain‘s expression of often explicit gay love. The film portrays a pair of 1960s cowboys, Jack Twist and Ennis Del Mar (portrayed by Jake Gyllenhaal and Heath Ledger, respectively), as they begin a taboo relationship while working a summer job herding sheep together. The characters themselves are truly refreshing, and their characterization completely avoids gay stereotypes which were common in early 2000s’ media. Both Jack and Ennis are “manly” men, working to the bone in western garb to return a small profit. The men begin a rocky relationship throughout the years, behind the backs of their families. At home, both Ennis and Jack are the quintessential American Western fathers, with their wives taking care of the kids whilst the both make a living while continuing to go out of their way to meet up with each other. Jack and Ennis’ get-togethers consist of “hunting trips,” on Brokeback Mountain, where the two first met and made love. What Ennis and Jack share is soft and tender, contrasting with their rougher personalities. The love Jack and Ennis have for their wives is much different, being difficult and filled with obligations, yet when Ennis and Jack are together, those obligations melt away, however, they are still held by society’s tight grip, and thus are ashamed of their relationship. Even when their marriages fall apart, Ennis refuses Jack’s offer for the two to live together, afraid to completely lose his children and be subject to the strict judgement of the 1970s. After Ennis’ refusal, the two go on one final trip together, wherein Ennis and Jack fight, and the pair then lose contact with one another as a result. Months later, tragedy strikes and Ennis is left feeling emptier than ever, but is invited by Jack’s mother, now aware of the true nature of Ennis and Jack’s relationship, to take Jack’s shirt that he wore in Ennis and his last fight. Years later, it’s shown that Ennis still hangs onto Jack’s shirt like a prized possession, and that Ennis pins all of the postcards he received from Jack onto his wall, showing that his love for Jack has not waned. Brokeback Mountain is revolutionary in the way it portrayed gay love as tender, and this love-against-all-odds story can even touch the most bitter of homophobes. Before the movie’s release, many of the advertisements would portray Ennis and Jack’s relationship with their wives, tricking the audience into believing that what they were seeing was another heterosexual romantic period drama, yet Brokeback Mountain goes so much beyond that by also focusing on the struggles that LGBTQ+ people face and how normalized homophobia has become. Overall, this film is fantastic and though I shed major tears during it, it’s definitely something special and a must-watch for everyone.

Final Rating: 9.2/10

Week 9 

But I’m a Cheerleader (1999) 

Genre: Romantic Comedy

Honestly, no matter how many films I’ve seen, there’s nothing as unique as But I’m a Cheerleader. From its quirky visuals to its surprisingly poignant story underlined with sharp satire, But I’m a Cheerleader is truly a diamond among often cliched and even downright offensive LGBTQ+ movies. Though panned by mainstream critics, this film is one that can truly only be appreciated by the LGBTQ+ community due to its messages of hope and self-expression targeted to late-90s LGBTQ+ youth. The reason this movie is so effective at relating to its intended audience is because its written and directed by a lesbian, Jamie Babbit, and produced by her then-girlfriend, Andrea Sperling. Even today, most movies with LGBTQ+ themes are spearheaded by straight people, thus depictions of LGBTQ+ people and their relationships can often be cliched or downright problematic (see Blue is the Warmest Color). But I’m a Cheerleader serves as a refresher from the mainstream, allowing LGBTQ+ audiences to truly relate to the struggles that protagonist Megan goes through in conversion therapy. But I’m a Cheerleader is also incredibly brave for its time, mocking homophobia instead of exploiting it, and the best example of this is casting the gay icon RuPaul as Mike, a staff member at True Directions conversion therapy. When Mike’s character was first introduced, I was absolutely howling with laughter that THE RuPaul was taking Megan to True Directions. Of course, this film isn’t all about comedy, as conversion therapy and homophobia is still an incredibly sensitive topic in the LGBTQ+ community today. Not only does But I’m a Cheerleader combat homophobia through extreme satire, but by presenting a tender relationship between Megan and Graham (played by Russian Doll‘s Natasha Lyonne and lesbian legend Clea Duvall, respectively). Graham is a smug, masculine lesbian, whilst Megan is quite the opposite, being a shy, femme lesbian. While their characters both help introduce the audience to lesbian archetypes, their characters run so much deeper than these common clichés. Their relationship is so natural though the two are opposites, however, both deal with opposite struggles. Megan deals with accepting herself and her identity while Graham, confident in her orientation, is afraid to defy her father in favor of Megan. The two work through this together, and finally overcome their conflicts for one another. This is symbolized through Megan’s absolutely adorable declaration of love near the end of the film. I often come back to that scene when I’m feeling blue, and it truly helps me feel better.  

