The Official Review Thread of 2018

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Re: The Official Review Thread of 2018

Postby dws1982 » Sun Feb 17, 2019 11:28 pm

Custody
Seems, at first, like a two-sides-to-everything divorce drama about two divorcing parents who use their kid to get back at each other. But it ultimately takes a turn in a different direction. It's not exactly an unexpected turn--the groundwork was laid, even in the first scene--but there's still an elements of surprise because Xavier Legrand has been so good at handling all of the tensions and relationships and perspectives. And then near the end, when it takes another turn, it's both surprising (because we hadn't quite expected this) and in keeping with the groundwork that he had laid with these characters and relationships. The kind of balance that Legrand achieves here is really impressive, and it's just an all-around top-notch film, from the shots and edits to his use of actors. (The kid is really impressive; a lot of what he has to do is reaction, but it's really good.) It's currently free to watch on Amazon Prime in the United States. Very much worth watching.

Thunder Road
The story is fairly standard--a small-town man having a meltdown after some personal tragedies--but Jim Cummings (writer, director, editor, leading man) doesn't take a standard approach. Like Custody, it has some pretty big shifts in narrative and tone. Whereas those shifts in Custody were pretty smooth, these shifts feel abrupt and out-of-nowhere at times which, to be fair, is something that Cummings intends, and I think that these abrupt shifts fit with the story and the character at its center. This is a story about someone who is only holding things together from moment to moment, and when it falls apart--as it does several times--it's as uncomfortable as hell to watch. I don't really know exactly how I feel about this--it's a movie that almost defies the binaries of "good" and "bad" or "excellent" or "flawed" that we try to put on films. Even within the confines of a story you've seen variations on in the past, this is still very much its own thing made by someone who is playing by his own rules. Like I said, I'm not sure how I feel about this exactly, although I am definitely very interested to see what Cummings does next.

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sun Feb 17, 2019 6:12 am

VICE
Cast: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry, Alison Pill, Jesse Plemons, Eddie Marsan, Justin Kirk, LisaGay Hamilton, Lily Rabe, Bill Camp.
DIr: Adam McKay.

A biopic of sorts which chronicles the rise of Dick Cheney, the infamous Vice-President who basically pulled the strings on the War in Iraq and other atrocities committed under the Bush administration and its ripple effects still affect us to this day. This is less a movie and more of Adam McKay's woke liberal cinematic essays that he also did with The Big Short. That's not to say it's bad but it's much wildly inconsistent here with its weird, distracting editing and its mish-mash of wanting to be a comedic satire and a straightforward serious biopic. There are good moments. Christian Bale looks so much like Dick Cheney, it's almost uncanny. While I agree with its politics, the film doesn't say anything I don't already know or already on board with. It's fine but it doesn't offer anything insightful like it wants us to believe.

Grade: C+

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sat Feb 09, 2019 9:26 am

GREEN BOOK
Cast: Viggo Mortensen, Mahershala Ali, Linda Cardellini.
Dir: Peter Farrelly.

Purportedly based on a true story. It's the early 1960's and Italian-American bouncer Tony Lip is hired to be a driver/assistant/bodyguard to renowned African American pianist, Dr. Donald Shirley as he does a concert tour in the Deep South. Ever since this became a Best Picture Oscar front-runner, this has been the target of a lot of controversies. From its charges of historical inaccuracy to the off-set antics of its makers down to the criticisms of its treatment of racism, I've heard them all. But forget all about that. What is it really? It's a funny, sweet buddy road comedy with a couple of likable performances and its heart in the right place. Lots of think pieces have already been written how problematic this is. While I understand that, I didn't think it was all that bad. Best Picture material? No. (But I think it would've won easier if it had been released, say, 20 years earlier). As it is, it's a pretty good film. I prefer Peter Farrelly's more broad stuff though.

Grade: B.

