My Thoughts on Booksmart

Coming of age movies are really, really interesting. When they're done right they can be fantastic, but I think there's more pressure to be fresh than in any other genre. Thankfully, Booksmart more than lives up to the hype. It's essentially another take on the high school party film, but this time told from the perspective of Molly and Amy, two girls who've focused so much on doing well in school that all the fun has passed them by. And so, on the last day before graduation, they decide that they're going to cram years of partying into a single night. The result is a wild, heartfelt and incredibly funny journey that's just an absolute blast to watch.

One thing I think makes it work is that you really believe the friendship between Molly and Amy. Beanie Feldstien and Kaitlyn Dever have such great chemistry onscreen. They're both hilarious on their own, but the film's at it's best when they're just bouncing off of each other, especially as their night gets crazier and crazier. But through all of this, it's more than just comedy. Usually when a comedy like this tries to be emotional, it comes off as forced, or unearned, because it has spent more time on crass humour than actually developing the characters, but this film has you believe in their friendship early on, and has the bulk of the comedy stem from that, so when the film does slow down for the emotional story beats, it feels genuine. No spoilers here, but when their friendship is tested, it's a legitimately impactful moment that works because it's easy to invest in these two. It's easy to root for them, but the film never makes them out to be infallible. They screw up, make mistakes, and ultimately, learn a lot about each other and themselves. The film really is the story of their friendship, and the way that's it's so celebratory and positive makes this film such a satisfying watch. That's maybe my favourite thing here. These two feel like actual friends, and that's something that drives both the comedy and the drama, and, because of that, you always believe it

Another thing I love here is how non-judgemental the whole thing is. This is a film that isn't interested in putting it's characters in easily defined boxes. Nobody's a stereotype, and the movie revels in revealing the hidden depths of characters that seem like basic archetypes. By the end, everyone gets a moment to shine, and no character feels wasted. When they stumble or make mistakes, the film understands that that's all a part of being young. The film never feels like it's laughing at anyone, instead finding humour in the absurdity of it all and letting the comedy come from the characters. Because of this, it never feels cheap when it's raunchy, or when it uses gross-out humour, because these people feel like people, and the awkward situations they find themselves in never feel like they come out of nowhere

Of course, you can't have a wild night without whacky setpieces, and the things, and people they encounter during the night definitely make for some serious laughs. There's an awkward boat party, a surreal murder mystery party, an encounter with a mysterious pizza delivery man, and an unbelievably awkward car journey with the school's principal (no, that is NOT Cardi B). One thing I love about this movie is how unafraid it is to be unconventional, and approach things from different stylistic angles. It's Olivia Wilde's first film as a director, and one thing that's cool to see is how strong her style is. The moments here that are memorably different feel like natural standouts as opposed to sore-thumb showiness, and it's these moments that elevate the film. The one take at the party is a really effective moment, but the highlight here is the pool scene, effortlessly and wordlessly telling its story, a story that has been going on long before this scene, brought crushingly to a halt with a heartbreaking realisation. The only scene that feels like a slight step too far is the stop motion drug trip. Yes it's creative and well animated, but it comes and goes too casually. This may sound weird for a film about partying, but it's almost too frivolous, especially for these two. Like it just happens and then everyone just goes on with their night. I don't know, it just doesn't feel like something these two characters would brush off so quickly.

But, by the end of the film, you'll be too satisfied with how perfect it all concludes that you won't even care about any minor issues. That graduation scene is fantastic, a culmination of everything this film is; funny, heartfelt, sharply written and really good natured. Booksmart, a lot like it's protagonists, defies expectations and proves that's it's smart AND fun. Sorry, you know I had to get a line like that in there, but honestly, this is one of the finest comedies that's come out in recent years, one that just put me in such a good mood on my way out of the cinema. It's the perfect blend of comedy and heart and an awesome, fresh feeling celebration of female friendship. Booksmart is one of the best films out now about this generation, and although it's the latest in a line of ace coming of age films, there really is something special about this one, and I think I'll be coming back to it again and again