The themes of But I’m a Cheerleader are best complimented through Edward Scissorhands-esque visuals, with the traditional colors of bright pink and blue representing gender norms. All of the occupants of the True Directions program are assigned either pink or blue based on their gender, thus one may believe that the gay relationships portrayed in the film will fall along gender norm lines. However, But I’m a Cheerleader breaks down these stereotypes, reminding the audience that there’s no “masculine” or “feminine” roles in a gay relationship, there’s just two people of the same sex, each occupying a place in the relationship not on the basis of sex.  

But I’m a Cheerleader was the first film I saw depicting a WLW relationship, and it stuck by me as I was struggling with my own bisexual identity. It’s a personal favorite of mine and a great film to watch when you’re feeling down. 

Final Rating: 8.5/10 

Week 8

Over the Garden Wall (2014)

Genre: Animated dark fantasy-adventure

Yes, I’m aware this was technically a miniseries, but I watched all 10 episodes in about 90 minutes on HBO Max, thus I’m counting it as a movie. Coincidentally, this is also my fourth week in a row reviewing an Elijah Wood project. Anyways, Over the Garden Wall is the perfect autumn viewing experience, with quirky animation complimented by a tasteful color palate. I’m no artist, but I’m overall impressed by the color and shading work in the series, as it truly adds to the multi-layered mystery that brothers Wirt and Greg attempt to unravel to find their way home. Though Over the Garden Wall was broadcasted on Cartoon Network and subsequently made for children, even as an adult, the series is incredibly unnerving, even in its comedic parts. There’s just this undertone of darkness which haunts Wirt and Greg’s journey through the Unknown, and it seems, no matter how friendly the friends they make might seem, trust is still uneasy, both for Wirt and the audience. Over the Garden Wall reads like a fairy tale, with two young boys on a twisted adventure, yet there’s still something wrong. Something the audience is unable to truly grasp until the final episode, wherein the puzzle is shakily put together, only with one final question remaining.

The miniseries would be incredibly bleak without Greg and Wirt’s dynamic, with Wirt being the awkward preteen older brother, and Greg as the curious little one. Greg’s innocence and curiosity serves not only as characterization material, but as a plot driver and comic relief. Greg and Wirt’s devotion to one another drives the plot along, as Wirt tries to protect Greg in every way he can, though not without frustration. The introduction of the bird Beatrice interrupts this bond, as Wirt, naturally untrustworthy, disapproves of her and Greg’s friendship, thus changing the character dynamics.

Over the Garden Wall is bolstered by a star-studded cast including Elijah Wood (Wirt), Christopher Lloyd (The Woodsman), John Cleese (Adelaide and Quincy Endicott), and Tim Curry (Auntie Whispers). All actors truly show off their incredible voice acting talents, with Elijah Wood taking center stage with his dynamic portrayal of the awkward Wirt.

One of my absolute favorite scenes within the series has to be when Wirt and Greg board a riverboat filled with anthropomorphic frogs, all joyously dancing and enjoying their cruise on the rivers of the Unknown. It’s such a simple and quaint scene that makes one forget to darkness of Wirt and Greg’s situation, and the dangers present in the Unknown. It’s a scene that entices you to join in, and blankets you with this childlike nostalgia that only an adult audience would feel. There’s truly a lot of love put into this production, and from the way Over the Garden Wall makes you feel, it truly shows.

Overall, Over the Garden Wall is a piece I’ll revisit every fall, not just for its autumn visuals and themes, but for it’s complicated feelings. There’s something so profound about Wirt and Greg’s journey that I find it difficult to put into words, thus I encourage you to watch it for yourself.

Final Rating: 10/10

Week 7

The Lord of the Rings: The Return of the King (2003)

Genre: Epic-Fantasy

The final movie of a series can either make or break the saga, but The Return of the King goes way beyond faithfully completing Tolkien’s epic trilogy, and satisfies audiences while remaining true to Tolkien’s themes and vision in this penultimate film. There’s a reason The Return of the King swept the 2004 Oscars, winning in all categories in which it was nominated, including Best Picture and Best Director, for a total of 11 Oscars, among numerous other film awards.