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Re: The Official Review Thread of 2018

Postby dws1982 » Fri Feb 08, 2019 10:12 pm

Free Solo
I mentioned this a little bit in the Unseen Oscar Nominees thread. I'm glad I saw it in a theater, on a big screen, even though I had mixed feelings about the movie itself. The climbing footage, where you see the vastness of the landscapes in contrast with the smallness of one man, is really impressive. I wish there were more of it, and on DVD, where the climbing footage is less striking, viewers will be left with a fairly standard documentary with a truly inscrutable subject at its center. I don't understand Alex Honnold, even a little bit, and while there's nothing wrong with having someone like this at the center of a documentary, the film and filmmakers are a little too awestruck and uninterested in delving into what leads Honnold to take up this hobby in what is ultimately a very selfish quest for personal stimulation. I thought going in that this might be a winner for Best Documentary at the Oscars, and I guess it's possible, but I wonder if voters, especially those who watch it on DVD, will be as put off by the protagonist as I was.

The Old Man and the Gun
David Lowery is another one that I don't understand. He clearly has talent, and even vision--his movies are clearly not the work of someone just going through the motions to cash a paycheck. But my goodness, what an unusual (and uninteresting) group of films he's used his talents to make. It's well-made, well-shot, and well-acted. But there's just so little substance. Personally, I would've preferred it to make the Redford character a supporting one, and focus on Sissy Spacek's far more interesting character, a lady who, for whatever reason, decides to take a chance on Redford's character. It's a different, better movie when she's on screen.

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sat Feb 02, 2019 12:23 pm

THE MULE
Cast: Clint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Pena, Dianne Wiest, Andy Garcia, Ignacio Serrichio, Clifton Collins Jr.
Dir: Clint Eastwood.

An elderly man runs into financial trouble and decides to act as a mule for a drug cartel. This is said to be Clint Eastwood's final film at least as an actor. I hesitate to say he ended his acting career on a high note, but I will say he ended on a decent, respectable note at least. For a film which could have played this story, which is based on a real incident, as an action thriller or even as a comedy, it's a surprisingly straightforward and subtle human drama. Though far from Clint Eastwood's best directorial work, it is a return to form to what he does best.

Grade: B.

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sun Jan 27, 2019 9:28 am

CAN YOU EVER FORGIVE ME?
Cast: Melissa McCarthy, Richard E. Grant, Dolly Wells, Jane Curtin, Anna Deaveare Smith, Stephen Spinella, Ben Falcone.
Dir: Marielle Heller.

Based on the true story of a rather misanthropic writer Lee Israel, once a successful biographer but now currently unable to pay her bills, decides to forge and sell letters allegedly written by famous writers. Hearing this premise and hearing who was cast in the role, at first I thought this was going to be a laugh out loud broad comedy and yes, a lesser filmmaker could have mined this premise for laughs. Although there is still some humor in it, it is, in fact, a drama. Melissa McCarthy absolutely blew me away in this. She gives this rather unpleasant character so much humanity that you can't help but empathize with her. She's more than just that loud actress. Matching her is Richard E. Grant who, likewise, does the same with his character and they work so well together. I wasn't a big fan of director Marielle Heller's previous film. This is so much better.

Grade: B+

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sat Jan 26, 2019 12:55 pm

IF BEALE STREET COULD TALK
Cast: KiKi Layne, Stephan James, Regina King, Colman Domingo, Michael Beach, Brian Tyree Henry, Teyonah Paris, Aunjenue Ellis, Diego Luna, Dave Franco, Emily Rios, Pedro Pascal, Ed Skrein, Finn Wittrock.
Dir: Barry Jenkins.

Director Barry Jenkins's follow up to Moonlight is an adaptation of a work by James Baldwin. It's about a young black man in jail on a false rape charge and his young pregnant girlfriend's efforts to try and free him. The original novel was published in 1974 and it's just infuriating that the film's subject matter is just as relevant today as it probably was then. The non-linear structure makes things even more heartbreaking yet also gives it a beautiful, almost dream like quality. The performances are all pitch perfect. Both Stephan James and KiKi Layne deserve to be big stars and Regina King deserves all the awards. This will probably end up in my 2018 list.

Grade: A-

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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sun Jan 20, 2019 11:39 am

LEAVE NO TRACE
Cast: Ben Foster, Thomasin McKenzie, Dale Dickey, Jeff Kober.
Dir: Debra Granik.

