Kyle T's Reviews

The Disaster Artist tells the true story of eccentric, wannabe filmmaker Tommy Wiseau's (James Franco) attempt to make his own professional movie, and of his relationship with young, wannabe actor Greg Sestero (Dave Franco). It's not at all a spoiler to say Wiseau was successful in that he did get his film, The Room, made and that it did experience a theatrical release (in one theater). The Room, (released in 2003), has achieved cult status since its release; now considered by many to be "the best worst movie ever made".

The first question that should arise is, "Can you really enjoy The Disaster Artist without first seeing The Room?" The short answer is "No". The Room is a bad movie for sure. I personally didn't enjoy it as much as its many fans do because it's not quite bad enough to be hilarious, at least not for me. For me, it's just bad. (Though I did chuckle at it at some points throughout.) However, seeing it before watching TDA will help you appreciate a lot of what's going on behind the scenes in this film. That being said, if you absolutely can't suffer through The Room, then you can still find enjoyment in TDA, because, unlike the film it's based on, it is very good.

TDA is the best film James Franco has been attached to in recent memory. He transforms himself into Tommy Wiseau. It's an excellent performance and one that deserves the praise it's getting because he disappears into it so well. Also, Wiseau is so odd that any imitation of him may have easily come across as parody. That seems to be the last thing on Franco's mind. Wiseau's lack of tact and inability to empathize with others could easily make him seem like an arrogant jerk. But he's portrayed here more as someone who's odd behavior is simply misunderstood; his abrasiveness stemming more from passion than from ego. It's a bit of a tight-rope walk for Franco. While we shouldn't necessarily like Wiseau, we at least need to be able to appreciate his motivations, and connect with a man pursuing his dreams-Franco does this very well.

He does not do it alone though. In order to avoid just scoffing at Wiseau, we need a more grounded character to bridge a connection. James' brother, Dave Franco, plays Greg, an aspiring actor who is at first intrigued and fascinated by Wiseau, even accepting an invitation to move to LA with him so they can both pursue their dreams of becoming famous Hollywood stars. After last year's underrated Nerve, and this year's turn in TDA, Dave Franco is showing some solid potential beyond the immature young guy roles we're used to seeing him in. His performance obviously isn't as showy as his brother's, but that's exactly why it works. Someone needs to offset the wackiness and bring a balance to the film. While James is getting a lot of awards attention for his performance, I feel Dave should be in the best supporting actor conversations. It may be that he's simply in the film too much to be considered a "supporting" role. Either way, if he keeps digging into more roles like this, he could easily make a real impression on audiences beyond being "James Franco's brother".

The rest of the cast is a real who's who of cameos and supporting turns. The film opens with several real-life actors and filmmakers sharing their opinions on The Room. Then as the film goes on, every time you turn around a popular actor shows up in just about every role. It's like everyone wanted to be a part of this film. Just to name a few: Seth Rogen, Paul Scheer, Ari Graynor, Alison Brie, Jacki Weaver, Josh Hutcherson, Zac Efron, Megan Mullally, Hannibal Buress, Jason Mantzoukas, Lauren Ash, Charlyne Yi. Even Melanie Griffith and Sharon Stone show up for small but effective parts.

As for the film itself, if you're a fan of movies about making movies, like I am, you'll love TDA. Pulling double duty as both the star and director (it only makes sense considering who and what the film is about), James Franco creates a wide canvas for his characters to play on, beyond just watching a bunch of people making a movie. I'd argue that the first act could have been a little bit tighter, but the film never gets to where it's dragging or stalling. All the actors are given a chance to shine. The script is solid. On the technical side, from cinematography to music, nothing will over-impress, but its all serviceable and suits the material well. There is some appreciation for the technical crafts after the film ends when side-by-side footage is shown of The Room and precisely re-created scenes for TDA.

The Disaster Artist probably won't crack my top ten list for this year, but I certainly enjoyed it and intend to see it again at some point, perhaps as a double feature with The Room. Other than being fully prepped for awards season, I can't say its a film that must be seen in theaters. It's small scale seems well-suited for home viewing. If you're a fan of The Room, or just want a glimpse into the world of making indie movies, or even if you're just a fan of the actors involved, The Disaster Artist should earn a spot on your watchlist. 7.5/10
Review Date: 6/23/2018

The Disaster Artist tells the true story of eccentric, wannabe filmmaker Tommy Wiseau's (James Franco) attempt to make his own professional movie, and of his relationship with young, wannabe actor Greg Sestero (Dave Franco). It's not at all a spoiler to say Wiseau was successful in that he did get his film, The Room, made and that it did experience a theatrical release (in one theater). The Room, (released in 2003), has achieved cult status since its release; now considered by many to be "the best worst movie ever made".