Unlike The Two Towers, The Return of the King doesn’t start where the previous film left off, and instead throws the audience into the midst of a flashback depicting how Gollum acquired the ring. Not only does it remind the audience of the origins and dangers of the ring, but also presents the beginning of Frodo’s own conflict with the ring as he, Sam, and Gollum approach Mordor. The beginning also sees Merry and Pippin reunite with Gandalf, Aragorn, Gimli, and Legolas, bringing the majority of the fellowship together once more as the battle with Sauron nears. After this reunion, Sauron’s power is explored through Pippin’s close encounter with the figure, revealing Sauron’s intentions to attack Gondor, but also his ability to contort Pippin’s mind through fear. After this incident, Pippin is split from Merry and taken by Gandalf to Minas Tirth in order to warn Denethor, the steward of Gondor, of Sauron’s impending attack. Merry and Pippin’s split truly shakes up the dynamics of the remaining group, but also helps Merry and Pippin develop as individual characters, giving them a stoic character development that Tolkien describes in the novels. Similarly, Pippin and Merry’s heroic split can be compared to Sam and Frodo’s, wherein Gollum takes advantage of Frodo’s fragile mental state to remove Sam from the equation, and engineers a fight between the two which causes Sam to leave his beloved. Gollum then leads the weak Frodo into a trap which he hopes will cause Frodo’s death and the eventual return of the ring to himself. However, Sam comes back, unwilling to abandon his dear friend, and is heartbroken to discover Frodo’s “death.” Before he can properly mourn Frodo, orcs come and take Frodo’s body, and Sam soon discovers Frodo is just in a state of paralysis, and goes on a rescue mission. Armed with Frodo’s sword and guarding the ring (which he cleverly removed from Frodo’s body) Sam marches into the Orc fortress alone to successfully rescue Frodo, in both a shining moment of Sam’s heroism and Sean Astin’s acting chops.

The story continues, with Aragorn, Gimli, and Legolas recruiting an undead army, and Faramir falling wounded in battle, driving Denethor, overcome with loneliness, to attempted murder-suicide, the latter of which is successful. Of course, there’s also an epic battle occurring outside the walls of Minas Tirth too, and the Riders of Rohan, accompanied by a disguised Eowyn and Merry, join forces with Gondor in order to weaken Sauron’s army for the good of Middle-earth.

As Frodo and Sam approach Mt. Doom, and perhaps certain death, war still rages throughout Middle-earth, yet a war rages within Frodo as well. The closer the pair get to Mt. Doom, the more desperate the ring becomes, attempting to leech out Frodo’s humanity piece by piece, yet what the ring doesn’t know is that the biggest part of Frodo’s humanity is Sam. A hobbit whom he arguably loves, and this love is best shown within Frodo and Sam’s struggles in The Return of the King. At points Sam even volunteers to carry the ring, aware of its power over the psyche, but Sam does not desire the ring. Sam does not allow the ring to have any power over him because Frodo’s power over Sam, and their relationship, is much more powerful than any ring. Sam stays with Frodo, and even gives Frodo the last of his food and water, and even when starving and dehydrated, Sam carries Frodo up Mt. Doom. Their bond keeps them alive, and the chemistry between Elijah Wood and Sean Astin is what makes the relationship we see on screen so remarkably unique. Usually in fantasy movies, the protagonists are rough, emotionless men, yet the portrayals of Frodo and Sam reinforce the complexity of both characters, as well as the delicacy and beauty of their relationship. Frodo and Sam cry together, laugh together, and fight together, which is why their relationship is so sensitive and deep, for they’ve witnessed horrors with one another, just like Tolkien and his batman did in the First World War.

The war rages on, and just before Sam and Frodo reach Mount Doom, Sauron spots the pair, but luckily, Aragorn, the remaining members of the fellowship, and a large army march on the Black Gate to distract Sauron. It’s a mission almost as suicidal as Sam and Frodo’s, but all are willing to lay their lives on the line for not just Middle-earth, but their friends, Sam and Frodo. The distraction was successful, allowing for Sam and Frodo to enter the heart of the volcano, but not without a visit from Gollum, who was at first fended off by Sam as the two entered. Just as Frodo was about to throw the ring into the lava, he becomes overtaken by it, putting it on and turning invisible, wherein he was attacked by Gollum, and the two go over the edge, with Sam watching in horror. Gollum and the ring fall, leaving a shaken Frodo clinging for his life, thankfully saved by Sam. The two escape and the volcano explodes. They spend what they believe to be their final moments on a rock on the mountainside, as lava flows around them, talking to one another about how much they mean to each other. Thankfully, Frodo and Sam are rescued and reunited with the rest of the fellowship, who all witness Aragorn’s crowning of King of Gondor and marriage to Arwen.

Years later, Frodo is still shaken from his adventure, and decides to move to the Undying Lands with Bilbo, Gandalf, and the rest of the Elves, leaving Sam behind. This is the final “big” scene of the film, and it’s an incredibly emotional one, with Frodo saying goodbye to Sam, Merry, Pippin, and The Shire for one final adventure.