A war veteran suffering from PTSD raises his young daughter off the grid but finds that this living arrangement may not be good for her. I can't help but compare this to Captain Fantastic which is also about a parent raising his kids off the grid but this one strips away any romanticizing of such a life and really gets to the realistic nitty-gritty of the entire thing. The two central performances are both outstanding. Ben Foster, who is really kind of an underrated actor is superb as the father-war veteran. You feel for him, you kind of understand what he's going through. There are times when you're frustrated with him but you still sympathize. Thomas McKenzie is a real find though. She's fantastic as the daughter. I love that despite being raised this way, she isn't depicted as a weirdo. The film's emotional impact really sneaks up on you in the end. Another fine film from director Debra Granik.

Oscar Prospects: Best Actor and Best Actress would be deserved. Adapted Screenplay is possible.

Grade: A-

BOY ERASED
Cast: Lucas Hedges, Nicole Kidman, Russell Crowe, Joel Edgerton, Flea, Cherry Jones, Xavier Dolan, Troye Sivan, Joe Alwyn, Britton Sear.
Dir: Joel Edgerton.

Joel Edgerton's second directorial effort is an adaptation of Garrard Conley's memoir about his experience in a gay conversion therapy camp. These are one of two gay conversion therapy films, the other being The Miseducation of Cameron Post. I think this one is a better film because even though it's not without its problems, the fact that it has more nuance and is more accessible to people who should be hearing this message (as in, religious/conservative parents of LGBTQ children). It's this quality, I think, that gives it a bit more heft. Lucas Hedges is terrific but I think Nicole Kidman and Russell Crowe made the film better by their performances.

Oscar Prospects: Actor, Supporting, Supporting Actress and Original Song are deserved.

Grade: B+

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Re: The Official Review Thread of 2018

Postby Precious Doll » Sat Jan 19, 2019 2:56 am

dws1982 wrote:Definitely agree with all of the positive things said about Shoplifters.

I think it's easily Kore-eda's most accessible film (although his others aren't exactly impenetrable), and I think it's great to see him have some success in the States after all of these years. Totally agree that Sakura Ando is excellent; the whole ensemble is, really--the Boston Society of Film Critics' Best Ensemble award to this film is easily one of my favorite critics award selections all year.

I'm really interested to see Kore-eda's upcoming non-Japanese debut. It stars Juliette Binoche and Catherine Deneuve, so I'm guessing it's in French. Supposedly it's finished, so it may turn up at Cannes.


Thought it would be worth discussing Kore-eda (sometimes known as Koreeda in general). dws also made this remark on another thread which I have my own opinions on:

"And why has Magnolia not tried to get Shoplifters in a few of these above-the-line categories? I feel like they could've made a play for a spot in this lineup."

I think Magnolia is not pushing Shoplifters for a number of reasons the primary one being lack of funds. They also probably lack the expertise of other smaller distributors in mounting any kind of campaign for any of their films. Maybe if Roma wasn't already anointed the foreign language 'film of the year', Magnolia may have made some effort but really they would be throwing money away. The same applies to Well Go and Burning. Netflix appears to have a bottomless supply of funds and smaller distributors simply cannot compete with that.

Its also worth noting that at this point in time anyway, Magnolia are only planning on a DVD release of Shoplifters in the US. :evil:

Its particularly shortsighted of them considering (and this is an assumption but I'm pretty sure I'm right), that Shoplifters has made/or will ending up making more money outside of Japan than all of Kore-eda's previous films combined.

I'm pleased to see that Kore-era has finally received the international recognition on a larger scale than he has received since Nobody Knows (2004) because his films have largely remained on the fringe outside of Japan. He has received scant acknowledgement of his ability to work so well with children and the important role that they play in most of his films - most reviews seem to have not actually noticed this with Shoplifter but I put that down largely to being not that familiar with his previous work. Children have literally been the narrative drive of a number of his films (Nobody Knows, Like Father, Like Son, I Wish & Shoplifters) and play important roles in many of his other films. If anything Shoplifters has proven that films festivals like Cannes still mean something - would the film had reached a wider audience without the Palm d'Or attached to it?

I feel lucky to have seen almost all of Kore-eda's films in the oder that he made them. The exception being that I saw The Third Murder after Shoplifters. Must say I'm a bit dubious of his next film. Asian directors have a history of underwhelming when making films not of their native language with exceptions being South Korea's Joon-ho Bong & Taiwan's Hsiao-Hsien Hou.