The first question that should arise is, "Can you really enjoy The Disaster Artist without first seeing The Room?" The short answer is "No". The Room is a bad movie for sure. I personally didn't enjoy it as much as its many fans do because it's not quite bad enough to be hilarious, at least not for me. For me, it's just bad. (Though I did chuckle at it at some points throughout.) However, seeing it before watching TDA will help you appreciate a lot of what's going on behind the scenes in this film. That being said, if you absolutely can't suffer through The Room, then you can still find enjoyment in TDA, because, unlike the film it's based on, it is very good.

TDA is the best film James Franco has been attached to in recent memory. He transforms himself into Tommy Wiseau. It's an excellent performance and one that deserves the praise it's getting because he disappears into it so well. Also, Wiseau is so odd that any imitation of him may have easily come across as parody. That seems to be the last thing on Franco's mind. Wiseau's lack of tact and inability to empathize with others could easily make him seem like an arrogant jerk. But he's portrayed here more as someone who's odd behavior is simply misunderstood; his abrasiveness stemming more from passion than from ego. It's a bit of a tight-rope walk for Franco. While we shouldn't necessarily like Wiseau, we at least need to be able to appreciate his motivations, and connect with a man pursuing his dreams-Franco does this very well.

He does not do it alone though. In order to avoid just scoffing at Wiseau, we need a more grounded character to bridge a connection. James' brother, Dave Franco, plays Greg, an aspiring actor who is at first intrigued and fascinated by Wiseau, even accepting an invitation to move to LA with him so they can both pursue their dreams of becoming famous Hollywood stars. After last year's underrated Nerve, and this year's turn in TDA, Dave Franco is showing some solid potential beyond the immature young guy roles we're used to seeing him in. His performance obviously isn't as showy as his brother's, but that's exactly why it works. Someone needs to offset the wackiness and bring a balance to the film. While James is getting a lot of awards attention for his performance, I feel Dave should be in the best supporting actor conversations. It may be that he's simply in the film too much to be considered a "supporting" role. Either way, if he keeps digging into more roles like this, he could easily make a real impression on audiences beyond being "James Franco's brother".

The rest of the cast is a real who's who of cameos and supporting turns. The film opens with several real-life actors and filmmakers sharing their opinions on The Room. Then as the film goes on, every time you turn around a popular actor shows up in just about every role. It's like everyone wanted to be a part of this film. Just to name a few: Seth Rogen, Paul Scheer, Ari Graynor, Alison Brie, Jacki Weaver, Josh Hutcherson, Zac Efron, Megan Mullally, Hannibal Buress, Jason Mantzoukas, Lauren Ash, Charlyne Yi. Even Melanie Griffith and Sharon Stone show up for small but effective parts.

As for the film itself, if you're a fan of movies about making movies, like I am, you'll love TDA. Pulling double duty as both the star and director (it only makes sense considering who and what the film is about), James Franco creates a wide canvas for his characters to play on, beyond just watching a bunch of people making a movie. I'd argue that the first act could have been a little bit tighter, but the film never gets to where it's dragging or stalling. All the actors are given a chance to shine. The script is solid. On the technical side, from cinematography to music, nothing will over-impress, but its all serviceable and suits the material well. There is some appreciation for the technical crafts after the film ends when side-by-side footage is shown of The Room and precisely re-created scenes for TDA.

The Disaster Artist probably won't crack my top ten list for this year, but I certainly enjoyed it and intend to see it again at some point, perhaps as a double feature with The Room. Other than being fully prepped for awards season, I can't say its a film that must be seen in theaters. It's small scale seems well-suited for home viewing. If you're a fan of The Room, or just want a glimpse into the world of making indie movies, or even if you're just a fan of the actors involved, The Disaster Artist should earn a spot on your watchlist. 7.5/10
Review Date: 6/23/2018

"Some people build fences to keep people out, and other people build fences to keep people in."