I also have to say, the facial expressions and movements Elijah Wood makes when Frodo is finally overtaken by the ring really remind me of Alexandre Cabanel’s 1868 ‘Fallen Angel’ painting. Though I’m unsure if the allusion is intentional, it truly marks the ring’s establishment of complete dominance over Frodo, which is only broken by Gollum extreme lust for the ring itself. Thus the two can be considered “Fallen Angels” in their own right, but Gollum a bit more literally. (Pictures below for reference)

Overall, The Return of the King is peak cinema, with fantastic performances, loyal screenwriting, and incredible special effects. But most importantly, the film brings Tolkien’s vision to life, and is truly able to visually complete the trilogy. The emphasis on teamwork and friendship in The Return of the King complete Tolkien’s message and turn Sam and Frodo’s relationship in the books into something never-before seen on screen. I would have to say The Return of the King isn’t just a great film, but one of the best films of all time.

Final Rating: 10/10

Week 6

The Lord of the Rings: The Two Towers

Genre: Epic-Fantasy

Yes, I know, my passion blog theme is reviewing a movie from each genre every week, but please, just let me review the movies based on my favorite book series. Anyways, The Two Towers begins right where Fellowship left off, in the midst of utter hopelessness and chaos. With all four hobbits and Gandalf missing, the remaining group has to overcome their differences in order to reunite with the other members of the Fellowship. Two stories are told throughout the movie, Sam and Frodo’s, and the struggles as the rest of the Fellowship must unite the rest of Middle-Earth against Sauron and Saruman. This dual storytelling method helps make Tolkien’s mythology much clearer, and provides a more distinct background of Middle-earth’s politics, thus reinforcing the overall theme of unity throughout. The overall structure of The Two Towers movie is incredibly logical, and fits right into the entire film series, unlike the book, which often transitions abruptly from conflict to conflict, the movie adaption seems to have a better flow through the series. Whilst Tolkien’s The Two Towers provides little resolve at the ending, Jackson’s is structured perfectly for a more general, cinema-going audience.

Another aspect I truly enjoyed about the film adaption was the solidification of Aragorn and Arwen’s romance, which became a center-point throughout the film. In the novel, however, there isn’t so much as a focus on that, perhaps due to Tolkien’s incredibly religious background, as well as Aragorn’s portrayal as almost a kingly or Christ figure in many aspects. Arwen is made a more central character throughout the film series, and I’m glad how the screenwriting expanded and developed Arwen’s character whilst still fitting with Tolkien’s vast mythology. Merry and Pippin’s characters are also developed in The Two Towers, as the two shift from comic relief characters to true members of the Fellowship, heroes if you must.

I also really loved how the shifting dynamic between Sam and Frodo is shown, especially with the edition of Gollum, who serves as a warning of what Frodo could become if he leans too closely into the power of the ring. Sam seemingly notices this at first, and becomes wary, yet protective of Frodo. However, Sam is often frustrated when Frodo becomes closer to Gollum, but not out of jealousy, but of fear. Fear that his beloved Frodo would shrink into the rabid mess that is Gollum.

Gollum truly takes center stage in this story, and is played magnificently by Andy Serkis, a pioneer in motion-capture acting. In my opinion, Serkis should’ve won an Oscar for his portrayal of Gollum in both The Two Towers and The Return of the King, but alas, motion capture performances are still not eligible for Oscar consideration. Serkis truly puts his entire soul into this part, capturing the slimy, yet sad villain which such expert perfection. His body movements are truly what sold the part, and truly turned Tolkien’s character into an absolute monster. Serkis is simply just incredible, and his work with this new medium truly revolutionized acting in general.

Overall, The Two Towers is an incredibly satisfying adaption, and serves as an excellent bridge in the film series. One of the highlights of the film has to be the Battle of Helm’s Deep, which is one of the most excellent and iconic battle scenes in film history. The Two Towers is a massive cinematic achievement all around, and of course, a must watch.

Final Rating: 9.5/10

Week 5

The Lord of the Rings: The Fellowship of the Ring (2001)

Genre: Epic-Fantasy

Over the summer, I found myself with way too much free time and way too little to do, thus I decided to finally do something I’ve been putting off for about 10 years, which is reading J.R.R. Tolkien’s expansive fantasy series The Lord of the Rings and the prequel novel, The Hobbit. After spending about a month reading all four novels, I lept right into the cinematic adaptions of The Lord of the Rings series, of course, starting with The Fellowship of the Ring. The first aspect I noticed when starting the film was how stunning the visual effects were, especially for 2001 (though the movie was filmed and assembled from 1999 to 2001). The initial battle scene truly capitulates how remarkable the visual effects of The Fellowship of the Ring are, as the slick combination of practical effects and CGI holds up even today. Weta Workshops, a Kiwi special effects company was put in charge of many of the model and creature designs, and their work on The Lord of the Rings film series truly modernized special effects in cinema through extensive detailing and fantastic filming choices. Weta is also known for developing, through their work on the LOTR films, an efficient faux-chainmail production method that is now used in most fantasy costume design (Yes I’m a complete nerd, I apologize).