Kore-eda has occasionally strayed from his comfort zone over the years with generally underwhelming results (Distance, Air Doll & The Third Murder), though Hana is a gem. He is at his very best examining family dynamics in its various forms. Interestingly his is not a 'favourite' of the conservative Government of Japan as he has made comments critical of some Government policies over the years. That some of his films show a side of contemporary Japan that the Japanese Government would rather ignore probably doesn't help their lack of acknowledgement of his achievements.
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: The Official Review Thread of 2018

Postby dws1982 » Fri Jan 18, 2019 8:43 pm

Definitely agree with all of the positive things said about Shoplifters.

I think it's easily Kore-eda's most accessible film (although his others aren't exactly impenetrable), and I think it's great to see him have some success in the States after all of these years. Totally agree that Sakura Ando is excellent; the whole ensemble is, really--the Boston Society of Film Critics' Best Ensemble award to this film is easily one of my favorite critics award selections all year.

I'm really interested to see Kore-eda's upcoming non-Japanese debut. It stars Juliette Binoche and Catherine Deneuve, so I'm guessing it's in French. Supposedly it's finished, so it may turn up at Cannes.

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Re: The Official Review Thread of 2018

Postby Mister Tee » Fri Jan 18, 2019 1:13 pm

The Original BJ wrote:The Foreign Language Film category really has the potential to be superb this year -- if Roma, Shoplifters, Cold War, and Burning (which might take a miracle, but I guess never say never) make the lineup, that'll be a slate that puts the Best Picture list to shame.

If all those films were to show up, it'd be a slate that bore comparison to the best picture lists of 1974 or 1975 -- good picks from an exceptional year.

TO ANSWER YOUR SPOILER QUESTIONS

It was left unclear how the couple had hooked up with Grandma. Given Grandma's obvious disinterest in following societal rules (as indicated by her arrangements with her ex-husband's family, and Aki), it may be they simply convinced her it was a mutually advantageous way to live (they helped take care of her in her old age and augmented her income, but they also benefited from her pension checks). But, no, it was one element that was never explained.

There was nothing we saw onscreen to validate what the police told Aki about Grandma and her family. It may have been a deliberate police attempt to mislead her as a way of breaking her off from the other characters, or a mistaken (and overly cynical) misread of the facts. I think the film is big on the idea of ambiguity -- or, put better, encourages us to see there are both harsh and more benign views of circumstances. Seen one way, what they do for Yuri/Lin is a kindness (removing her from a neglectful and sometimes abusive environment); seen another way, it's clearly a kidnapping. The superficially similar details regarding Shota, though, are much harder to euphemize: that was a clear kidnapping -- yet the way they raise him is unquestionably loving. And we don't really know the truth behind whatever event brought the main couple together. The cops blithely call it murder, but allow that the courts decided otherwise, so maybe the cops are seeing that one wrong. Or not.

I'd say the film's very title encourages us in the "take a more benign view" direction -- shoplifters is such a soft word, where it could have been "thieves". I don't think Kore-eda endorses the state/police view of events (or the way they view his characters) -- but he doesn't come down decisively ether way. Which is part of the beauty of the film.

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Re: The Official Review Thread of 2018

Postby The Original BJ » Fri Jan 18, 2019 3:14 am

Shoplifters is indeed a very fine piece -- I actually had the same reaction Mister Tee did in terms of wanting to see it again right away. I did so a couple weeks later, and was struck anew by how compellingly the film was constructed -- a number of things that took me a while to figure out on first viewing were actually revealed pretty obviously early on, but because the movie treats its central scenario in such a matter-of-fact way they don't feel at all like big revelations. The movie just feels like it's dropping in on a series of lives, and leaves it to you to put all the pieces together. And by the end of the story all those pieces accumulate a surprisingly big emotional wallop. (Agreed on Sakura Ando, whose police station monologue -- "I FOUND her" -- is just heartbreaking.)

Even after seeing the film twice though, I was still left with a few questions:

SLIGHT SPOILERS BELOW

It was never revealed exactly how the central couple actually came to live with the grandmother, right? That was just something the film chose not to explain? Or did I miss something along the way?