Spirited Away: The Value of Journeys

Way back when I started this blog, I did a post of my favourite Studio Ghibli films, and I mentioned that I hadn't seen Spirited Away. I said that when I did see it, I'd review it. And I finally saw it.... two years ago. Yeah, sorry about that. Since then, I've seen it multiple times, and each time it just gets more striking, more poignant, and more masterful. Watching it again recently has really made me realise what it is that keeps drawing me back to this film. I love Spirited Away because it's one of the most satisfying journeys I've ever seen. Chihiro's arc is at the centre of this film, and watching her essentially come of age during her time in the spirit world is one of the most moving experiences I've had with cinema. So today, I want to finally talk about Spirited Away. I want to look at how this film portrays journeys, and how much they matter, in film, and kind of in general too

Chihiro's journey is almost an incidental one. Like a lot of life changing experiences, it's not something she chooses as much as something that just kind of happens. It all begins when her parents stop to inspect this mysterious arch, which of course leads them into the spirit world, where they're then turned into pigs. I think what makes this film work early on is how quickly our hero finds herself in trouble. Everything happens incredibly quickly, maybe too quick for her to realise exactly what's going on at first. Before she knows it, she's alone, in an unfamiliar world, and potentially a dangerous one. Something that I think is particularly important is that the family is moving house when they find this world, so they're already in a period of transition. Again, we don't choose the things that change our lives, we adjust and make decisions as we go, and this is something that I think is at the heart of Spirited Away. Studio Ghibli excel at putting really human issues at the heart of their films, no matter how far-fetched they might seem. When Chihiro ends up alone in a world of witches, beasts and giant ducks, she's already at a confusing time, but it's this overwhelming oddness that really gets her arc going

Pretty soon, she quite literally has her identity taken away from her, and again, this is what makes her journey work. You can read this film in a lot of ways, but I always see it as a film about growing up and choosing the person you want to be. After she becomes Sen, the person she was is gone, and whether she realises it or not, every decision she makes after that is going to determine who she's going to become. There's something quite sad about the things we leave behind. Sen doesn't just let go of her name, but everything that's attached to that too. Every memory, every experience, everything that she used to be is cleared away to make way for something else, something potentially even greater than what she was before

This is scary, but it's also exciting, and that's a balance that this film really knows how to strike. Sen encounters so many things that are unusual or dangerous, but the more she navigates this world, the more assertive she becomes, until, ultimately, she comes out of her journey a stronger person. I think Sen herself is a fascinating character, because, although she's completely out of her depth, her ability to persevere with such kindness and patience ultimately makes her a hero. The generosity she extends to No-Face is what leads him to eventually join her on her quest, and the fact that she can do so much with simple perseverance and kindness is just so powerful in itself. As I said before, I think this film is really good at emulating a life changing experience, portraying it as something that we often have no say in and have to navigate as we go. I think this helps her journey resonate as much as it does, because we understand that not only is she making sense of this world, she's growing too. She doesn't become strong by magic or through some wish. She learns how the world works, before gradually working her way through it, earning the respect of the people around her and eventually growing up in the process

I think that's why journeys mean so much, in films and in general. Onscreen, watching a character move from point to point, growing all the while is such a satisfying thing, and it resonates more because we've all been through something similar offscreen. I think this movie matters because even though it's crazy, uber specific and intricately detailed, it's also hugely universal. Anyone can watch it and recognise it. Yes it's largely a coming of age film, but like any good cinematic journey, there's real world overlap too, enough for anyone to feel exactly what the character is feeling. For all of its wild visuals and surreal antics, the most powerful scene in the film is where Sen, No-Face and their companions sit on the train in complete silence. I think this scene works because without a single word, Miyazaki conveys exactly how she's feeling. Because we've all been there. It's a quiet moment to reflect in a busy, confusing time, and it's where everything that Sen's feeling is processed, discussed and resolved, and I think it's so powerful because it doesn't have dialogue. It's the moment she meditates on everything that's happened and how it's changed her, and I'd even argue that it's the moment she comes of age, realising what's important and becoming aware that she's on a journey. She doesn't quite know the exact destination, but for the first time maybe ever, she's ready to face whatever comes her way, with little fear. The film suggests that when we're ready for something, we just know. It's not a process, it's all in the moment. Over the course of her journey, she loses a lot, and leaves a lot behind, but in the end, she's gained even more. I think Spirited Away matters so much because it understands why the journeys we take matter, and how they're structured. Miyazaki knows how quickly life changing experiences can happen, and he knows how to strike that perfect balance of fear and wonder. And you know what? That's such a special thing