The first scenes function fantastically in describing the origins of the Ring of Power, with a soothing feminine voice (most likely of Cate Blanchett’s Galadriel) repeating Sauron, and subsequently the Ring’s reign of terror, as well as the adjacent downfall of man, symbolized by Isildur’s selfish act after Sauron’s initial defeat. The scene also helps introduce and characterize Elrond, a somewhat mediating figure played excellently by Hugo Weaving. This scene also serves an excellent contrast to the Shire versus the rest of Middle-earth, a concept Tolkien really tried to hammer in through the first few chapters of The Fellowship of the Ring. While humans and elves are portrayed as mighty individuals (especially elves, through the contrast of Elrond and Isildur’s characters), hobbits seem to be almost happy-go-lucky figures, content in their rural homes, yet Bilbo Baggins is an outlier, and so is his nephew, Frodo Baggins. The two are quiet bachelors, as opposed to the heavily communal Shire, which seems to represent almost an ideal society to Tolkien, but one of ignorance and naivety, as only Bilbo has truly experienced the outside world. This is again exemplified through Merry and Pippin’s foolishness when messing with the wizard Gandalf’s fireworks, one of which assumes the form of a dragon at Bilbo and Frodo’s birthday party, scaring the rest of the hobbit guests. Bilbo himself is the only living hobbit to have ever even seen a dragon, as he took on Smaug in The Hobbit novel, using a mysterious ring which grants him invisibility, among other powers, to outsmart the old, greedy dragon. This isn’t truly discussed within the film, however, until much later, for the actual novel assumes the reader knows previous lore from The Hobbit. The party scene also first introduces the relationship between Frodo and his adoring gardener, Samwise Gamgee, who eventually joins Frodo on his quest to deliver the ring to Elrond in Rivendell after overhearing Frodo and Gandalf’s conversation concerning the dangerous powers of the ring. Sam is truly Frodo’s rock throughout both the films and novels, and is tenderly portrayed by the often underrated Sean Astin.

Eventually, we meet the mysterious Strider/Aragorn, a wild man of noble blood, who assists Frodo, Sam, and the insistent Merry and Pippin to Rivendell after Gandalf’s mysterious disappearance while researching more about the ring. Gandalf was taken by Saruman, played by longtime Tolkien enthusiast, soldier/Nazi hunter, and iconic actor, Christopher Lee. Lee is a veteran villain, portraying an intense, more conniving wizard. His deep, projecting voice makes me shiver, especially during his excellently choreographed fight scene with Gandalf (though some parts of the scene are certainly laughable).

Eventually, the entire fellowship is brought together in Rivendell, though they truly unite under Frodo’s bravery, creating a diverse group consisting of pastoral hobbits (Frodo, Samwise, Merry, and Pippin), a hotheaded Elf-loathing dwarf (Gimli), an elegant Wood-Elf (Legolas), a greying wizard (Gandalf), and two competing humans (Boromir, Steward of Gondor, and Aragorn, Ranger of the North). Though the group is very different, they set out on one goal, to destroy the ring in Mordor’s Mt. Doom, as the power the ring holds is too destructive to be allowed to exist. However, tension soon rises as Isildur’s previous flaws overtake one member of the group, causing a ripple that leads to the death of one party member and the disbandment of the entire fellowship. The film ends with a touching promise of Sam and Frodo to stick with one another as they journey towards Mordor on their own.

The film itself does an incredible job at reinforcing Tolkien’s main themes of friendship and teamwork, especially through the portrayal of Sam and Frodo’s relationship, which is the utmost central dynamic in the book series. Sean Astin truly tackles the complicated Sam with absolute adoration, throwing himself into the role of Frodo’s caretaker. Frodo, played by Elijah Wood, is such a complicated figure throughout the series, but Wood easily is able to maintain such a chemistry with the ensemble whilst dealing with Frodo’s inner conflict with the ring. Astin is also able to play the role of Frodo’s mediator, like an angel on his shoulder when there’s just a devil. Overall, the entire ensemble was expertly cast and maintains such a strong dynamic through the individual struggles of each character, and their reliance on one another is a large part of the purpose of The Lord of the Rings, as the fellowship is only successful when they work together. When a character attempts to go solo, disaster ensues, as shown in the final fight scene of The Fellowship of the Ring. 