Also, I'm not sure I entirely understand the meaning of the scene where the cops lead Aki (the teenage daughter) to believe that grandma only took care of her because her parents were paying her. Nothing about the scene with grandma and the parents suggests they have any idea where their daughter is, so the conclusion Aki comes to is wrong, right? Is the point of this scene simply to serve as another example of how many institutions designed to protect people end up causing pain in their lives?

END SPOILERS

The Foreign Language Film category really has the potential to be superb this year -- if Roma, Shoplifters, Cold War, and Burning (which might take a miracle, but I guess never say never) make the lineup, that'll be a slate that puts the Best Picture list to shame.

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Re: The Official Review Thread of 2018

Postby Mister Tee » Fri Jan 18, 2019 1:10 am

I keep thinking I'll find time to write extensively about films I've seen, but it never seems to happen, and now we're just days from the first of our two High Holy Days, so let me mention some things in brief:

I think, all things considered, Shoplifters is my favorite film of the year. It's for sure the only major movie that exceeded my expectations (Bohemian Rhapsody turning out to be not utterly abject crap doesn't count). I liked After the Rain in a sort of Chekhovian way, and expected Shoplifters to affect me much the same. But, from the start, it worked on a deeper level, and, in the final reel, it just punched me in the gut (it was like a fighter who pulls his punches most of the way, then goes full Muhammad Ali in the last round). The movie is deceptive: in the early portions, it can feel slightly annoying trying to put together who all these people are and who's related to who. But eventually it turns out there was method in the madness, and the film surprises in all kinds of complex ways by the end (almost to the point I wanted to re-watch the movie, knowing from the start all the things I knew by the finish). Great cast, with special mention to Sakura Ando, whose character keeps showing new sides, all the way to the climax. A truly wonderful piece of work.

Spider Man: Into the Spider-verse disappointed me just a tiny bit, in the sense that it was still, at core, a Spider Man movie -- meaning it had its villains and the plot to destroy the world as its main structure. I also thought it took a bit too long to get started; for the first 20 minutes or so, I was wondering what anyone had seen in the film. But it definitely took off, and much of the way was full of witty surprises and spectacular animation (it would be an excellent time for BJ's long-held wish of an animated film getting a production design nomination). I can't say I found the film exactly profound -- perhaps I'd need to have seen all the Spider Man movies, not just the 2 or 3 I have, for it to really blow my mind. But I have no problem with this becoming the animated feature winner; it's clearly a cut above. (And, to beat the same horse one more time, if one Marvel movie were to get a screenwriting nod this year, I'd be for this ahead of Black Panther.)

I'm not sure Private Life even counts as a movie (though it did open that way at Sundance). But it's one of the most solid adult comedy-dramas of the year. Tamara Jenkins is still mostly a writers-and-actors director -- she has no particular visual style -- but she's written a strong piece and has three really good actors front and center. Paul Giammatti can be tiresome in stuff like Billions, but here he offers a reminder of how good he was in Sideways (though one tirade in a doctor's office is perhaps too much a echo of that performance). Kathryn Hahn breaks out as a dramatic actress, with one fine scene after another. And Kayli Carter is so good at conveying all the shades of her character -- young, unfocused, too judgmental, but deeply generous -- that I'm retroactively sorry she hasn't been part of the year's supporting actress discussion.

Finally: The Rider. Sigh. If you were to construct a film in a laboratory specifically designed to not appeal to me but get raves elsewhere, The Rider would be the result. Stipulate that I saw the film on home video and didn't partake of the theatre experience...but I found the film akin to sensory deprivation: dull and inarticulate characters living bleak lives where nothing happens (apart from occasionally having to sell off or kill a beloved horse). I had my issues with Roma as narrative, but Roma is action-packed compared to this film. I gather it's more or less a true story, enacted by the people involved, but that only makes it worse: the amateur-level actors bring nothing to liven the proceedings, and the film has the limitation of documentary (no interesting plotting) without the advantage of verisimilitude. I guess this is the kind of movie people call "authentic" (especially critics who've likely never been within 500 miles of the milieu), but in this case, authenticity seems perilously close to cliche; I felt like I'd seen almost everything in it somewhere before. I did like a few stray things -- the campfire with the main character's buddies, the demonstration of how he trained a horse, the woman telling him he looked like his mother. But these were few and far between in a movie that mostly bored me senseless. I respect the right of others to love this kind of movie, but it's just not for me.