The first thing movie-goers should understand about Fences is that it is very much a filmed play. An adaption of August Wilson's Tony-winning play, director Denzel Washington has kept the project as minimalist as possible. There's good reason for this. WIlson's words are exciting enough that there is just no need for big action, large sets nor grandiose cinematography. Fences is a small, intimate story about Troy Maxson (Denzel Washington) and his close-knit circle of family and friends. This small cast of characters is used to speak volumes about how far the Black community had come in overcoming prejudices by the 50s-era the story takes place in, but how far they still had to go. It talks about the roles of husbands, wives and children; the sacrifices we all make to support each other, often giving up our own dreams but never losing sight of them.

Much has been said of the performances here, and with good reason. They're terrific. Viola Davis will get her Oscar this year, there's little doubt in my mind. Her Rose Maxson is so reserved and subtle for much of the film, allowing Troy's continual imperfections and abuses to store inside her and chip away at her emotionally until the final straw causes her to erupt near the final act of the movie. It's an emotional and painful performance to observe, and one many, particularly long-time wives and mothers, will find easy to relate to but at times difficult to watch.

As for Washington, I find it difficult to understand why he isn't the front-runner for Best Actor this year. I've seen front-runner Casey Affleck's performance in Manchester By The Sea and it is excellent and look forward to Ryan Gosling's turn in La La Land; but what Washington does in Fences is special. Simpy put, it's one of the best performances I've ever seen an actor give. Troy is a very imperfect man to say the least. He's not necessarily a "bad guy", in fact most men will be able to see a little of themselves in Troy. He's a likable personality who does some despicable things. His tough love approach to raising his son seems more out of spite than love. And while there can be no doubt that he loves Rose, his behavior proves that love and respect are not the same thing. Washington crawls into this raw and complex character, becoming Troy to the extent that no matter how big a star Washington is, you forget you're watching an actor.

The supporting cast fairs well, particularly Stephen Henderson as Troy's friend and work-mate Bono, Jovan Adepo as his son Cory and Mykelti Williamson as his mentally-challenged brother Gabriel. Everyone seems to be working their hardest to do Wilson's words justice, and their efforts result it what may be the most overall well-acted film of the year.

Fences won't appeal to everyone. Those looking for action and extravaganza, this is not your movie. But if you're like me and enjoy watching good actors perform a well-written script, then you'll be enthralled by every minute of Fences.
Review Date: 6/22/2018

"Some people build fences to keep people out, and other people build fences to keep people in."

The first thing movie-goers should understand about Fences is that it is very much a filmed play. An adaption of August Wilson's Tony-winning play, director Denzel Washington has kept the project as minimalist as possible. There's good reason for this. WIlson's words are exciting enough that there is just no need for big action, large sets nor grandiose cinematography. Fences is a small, intimate story about Troy Maxson (Denzel Washington) and his close-knit circle of family and friends. This small cast of characters is used to speak volumes about how far the Black community had come in overcoming prejudices by the 50s-era the story takes place in, but how far they still had to go. It talks about the roles of husbands, wives and children; the sacrifices we all make to support each other, often giving up our own dreams but never losing sight of them.

Much has been said of the performances here, and with good reason. They're terrific. Viola Davis will get her Oscar this year, there's little doubt in my mind. Her Rose Maxson is so reserved and subtle for much of the film, allowing Troy's continual imperfections and abuses to store inside her and chip away at her emotionally until the final straw causes her to erupt near the final act of the movie. It's an emotional and painful performance to observe, and one many, particularly long-time wives and mothers, will find easy to relate to but at times difficult to watch.

As for Washington, I find it difficult to understand why he isn't the front-runner for Best Actor this year. I've seen front-runner Casey Affleck's performance in Manchester By The Sea and it is excellent and look forward to Ryan Gosling's turn in La La Land; but what Washington does in Fences is special. Simpy put, it's one of the best performances I've ever seen an actor give. Troy is a very imperfect man to say the least. He's not necessarily a "bad guy", in fact most men will be able to see a little of themselves in Troy. He's a likable personality who does some despicable things. HIs tough love approach to raising his son seems more out of spite than love. And while there can be no doubt that he loves Rose, his behavior proves that love and respect are not the same thing. Washington crawls into this raw and complex character, becoming Troy to the extent that no matter how big a star Washington is, you forget you're watching an actor.

The supporting cast fairs well, particularly Stephen Henderson as Troy's friend and work-mate Bono, Jovan Adepo as his son Cory and Mykelti Williamson as his mentally-challenged brother Gabriel. Everyone seems to be working their hardest to do Wilson's words justice, and their efforts result it what may be the most overall well-acted film of the year.