Overall, The Fellowship of the Ring is a hearty adaption of an incredible novel, which is a difficult feat. Many book adaptions leave out the most important themes of their novels, but The Fellowship of the Ring truly embraces Tolkien’s ideas and brings them to life through loyal writing, cast chemistry, and clever directing. Though I wish they left in the scenes with Tom Bombadil and Goldberry, they weren’t necessary for the film plot nor for bringing to life the themes of The Lord of the Rings. If you’re not one to read books, I highly recommend watching The Fellowship of the Ring at least once, not just for a spectacular viewing experience, but an important, wholesome message.

Final Rating: 9.2/10

Week 4

Game Night (2018)

Genre: Action-Comedy

In procrastinating exams, my friends and I decided to sit down and watch a movie together. My friend Nick chose Game Night, probably because he loves making board and card games, so he was probably enthusiastic about a movie that focuses on a game night among a group of friends. Starring Jason Bateman and Rachel McAdams, Game Night is the perfect movie to watch with a close group of friends, and it’s an almost airy, yet shockingly gory and twisty action-comedy. There was many points where I laughed out loud during the movie, as it seemed to hit my humor quite closely, so I overall had a great time watching the movie. I really loved the development of the action throughout the movie, and how the plot was built up subtly until there’s almost a boiling point of activity. The twists were done in such a perfectly humorous way, and the performances, especially of Jesse Plemons, who played police officer Gary, were so spot on and functioned great throughout the plot.

The development of conflict throughout Game Night was an excellent mix of comedic relief and suspense, and the twists were well-done, and you have to re-watch the movie in order to understand the details before the several twists in the film. The clever writing really helps blend suspense and humor without making the film cheesy or cliche, and is able to sustain both traditional aspects of the action and comedy genres. I especially love the overall plot of regular people in high stakes situations, but sometimes it’s incredibly unrealistic, and of course, Game Night does lean into that imaginative part, but there’s still something down-to-earth about the movie’s spin on that concept.

The dynamic between the two leads, Max (Jason Bateman) and Annie (Rachel McAdams), helps make their action scenes realistic, as the both have such a chemistry to begin with that how the pair work together in fight scenes makes sense especially according to their overall fighting experience. The overall chemistry between the entire main cast truly makes the movie such a great movie to watch with friends, as you seem to be going on the same rollercoaster that the characters are too, as the cast is just so natural with one another. This chemistry also helps with the delivery of the majority of jokes, and makes the humor naturally interweave throughout the movie.

I absolutely loved how the main conflict of the movie was the same as a cliche action movie, with a ridiculous villain and an even more ridiculous conflict. However, the movie combats a complete fall into cliche by having a main cast of just regular people, concerned with, I guess, more regular conflicts, so to see incredibly relatable people be placed in such an extreme situation is both an interesting and overall humorous plot device. I definitely appreciate how the writing went about this entire concept, and made it even wittier than expected. Overall, I really enjoyed Game Night, and though it isn’t perfect and lacks depth, it’s the perfect movie to turn on while you’re on a couch with your friends.

Final Rating: 8.1/10

Week 3

Hush (2016)

Genre: Slasher Horror

Last night, my friends and I were too hampered by the common cold to go out, like we usually do on Friday nights, so we decided to stay in and watch a movie. After debates, we settled on Hush, a Mike Flanagan horror film. I’ve never really watched an actual horror film, except for American Psycho, which barely counts. Thus, I went into the film not knowing what to expect at all, and I was honestly pleasantly surprised that I could actually sit through a horror movie, and that I also enjoyed it. The plot was simple, a woman is held captive by an unknown killer and must find a way to come out alive, but the suspense truly brought a contrived concept to a new breath.

Maddie Young, a deaf-mute author, is tormented by a mysterious crossbow killer one night in her lonely forest home, and in order to come out safely, she must levy her options of running, hiding, and fighting while at a disadvantage due to her deafness. The killer however, taunts Maddie throughout the night, letting her soak in her fear while locked in her house. The scene where the killer learns of Maddie’s deafness is a true highlight in the film, and showcases Flanagan’s skills in building up suspense in balance with shock horror and gore themes. It’s truly a heart-pounding scene that made me verbally gasp in terror.

The performance of Kate Siegel, who played Maddie Smith, was the right balance between scream queen and sophistication, which is quite impressive given the extra challenge of playing a deaf-mute character as a hearing actress. Siegel was able to capture snapshots of pure terror in her face, all without uttering even a single sound, which takes an incredible amount of professionalism and talent. The film is also backed by incredible screenwriting by Mike Flanagan and Kate Siegel, and the personal touch of both the director and lead as writers truly lends to an overall more personal movie, as if Flanagan and Siegel are playing out their own detailed nightmares on the big screen. The lack of dialogue throughout the film really bolsters the loneliness Maddie experiences first from her deaf-muteness, and when she’s cornered by the slasher. Maddie fights through both of these, proving her own personal strength and determination, the latter of which she experiences frustration with when deciding an ending to her latest novel. Siegel does an amazing job at portraying Maddie’s drastic character development, and bolstered by great writing, Siegel truly pulls off the drastic transformation Maddie experiences throughout the climax of the film.