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Re: The Official Review Thread of 2018

Postby Sabin » Thu Jan 17, 2019 10:45 am

It's pretty clear that if you want to enjoy Mission: Impossible -- Fallout, you should probably overpay to see it on the big screen. If you don't, you're not going to enjoy it as much. For example, the Paris Car Chase Scene. I've seen this kind of thing done so many times but it's executed really well. Even though the conceit is just "Tom Cruise rides his motorcycle the wrong way." It looks like he's going to get hit! The scene made me get off of my couch in suspense. It's probably a better movie when I can't do that.

This is a case of being slightly over-hyped. It has the same convoluted plot involving the fate of IMF that every Mission: Impossible film has, which serves to string together stirring set-pieces. It has the same surrogate family which is getting a bit tired and lame at this point. And it has the same magnifying lens on Cruise/Hunt and his role as the Eagle Scout Samurai of the free world. These movies have always had a problem with one question: "Why should we care about this guy?" With James Bond, the answer has always been simple. He's a male fantasy and a woman's dream. But even that doesn't track in the 21st Century. With Cruise/Hunt (there's no point in separating the two at this point), they figured it out in Mission: Impossible -- Ghost Protocol with an inspired coda: he's lonely. It was a terrific film and the moment really worked, but in that film it crept up on audiences. Now it's the focus. How much can loneliness really become the driving focus of a series that's really just about Tom Cruise running? It's becoming diminishing returns the closer we get.

The Eagle Scout Samurai is also The Christ of Stunts. These set-pieces wave the banner of stunt vs. VFX for two and a half hours. The best moments of the series find a perverse joy in watching Tom Cruise pull off the impossible. At this point though, you can't help but feel them ticking off the boxes of what they haven't done yet. "Helicopter fight? Check." The ones that came closest for me were the bathroom brawl, two colliding fallen helicopters ping-ponging against each other near the edge of a cliff, and the Paris Car Chase Scene. I wish I overpaid for that stuff. But if I'm being honest, I think Ghost Protocol was the mic drop.
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Re: The Official Review Thread of 2018

Postby anonymous1980 » Sun Jan 13, 2019 11:48 am

BUMBLEBEE
Cast: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon, Stephen Schneider, Len Cariou, Glynn Turman.
Dir: Travis Knight.

This is the prequel/reboot/spin-off of the Transformers franchise has Bumblebee crashing on Earth and befriending a teenage girl in the mid-1980's. People who know me know I have a disdain and contempt for this franchise but giving the directorial reins to someone other than Michael Bay and having a script which actually value story structure and character arcs, you have a decent film in your hands. I mean, there's still robot action (or as Mark Kermode puts it, "bangy-smashy") but it's in service of an actual story. It may be far from a masterpiece. I mean, the '80s nostalgia is a bit been-there-done-that and I think it overdoes it too much. But, yeah, this is the movie the first Transformers should have been and easily the best Transformers movie.

Oscar Prospects: Doubtful.

Grade: B

BEAUTIFUL BOY
Cast: Steve Carell, Timothee Chalamet, Maura Tierney, Amy Ryan, Kaitlyn Dever, Andre Royo, Timothy Hutton, Lisa Gay Hamilton.
Dir: Felix van Groeningen

This film is based on two memoirs of a real-life father and son and the latter's struggle with the insidious disease of drug addiction and how it affects the family. This one takes a wider scope than the other drug addiction movie this year Ben is Back. Just like that movie, it's also far from perfect. I give it a lot of points for good intentions and great acting. Timothee Chalamet is amazing, as usual with great supporting work from Maura Tierney and Amy Ryan, though Steve Carell feels a tad miscast. It does feel a bit repetitive and preachy after a while but still a worthy enough effort from everyone involved.

Oscar Prospects: Chalamet's Supporting placement is controversial but I think the film is more the father's story so I'll allow it.

Grade: B


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