Fences won't appeal to everyone. Those looking for action and extravaganza, this is not your movie. But if you're like me and enjoy watching good actors perform a well-written script, then you'll be enthralled by every minute of Fences.
Review Date: 6/22/2018

Harriet is this year's Bohemian Rhapsody. That sounds like a very strange comparison I know, especially considering how different the two films are. Both are films with fairly basic screenplays that some how find just the right amount of compelling moments amongt the mediocrity to keep the audience engaged -sometimes even inspired. Both feature fairly large casts of varying talent overshadowed by a powerful lead performance. Both have decent, but not particularly wow-worthy production values. Both are films whose flaws are obvious, but still, for the reasons mentioned, make them worthy of watching possibly on multiple occasions for the inspiring figures they portray. Now before I take this comparison too far, let me be clear that I am in no way implying that Freddie Mercury's accomplishments can even hold a candle to the awe-inspiring work of Harriet Tubman. I'm only stating that when it comes to the quality of the script and the overall production values - it is easy to find similarities between the two films.
What Harriet lacks in writing and technical prowess, it makes up for in cheer-worthy moments of inspiration. Cynthia Erivo is nearly perfect in the role of Harriet Tubman and it's no surprise that despite the underwhelming reviews the film has received we've seen her name pop up at quite a few awards ceremonies.
The production value is a mixed bag. The costumes are great throughout, but the location shooting and background production often have a cheap or "made-for-tv" feel to them. Terence Blanchard's score can be a little overwhelming at times but it seems to fit with the overall production at hand. (There are a few beats that feel downright derivative of Thomas Newsman's score for The Shawshank Redemption. Could this be an intentional tribute considering the similar themes of freedom in both movies?)
I honestly knew very little about Harriet Tubman's life and work going in. High school history class was a long time ago and even then it was just the basics - that she was a key figure in the movement of slaves from the South to the North via the Underground Railroad. But when you actually see the obstacles she overcame and the massive number of people she helped, you can't help but feel in awe of this individual. For that reason alone, Harriet is essential viewing. I have a feeling this will become one of those go-to movies shown in middle and high school history classes for years to come.
Harriet certainly could have benefited from a more original screenplay, a bigger production budget, and a better effort to flesh-out some of the supporting characters. But it's still a worthy crowd-pleaser; an adequate production about one of the most inspiring historical figures in American history. (7.5/10)
Review Date: 12/11/2019

Once or twice a year, foreign films prove that, though America may be the movie capital of the world, the film industry has some really amazing vactationing spots. In 2001, China awed us with "Crouching Tiger, Hidden Dragon." In 2003, Afghanastan moved us with "Osama." And now, in 2004, China does it again with "Hero." "Hero" is an amazing and refreshingly sad film about how an assassin of assassins "saves" the king, and how the lives, romances, and deaths of those assasins determine the king's fate. Oh, Nameless, Sky, Broken Sword, Moon, and Snow, what a twisted web they weave. The visuals in the film are spectacular. We follow arrows, slice raindrops, and pound leaves, every bit of it looking absolutely real. The Romeo & Juliet love story between the assassins is done brilliantly, and the fight choreography, though slower, is just as good as "Crouching Tiger..." The acting was great. I've never felt that Jet Li could express good facial emotion, and there isn't much exception here. However, he does a good job of narration. Zhang Ziyi proves once again that she is a beautiful actress with amazing talent, expressing all ranges of emotion throughout the film. And, of course, great actors need a just as great supporting cast, and there is definately a great one here. I don't think I'll ever get sick of these martial arts-ballet films, so I hope we get another one soon.
Review Date: 11/12/2008

Opening your film with what will be the most intense or disturbing scene in the movie is risky. It can affect the intensity of your climax later and it puts the audience at unrest right from the get go. But that is exactly writer/director Scott Cooper's intention. Hostiles opens with one of the most violent scenes I can recall outside of the war and horror genres. It will make you uneasy and have you wondering, "what exactly have I signed up for?" This story takes place in a violent world; a world where even the best of men are dangerous men with blood on their hands. Cooper wants you to understand that, and to feel that from the start. And he accomplishes this with great precision.