"A new home and a new school? It's a bit scary"

"I think I can handle it"

My Thoughts on Long Shot and One Cut of the Dead

Seth Rogen is.... well he's kind of.... he's a little bit... uh.... well he's had a strange career. Do I like him? I don't really know? He's had his ups and downs in the past, so going into Long Shot, I knew it could go either way. I mean Charlize Theron is a pretty safe bet, because even when the film's she's in isn't great, she's usually pretty fantastic, so honestly I had no idea what this movie was going to be like. An you know what? It actually really worked. I mean a romantic comedy about the secretary of state and a down on his luck journalist that plays out against the backdrop of the current American political landscape? That's a really unique concept for a movie, one that could have easily gone so wrong. But from Long Shots opening minutes, it's clear that were in safe hands. Rogen grounds his lumpy loveability with genuine heart, one that makes his jaded journo human as well as hilarious. Charlize Theron also gets a chance to flex her comedy muscles, with her struggle to succeed being both (topically) hilarious and taken seriously. Both of these characters are strong on their own, but the chemistry between Theron and Rogen is what makes this film work. They make for both a hilarious comedy duo and a legitimately charming couple, and considering how much this film hinges on their chemistry, the fact that it's both really funny and really sweet is the film's strongest asset

Long Shot is a lot of things, and for the most part, they're pretty good. Take it as a comedy and it's hilarious. Take it as a romance and it's genuine. Take it as a satire and it's razor sharp. True, not everything works, there are a few jokes that fall flat (not sure we needed to see Seth Rogen's alternative approach to beard-care), as well as a sequence involving a drugged up night of chaos that goes on way longer than it probably needs to. But I think what makes Long Shot works is that, above all else, you believe it. When the film hits the inevitable emotional story beats, they feel genuine. No forced emotion here, just a legitimately sweet conclusion to a really smart movie. Long Shot is a crowd pleaser that doesn't pull any punches, and any joke that feels overlong or too crude is forgivable (sometimes just about) in a film that's this charming, funny and relevant.

Rom-coms really are making a comeback, aren't they?

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Speaking of long shots, One Cut of the Dead starts off with a cracking one. I had seen a lot about this movie and its first shot, that insane 37 minute long shot. And so I went into it excited, but expecting that first shot to be treated as some sort of gimmick, especially because I had no idea what came after it. Little did I know that this was gonna be one of the best films about making films I've ever seen

Yeah, that first shot, with the zombies and the gore and all of that stuff is awesome. It's genuinely quite an engaging horror story, but the film becomes so much more after it. Watching everything play out once is great, but then seeing that from another angle and discovering another layer to the story makes everything even better. You're not seeing the film anymore, you're seeing how it's being made, and suddenly it's not about the story, it's about how the story is being told. It's about working around issues and problems, and accidental moments of genius, and that's when this becomes awesome. 