One issue I had with the film was how unsatisfactory the ending was. I enjoy having some sort of final resolve, showing the true conclusion of the conflict, but Hush ended prematurely for me. Though it isn’t a bad ending in any sense, it just left a lot of unanswered questions about the fate of Maddie and the real aftermath of that night.

Overall, Hush is much more than a solid film, and breaks away from horror cliches and offers developed characters and unique terror, however, don’t expect complete satisfaction.

Rating: 7.6/10

Week 2

Hunt for the Wilderpeople (2016)

Genre: Buddy Dramedy

This afternoon, I was scrolling through Netflix trying to find a light, yet enjoyable movie to review. After ages of searching, I stumbled upon this title, directed by Taika Waititi, who also created some of my personal favorite movies: Jojo Rabbit and Thor: Ragnarok. Waititi’s film work is always fantastic, but what I got from Hunt for the Wilderpeople was an absolutely fulfilling feeling, an air of satisfaction which I always seek while viewing movies, but usually never acquire. However, this absolute masterclass in emotive and empathetic screenwriting, acting, and directing circled back to what is most important in the movie-viewing experience, and that is the feeling.

The story of Hunt for the Wilderpeople is simple, following a foster child, Ricky Baker, and his new foster father, Hector “Hec” Faulkner on a trek through the New Zealand wilderness. Ricky, played excellently by Julian Dennison, gets lucky in the rough foster system when he’s placed into the hands of Bella and Hec Faulkner (played by Rima Te Wiata and Sam Neill respectively). The couple own a farm in rural New Zealand, right on the edge of the forest. After a tumultuous series of events (all of which contain spoilers), Hec and Ricky end up fleeing into the dangerous and deep New Zealand bush. The two form a close bond in despite of their desperate situation, and work together in order to survive the harsh bush. Waititi’s witty, yet poignant dialogue-focused writing helps build up this bond that Hec and Ricky form in such extreme hardship. Waititi also blends comedy in an appropriate way without disrupting the dramatic aspects of Hunt for the Wilderpeople, which helps to characterize Ricky and Hec through humor. Overall, I really don’t think I’ve ever witnessed a story as funny and emotive as Waititi’s Hunt for the Wilderpeople. 

What really reinforces the beauty of the story is the excellent cinematography of the New Zealand wilderness, which helps put into picture the magnitude of the Ricky and Hec’s retreat, but also represents that unknown when forming and maintaining new relationships. My absolute favorite shot is when Ricky and Hec stand together overlooking a mountain-top lake, where Bella said “…the earth wets the cloak of the sky.” The tense emotions present truly highlight the calm scenery behind the pair, and provides a juxtaposition of Hec and Ricky’s personalities.

The performances were absolutely excellent, with Sam Neill and Julian Dennison having excellent chemistry, which truly made the movie perfect in my eyes. I was most impressed by Dennison, who was about 12 at the time of filming, and the awkward, developing maturity he brought to the role of the troubled Ricky Baker. His performance was incredibly touching and rolled with the punches of Waititi’s oddball writing and directing. Dennison’s comedic timing was absolutely spot-on, and his physical comedy work was exceptional. Sam Neill was also a highlight, and he definitely held his weight against Dennison, which made for such an even duo in their characters.

Overall, Hunt for the Wilderpeople is a piece I’d definitely come back to, but not for a while as I cried about three times throughout the movie. It’s honestly one of my new favorites just because how it produced a bittersweet clarity in me. To end, I just want to say that I loved this movie, I adored it, I cherished it, and I hope that you will too. It’s an underrated masterpiece of dramedy.

Final Rating: 10/10

Week 1

Genre: Superhero

Shang-Chi and the Legend of the Ten Rings (2021)

This weekend, I had the opportunity to finally view a film in theaters, so I gathered a good chunk of my friends, and we set out to College 9 Theater early Friday night. Going into the theater, I didn’t think much about the content of the movie, expecting it to be another generic Marvel film, and was more excited about spending time with my lovely friends. However, once the lights dimmed and the trailers whizzed by, I was seemingly glued to my seat by the smooth Chinese narration. The first scenes depicting Xu Wenwu’s Ten Rings army charging on horseback reminded me of the initial battle scene in The Fellowship of the Ring, wherein Isildur of Gondor and his army initially defeat Sauron, and the power of the One Ring is explained by Galadriel, at that point an unknown female narrator. In Shang-Chi, the initial narration effectively serves to explain Wenwu’s rise to power and how he came across the ten rings.