Hostiles follows renowned Army Captain Joseph Baker (Christian Bale) who is assigned the task of transporting a dying Native American Chief (Yellow Hawk played by Wes Studi) to his homeland in Montana where he can die in peace. This detail also includes transporting the Chief's family which includes his son (Adam Beach), daughter, daughter-in-law and grandson. Baker does not want this assignment. Yellow Hawk has been a war prisoner for some time, captured no doubt by Baker himself. The two men have seen each other commit violent acts against each other's soldiers and friends. There is understandable animosity between them and despite Baker's insistence that he does not want this mission, he has little choice in the matter if he wants to retire from the Army with his record unscathed and his pension intact. As his commanding officer, Colonel Briggs (Stephen Lang) tells him, "This will be done. And it will be done by you."

Not long after the Captain, his small team of soldiers and Yellow Hawk's family start their journey, they find Rosalie Quaid (Rosamund Pike), a woman in dire straits after just witnessing the murder of her entire family and the burning of her home at the hands of another Native American tribe. Baker and his men know they must take this woman with them, not just to protect her from further attack and the elements, but to protect her from herself. All of this takes place in the first fifteen minutes of the film. The rest I will leave you to discover on your own.

For a movie that runs nearly a quarter past two hours, it is a wonder how it never drags. Had the film been released more in line with the awards season time frame, editor Tom Cross may well have seen his way to a few ceremonies. As would cinematographer Masanobu Takayanagi, who has made a film so gorgeous that even the close-up shots look amazing. When it comes to the beautiful landscape, this is probably the best-looking Western since Open Range. The score by Max Richter is very subtle, it fits the tone of the film perfectly, never feeling intrusive, but not unnoticed.

Every actor in this film is giving one of their finest performances. I'd go as far as to say this is Christian Bale's best performance since The Machinist, which is saying a lot since he's given so many great performances in between. Rosamund Pike's portrayal of a tortured soul feels authentic and heartbreaking. Wes Studi, Adam Beach, Rory Cochrane, Jonathan Majors, Stephen Lang, Jesse Plemons and Ben Foster all have opportunities to shine in smaller roles. Cochrane in particular shines as a soldier whose life of killing has finally taking its toll mentally and physically.

Hostiles may just come across as depressing to some viewers. It is dark and violent and there is little levity to speak of. There is so much death on screen that at times the movie seems like it is a story about death. And in a way it is. The acts of violence in the film happen quickly, but the repercussions of those acts are dwelt upon. We bear witness to the effects of death in its various forms. As such the film becomes more than just a story about death, but one about our reconciliation with mortality; our understanding of an outcome that is inevitable for us all one way or another.

Scott Cooper has created one of the best films of 2017. A haunting, emotional Western that you will not soon forget. A film that looks this good and that is this emotionally engrossing deserves to be seen on the big screen. And a film this well-made deserves an audience. So get to it. 9/10
Review Date: 6/20/2018

Opening your film with what will be the most intense or disturbing scene in the movie is risky. It can affect the intensity of your climax later and it puts the audience at unrest right from the get go. But that is exactly writer/director Scott Cooper's intention. Hostiles opens with one of the most violent scenes I can recall outside of the war and horror genres. It will make you uneasy and have you wondering, "what exactly have I signed up for?" This story takes place in a violent world; a world where even the best of men are dangerous men with blood on their hands. Cooper wants you to understand that, and to feel that from the start. And he accomplishes this with great precision.

Hostiles follows renowned Army Captain Joseph Baker (Christian Bale) who is assigned the task of transporting a dying Native American Chief (Yellow Hawk played by Wes Studi) to his homeland in Montana where he can die in peace. This detail also includes transporting the Chief's family which includes his son (Adam Beach), daughter, daughter-in-law and grandson. Baker does not want this assignment. Yellow Hawk has been a war prisoner for some time, captured no doubt by Baker himself. The two men have seen each other commit violent acts against each other's soldiers and friends. There is understandable animosity between them and despite Baker's insistence that he does not want this mission, he has little choice in the matter if he wants to retire from the Army with his record unscathed and his pension intact. As his commanding officer, Colonel Briggs (Stephen Lang) tells him, "This will be done. And it will be done by you."

Not long after the Captain, his small team of soldiers and Yellow Hawk's family start their journey, they find Rosalie Quaid (Rosamund Pike), a woman in dire straits after just witnessing the murder of her entire family and the burning of her home at the hands of another Native American tribe. Baker and his men know they must take this woman with them, not just to protect her from further attack and the elements, but to protect her from herself. All of this takes place in the first fifteen minutes of the film. The rest I will leave you to discover on your own.