The idea that the show must go on is all over One Cut of the Dead, a film about making the best product you can in spite of limited resources. It's often said that film is an illusion, and I really love movies that show the audience how that illusion is being done. That's something that's even more potent here, because not only are you seeing how they're making this insane one take zombie movie, but they're making it pretty much on the fly in spite of so many problems. Suddenly, what I thought was a zombie movie is actually something much better, a funny, clever tale of doing the best work you can, and never settling for anything but that. In a way, it's a story about why filmmaking matters, because filmmakers are able to utilise so many different things to tell a story. And the eventual triumph of the crew is such a sweet ending. This is why film production is awesome. Because it's literally the creation of dreams. And that's something that this film is all for. It's an awesome love letter to filmmaking, and I just loved it

My Thoughts on Someone Great and Unicorn Store

So I mentioned this in my Annihilation review, but I love Gina Rodriguez. Like a lot. Jane the Virgin is one of my favourite shows of all time, and so I'm always interested in anything she does. And I suppose having that kind of relationship with an actor's work has its ups and downs. Sometimes you get something like Annihilation, and sometimes you get Someone Great. This is an odd movie, because while it's certainly not great, there's actually a lot to like here. The three central performances (Gina, Brittany Snow and DeWanda Wise) are actually really, really good. The film is at its best when it focuses on the friendship between these three, and their chemistry is organic, lived in, and just damn fun. Honestly, they're so good together that I'd even say that it's worth a watch just for that. I mean everything else is fine too. The tone is breezy and light, the supporting cast are fun (you can never go wrong with RuPaul), and the writing is sharp and actually pretty funny

One major problem is the flashbacks. Gina Rodriguez has fantastic chemistry with Lakeith Stanfield, but honestly all of the scenes with their relationship just drag on. This happens a lot, and every time it does, it really messes with the pacing. Is it necessary to the plot? I guess, but the film, much like Rodriguez' character, feels so hung up on this guy, and kind of loses sight of what's important. And yeah, I know that the film is about their breakup, but these flashbacks are so poorly woven into the plot that it feels like we're jumping between two different films, one of which is significantly better than the other

The film also uses so many contemporary references that'll probably age like milk, and overall the whole thing is pretty forgettable. Someone Great definitely had it's charming moments, and would make for a fun night in (I know I had one watching it), but it's probably something you'll forget in the morning. Watch it for an ace story of female friendship, even if there isn't much else going on here

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Brie Larson is having one hell of a 2019. Coming off of the fantastic Captain Marvel, we've got Unicorn Store, one of the strongest directorial debuts I've ever seen. It's honestly so refreshing to have a film like this, one that highlights the value of childlike wonder, and in doing so, actually delivers a pretty important message about never giving up on your dreams. And if that sounds cliché, the sheer joy of the film, along with Larson's wonderfully quirky style, makes it feel like such a breath of fresh air, especially in a world where it's so easy to be cynical. Unicorn Store understands that we live in pretty bleak times, and with so much to be worried about, the film asks us to just stop and dream, and in doing so remember what's important

In anyone else's hands, this probably wouldn't have worked. I mean, the idea of a grown woman trying to fulfill her childhood dream of owning a unicorn is pretty silly, but that's kind of the point. We take it seriously because she does. Like Kit, we have our doubts, but we also hold out hope, because maybe, just maybe things will work out for her. The film does acknowledge that Kit's plan does seem childish and even a little ridiculous, but it does this so we understand why she needs to succeed. It really is the story of a disillusioned person rediscovering their joy, and it's so uncynical and magical that it just works. Kit's ultimate decision is the perfect conclusion, because by the point she's made it, she's already achieved her dream, and now it's time to move on and chase a new one. Will the quirky, modern fairytale style work for everyone? Definitely not, and I understand why some people don't like it, because it all hinges on how willing you are to accept the idea at the centre of the plot. I don't know, man, I'm just so happy that this movie exists, because the fact that it delivers such an important message (hold onto your sense of wonder) while also being an absolute delight makes it a true treasure. It feels like such an important film without ever implying that that's what it's trying to do. This is the kind of modern magic that we really need more of. I suppose it is hit or miss, because if you aren't invested in the plot straight away, then the whole thing will kind of fall through, but if, like me, you love this kind of idealism and want to see a film that revels in it, then Unicorn Store is a must see. God I loved this