As the plot moves along, we see Shang-Chi’s first big solo fight scene, which takes place on a runaway bus tumbling down a steep San Francisco street. I really have to give it to the chorographers on this one, as I’ve never seen such slick stunts in such a high-profile movie. I’m also a huge fan of martial arts movies, but even so, my jaw was on the ground throughout the entirety of this scene. What’s even more amazing is that fact that Simu Liu did most of his own stunts. The mix of CGI and amazing stunt work really tied the whole fight together, making for an absolute masterclass in martial arts stunt coordination.

But it doesn’t stop there, the pacing keeps you hungry for more, and only wobbles at the introduction of Trevor Slattery, an already controversial character due to his role in Iron Man 3. However, Slattery’s reappearance does add a bit more fun to the heavy, family-centric story of Shang-Chi, showing that Marvel can poke fun at itself and its failures (mainly Iron Man 3). Thankfully, the pacing isn’t too muddled by the awkward entrance of Slattery, but it still is a stain on an otherwise great film.

My absolute favorite scene in the entire film is when Wenwu meets Xialing and Shang-Chi’s mother, Ying Li in 1996. Wenwu was on a quest to find the mythical village of Ta Lo, when he stumbles across a beautiful clearing, guarded by Ying Li, donned in intricate traditional wear. The two engage in battle, with Wenwu using the explosive power of the rings, and Ying Li countering with the graceful magic of Ta Lo. The two battle as if they were dancing, and you can just see the pair falling as they fight. Their different defensive styles indicate their opposing personalities, however, even with such different techniques they still can create a rhythm. I don’t recall the last time I saw a scene as intimately touching as Ying Li and Wenwu’s war in a superhero movie, but I am grateful nonetheless.

Another highlight is when Shang-Chi and Katy meet Xialing, Shang-Chi’s sister who, other than being a total boss babe, runs an underground fight club in Macau. Wong, as best seen in Dr. Strange, is shown to spend his time there, engaging in paid fights, and it’s interesting, at least for me, to see how other Marvel characters spend their time. The Ten Rings soon attack Xialing’s club, leading to another high stakes fight scene and a literal cliffhanger (or should I say building-hanger). Shang-Chi is incredibly explosive in the way it builds up tension, mirroring the suddenness of martial arts in general, which is why it’s a true example of the technique. After the club scene, we finally meet Wenwu as he is to Shang-Chi and Xialing, a delusional father, overcome by power and embittered by lost love. His Ten Rings compound reflects this loneliness, in its dark, yet golden traditional style, for the only thing that could truly brighten up Wenwu is Li, who fell victim to Wenwu’s even darker past. Tony Leung’s performance truly highlights Wenwu’s tortured soul, and connects together the overlying messages of family and tradition in Shang-Chi. 

Soon, we find Wenwu is being coerced by demons into returning to Ta Lo, where he once was rejected due to his lust for power. Shang-Chi, Katy, and Xialing attempt to counter Wenwu and the Ten Rings invasion by arriving at Ta Lo earlier, with the help of this odd creature Morris and Trevor Slattery. From there we meet Li’s sister, Nan, played by absolute martial arts legend and one of my personal favorite actresses, Michelle Yeoh. Yeoh is elegant as always, especially when she teaches Liu’s Shang-Chi the magic of Ta Lo. It’s a scene that mirrors the Li and Wenwu fight, but there’s a familial connection, an almost maternal backdrop as Nan nurtures Shang-Chi into the traditions of his mother’s culture. Soon enough, the Ten Rings arrive, and all hell breaks loose. The CGI is, as always, groundbreaking in the final fight scenes, and even the clumsy Katy gets her shot at action heroism, and it would almost be a happy ending if it weren’t so heartbreaking.

As I’ve discussed earlier, tradition is rampant throughout Shang-Chi, and the whole movie was a celebration of Asian culture. My friend was beaming when the movie ended because she could understand all the Chinese, even the un-subtitled parts. She couldn’t believe that a blockbuster movie, especially a Marvel movie, would be partially in Chinese. Honestly, her reaction was all I needed to write this review, because I’m so glad she was able to see her own culture and language presented in such a positive light in such a mainstream way. Overall, as someone who knows very basic information about Chinese culture, I was intrigued by how seamlessly Shang-Chi incorporated traditional practices, such as shrine-upkeep, and mythology into a superhero movie. There’s honestly so much more I could say about this movie, but to summarize, I was genuinely amazed by how personal this movie got, and how complex the performances of Simu Liu and Tony Leung were. Of course, as a martial arts nerd, I’ll definitely revisit Shang-Chi in the near future, and hopefully not hurt myself trying to imitate Liu’s split kicks.

Shang-Chi is a 2021 must-watch.

Overall rating: 8.2/10