For a movie that runs nearly a quarter past two hours, it is a wonder how it never drags. Had the film been released more in line with the awards season time frame, editor Tom Cross may well have seen his way to a few ceremonies. As would cinematographer Masanobu Takayanagi, who has made a film so gorgeous that even the close-up shots look amazing. When it comes to the beautiful landscape, this is probably the best-looking Western since Open Range. The score by Max Richter is very subtle, it fits the tone of the film perfectly, never feeling intrusive, but not unnoticed.

Every actor in this film is giving one of their finest performances. I'd go as far as to say this is Christian Bale's best performance since The Machinist, which is saying a lot since he's given so many great performances in between. Rosamund Pike's portrayal of a tortured soul feels authentic and heartbreaking. Wes Studi, Adam Beach, Rory Cochrane, Jonathan Majors, Stephen Lang, Jesse Plemons and Ben Foster all have opportunities to shine in smaller roles. Cochrane in particular shines as a soldier whose life of killing has finally taking its toll mentally and physically.

Hostiles may just come across as depressing to some viewers. It is dark and violent and there is little levity to speak of. There is so much death on screen that at times the movie seems like it is a story about death. And in a way it is. The acts of violence in the film happen quickly, but the repercussions of those acts are dwelt upon. We bear witness to the effects of death in its various forms. As such the film becomes more than just a story about death, but one about our reconciliation with mortality; our understanding of an outcome that is inevitable for us all one way or another.

Scott Cooper has created one of the best films of 2017. A haunting, emotional Western that you will not soon forget. A film that looks this good and that is this emotionally engrossing deserves to be seen on the big screen. And a film this well-made deserves an audience. So get to it. 9/10
Review Date: 6/20/2018

Opening your film with what will be the most intense or disturbing scene in the movie is risky. It can affect the intensity of your climax later and it puts the audience at unrest right from the get go. But that is exactly writer/director Scott Cooper's intention. Hostiles opens with one of the most violent scenes I can recall outside of the war and horror genres. It will make you uneasy and have you wondering, "what exactly have I signed up for?" This story takes place in a violent world; a world where even the best of men are dangerous men with blood on their hands. Cooper wants you to understand that, and to feel that from the start. And he accomplishes this with great precision.

Hostiles follows renowned Army Captain Joseph Baker (Christian Bale) who is assigned the task of transporting a dying Native American Chief (Yellow Hawk played by Wes Studi) to his homeland in Montana where he can die in peace. This detail also includes transporting the Chief's family which includes his son (Adam Beach), daughter, daughter-in-law and grandson. Baker does not want this assignment. Yellow Hawk has been a war prisoner for some time, captured no doubt by Baker himself. The two men have seen each other commit violent acts against each other's soldiers and friends. There is understandable animosity between them and despite Baker's insistence that he does not want this mission, he has little choice in the matter if he wants to retire from the Army with his record unscathed and his pension intact. As his commanding officer, Colonel Briggs (Stephen Lang) tells him, "This will be done. And it will be done by you."

Not long after the Captain, his small team of soldiers and Yellow Hawk's family start their journey, they find Rosalie Quaid (Rosamund Pike), a woman in dire straits after just witnessing the murder of her entire family and the burning of her home at the hands of another Native American tribe. Baker and his men know they must take this woman with them, not just to protect her from further attack and the elements, but to protect her from herself. All of this takes place in the first fifteen minutes of the film. The rest I will leave you to discover on your own.

For a movie that runs nearly a quarter past two hours, it is a wonder how it never drags. Had the film been released more in line with the awards season time frame, editor Tom Cross may well have seen his way to a few ceremonies. As would cinematographer Masanobu Takayanagi, who has made a film so gorgeous that even the close-up shots look amazing. When it comes to the beautiful landscape, this is probably the best-looking Western since Open Range. The score by Max Richter is very subtle, it fits the tone of the film perfectly, never feeling intrusive, but not unnoticed.

Every actor in this film is giving one of their finest performances. I'd go as far as to say this is Christian Bale's best performance since The Machinist, which is saying a lot since he's given so many great performances in between. Rosamund Pike's portrayal of a tortured soul feels authentic and heartbreaking. Wes Studi, Adam Beach, Rory Cochrane, Jonathan Majors, Stephen Lang, Jesse Plemons and Ben Foster all have opportunities to shine in smaller roles. Cochrane in particular shines as a soldier whose life of killing has finally taking its toll mentally and physically.