My Thoughts on Hellboy and Shazam!,

Polar is an early contender for worst film of the year, but daaammnnn Hellboy runs it close. Neil Marshall's reboot sacrifices the soul of Guillermo del Toro's fantastic duology for mountains of exposition, gallons of blood, and swearing. Lots. And. Lots. Of. Swearing. I mean I wouldn't have been against the idea of a third Hellboy, but this was just not it, man. David Harbour is undoubtedly invested in this film, but his take on the big fisted badass is all wrong, swapping out dogged soul for sarcasm and angst that grates fast. Combine him with Stephen Graham's unfathomably annoying pig-monster, Daniel Dae Kim's blander than bland were-jaguar, Sasha Lane's dull psychic and Ian McShane's.... Ian McShane, and you have the most unremarkable line up imaginable. The only cast member who consistently entertains here is Milla Jovovich, whose Arthurian sorceress is actually a decent villain, albeit one with little more to do than watch Love Island and look menacing. The gore is tasteless and unnecessary, seemingly sharing Polar's more-is-less enthusiasm for bloodshed, but like that film, loses itself in its fascination with excess.

It's funny, too, because despite the fact that things are happening all of the time here, and all of them are ridiculously over the top, this movie is unbelievably boring. The characters are paper thin, never given time to develop under all of the snark and action. The climax favours (horribly CGI'd) excess over investment, and the bizarre fake-out final act that happens an hour before the film actually ends is a mind numbingly awful decision in a film full of them. Brian Gleeson's appearance as Merlin is particularly awful, a random, mismatched head-scratcher of a scene that half-heartedly ties Hellboy into Arthurian legend. The result is bloated tripe, with the only real glee coming from a hilariously strange cameo from Thomas Haden Church as a legendary vigilante. Everything else? Hellish

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The DCEU is often criticised for its obsession with angst. And yeah, the offerings so far have been steeped in cynicism, to the extent that I'm starting to think that it thinks that fun is a bad thing. Because comic books and superheroes and blockbusters are supposed to be fun, and this is something that Shazam! undoubtedly understands. This movie is big-hearted, unashamedly so, and it's this syrup-sweet wholesomeness that makes it far and away DC's best live action offering in the last decade. Okay, maybe the story is small scale and not very universe-y, but honestly, that's not a bad thing, because for the first time.... kind of ever, it feels like this series is doing it's own thing instead of just riffing on a certain other superheroic universe. The tale of Billy Batson was streamlined and focused, telling its own story with a genuine enthusiasm for comic book spectacle that honestly feels so refreshing after all of that jaded cynicism.  It's incredibly funny, but is never annoyingly knowing about it. It pokes fun at superheroes while avoiding sneering irony, and this good natured sense of humour takes this movie far.

And the good naturedness doesn't stop at the comedy. Shazam! has a huge heart, and by the end of it, you genuinely care about all of these characters. Zachary Levi is a delight here, being both a cool hero and a clueless teenage boy, and it's his big hearted hero that gives the film it's joyous edge. Mark Strong also makes for a formidable villain, his Black Adam more than your typical conniving businessman. There's a healthy amount of horror too, which turns out to be an ace callback to the nightmare fuel of family films gone by. I suppose if I had to nitpick, the tone is maybe a little too light in the climax, but the decision to keep the film firmly rooted in its irresistible optimism is definitely a good one, so it's not too big a deal. Turns out superheroes can be fun. Who knew?

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My Thoughts on Avengers: Endgame

Quick heads up: there are spoilers ahead. I really can't talk about this film in-depth without spoiling it, so go watch it before you read this. If you want a quick, spoiler free verdict, then Avengers: Endgame is one of the best movies in the MCU, and you should definitely watch it

With that out of the way, let's talk about Avengers: Endgame, a film so huge that no round up could adequately contain it!

When Infinity War came out, I gave it a mostly positive review, and I stand by that. Over time, I think the issues that I do have with that film have kind of hampered my enjoyment of it a little bit more than when I reviewed it, but I still think that it does a lot well, and is overall a pretty good film. Weirdly enough, even though it's only been a year, it feels like so much time has passed since Infinity War, which passed into the halls of pop culture legend faster than Thanos could snap his fingers. This is pretty fitting, as the passage of time is a pretty big deal in Endgame. Though the film starts shortly after the snap, a time skip takes us five years into the future, where the characters have all changed significantly. I think this is why the film works so well, because, yes it's relying on how much you've invested into these movies, but it's also something that the film itself takes seriously. This is going to be a conclusion of this part of the story, one that starts with the characters at their absolute lowest. The early Thanos death is an effective rug pull, because it sets up the plot in a way that indicates that this film might not quite be what you think it going to be.

Which is another nice piece of storytelling, because the film tells its story almost retrospectively, with the Avengers, or what's left of them, trying to defeat Thanos before he's even got a chance to start fighting. How will they do this? Time travel, baby! Yeah, a back-in-time set up might feel kind of unconditional for a film like this, but they pull it off really well, building the first half of the plot around a really deft, fun, time heist. It works because it's big consequences on a small canvas (literally, given the quantum shenanigans). It keeps you invested with swift pacing and constant reminders of what's at stake. It might not have the scale of a huge battle scene, but it's a really fun way of re-approaching the entire MCU that feels breezy and light, but still packs a fair amount of weight, too. I also love how the method of time travel is so condition dependant, which does give it a little more heft than it might have had otherwise. This portion of the film is jam packed with details that'll make no sense to outsiders, but in the context of this series, they become little individual payoffs that gradually build the anticipation to that climax

And when it does come, holy America's Ass is it strong. Is the Avengers vs. Thanos battle a little bit fanservice-y? Maybe, but if it works, it works, and for the most part, the satisfying moments absolutely kill here. Okay, one or two are a little heavy-handed (one particular shot verges on lazy pandering), but overall, it's as epic a set piece as this series has ever given us. It's a culmination of everything in the MCU, action wise, and it's a really satisfying way to conclude the Thanos-plot. What's even better is the sequence they follow it up with, an extended victory lap that completely confirms their dedication to Tony's sacrifice. It's never cheap, instead being a genuinely emotional moment that brings so many things to an end wonderfully. And like every good ending, it's a great end for some characters, but a new beginning for others (Sam's got the shield! Asgardians of the Galaxy! Valkyrie rules New Asgard!). In many ways, it's a perfect finale, maybe not for the MCU as a whole, but for this specific chapter. This is something that worried me going in, that they'd deliver a conclusion on the middle of an ongoing series, but the film's final act confirms that, although the MCU certainly isn't done, some of its plots have definitively concluded, and for the most part, it's incredibly satisfying. It really makes an impact, and it's here when the film really becomes a knockout

It's definitely not perfect. Captain Marvel feels weirdly absent, especially odd considering how fantastic her solo outing was. She turns up, disappears, and then turns up again. I don't know, for such a great character who had been really built up for the last few months, she feels bizarrely short-changed, which is a really big shame. Another issue is the conclusion of Captain America's arc, which was fine, but distractingly out of character, turning what should have been a weighty character moment into a bafflingly pandering piece of fanservice. The Peggy Carter thing was fine, but definitely outstays it's welcome here, and the scene itself is such a strange and awkward moment that works way to hard to cater to such a small group of fans, bending the story and characters in the process. Guess he wasn't with Bucky until the end of the line after all.

But the fact that that's one of my issues with this film should be an indication of how invested I am in this series. And Endgame does, for the most part, reward me and people like me for sticking with this universe for so long. Any problems feel irrelevant in a movie like this, one that feels genuinely satisfying, epic and impressive. Do I think that the MCU is s groundbreaking cinematic achievement? No. Is it a defining moment of 21st century pop culture? Absolutely, and this movie definitely honours that. For how flawed I think this series occasionally is, Endgame was still really satisfying, and as both a fan of the series and a lover of spectacle, I really couldn't ask for any more. It's structurally sound, emotionally engaging and consistently entertaining despite its length. Overall? It's a titanic achievement of blockbuster filmmaking, and a damn fun ride, one where the missteps are nitpicks and the payoffs (for the most part) absolutely satisfy. I'd say go see it, but given its gargantuan box office takings, you probably already have