Hostiles may just come across as depressing to some viewers. It is dark and violent and there is little levity to speak of. There is so much death on screen that at times the movie seems like it is a story about death. And in a way it is. The acts of violence in the film happen quickly, but the repercussions of those acts are dwelt upon. We bear witness to the effects of death in its various forms. As such the film becomes more than just a story about death, but one about our reconciliation with mortality; our understanding of an outcome that is inevitable for us all one way or another.

Scott Cooper has created one of the best films of 2017. A haunting, emotional Western that you will not soon forget. A film that looks this good and that is this emotionally engrossing deserves to be seen on the big screen. And a film this well-made deserves an audience. So get to it. 9/10
Review Date: 6/20/2018

This film is just so cleverly written that regardless of how offensive some of it might be, you can't help but like it...Farrell is really terrific as Ray, a depressed hitman trying to get over his guilt of accidently killing a child, and his partner, Ken (played by Gleeson), is surely the most likable hitman you're likely to see...things go awry when their boss, Harry (Fiennes), orders Ken to kill Ray for his recent mistake...Can Ken really kill this man he has so much sympathy for?...Anyway, a coc-dealing girfriend, a Canadian jerk and a racist dwarf all get involved in a story with lots of enjoyable twists and turns and realistic action, along with some great shots of Bruges...be warned that the film contains considerable amounts of gore that isn't normal for what one would consider a comedy.
Review Date: 7/18/2009

THE INCREDIBLES is a high-flying, side-splitting, action-packed, animated adventure. Now, I know that sounded corny, but it's true. These CGI films aren't just for kids. They are satisfying for everybody. The film gets a little violent for very young children, with situations involving characters' deaths and attempted suicides. The movie's effects are great, as expected. Come on, this is Pixar we're talking about. No matter what Dreamworks or 20th Century Fox throws out, Pixar will remain the best for full-CGI pictures. The film follows a superhero family's struggle to fit into everyday life in a world that has banned superheroes to prevent further lawsuits. They are forced back into to duty however when the world is in peril (of course.) The plot's points and twists are very creative. The movie doesn't have the same charm of SHREK, nor the great art of FINDING NEMO, but it has qualities that it holds all to itself. For instance, it's ability to take a fairly fictional group of characters and give them real struggles and crises that we all feel in our everyday lives. That's tough to accomplish, especially in a "kids" movie. One of the best examples of this is overlooked by most of the audience. Mr. Incredible/Bob Parr is at work in a cubicle at an insurance company. Everything is going bad for him at work, and because he is too big for his desk, he accidently knocks the pencils and pens off his desk, and then the scene fades. That little shot says so much about everyday struggles of life. Look for little things like that.
Review Date: 11/12/2008

Superb filmmaking! Sure, it's cliche, it's at most times unoriginal, and basically just another midevil war movie. So what! It is loads of fun. The special effects during the ice cracking scene were spectacular. And, Antoine Fuqua proves once again that he is a great action director. King Arthur, and what remains of his knights must perform one last duty before being given their release papers. That's basically the plot, but they do a lot with it, including a hidden love triange, great batte sequences, and a lot of fun humor thrown in. The movie is not all magical fantasy, which is what the other critics are complaining about. That's the point! This movie is trying to suggest the idea, that many historians have come to, that the legend of King Arthur is in some way based on an actual brave knight. So, for instance, rather than being an all-powerful wizard, Merlin is depicted as being the leader of a savage warrior tribe. He is rumored by those that fear him to be a wizard, which makes perfect sense, historically, because as we all know, many tribes back then practiced different forms of spiritism. So, it could be concluded/exaggerated that merlin was possibly a wizard or sorceror. I like this take on King Arthur, and I loved the action, which is expected to be good since it is directed by Antoine Fuqua ("Training Day," "Tears of The Sun") and is produced by Jerry Bruckheimer ("Bad Boys," Pirates of The Caribbean," "Pearl Harbor").
Review Date: 11/12/2008

Jack Black gets a lot of buzz for this movie. And, he should. He's funny and brings a warm heart to this character we haven't always seen from his previous characters. However, the true standout is Dustin Hoffman in his first animation role. He receieves almost as much screen time as Black, but delivers his voice performance by immersing himself in the character, transforming himself like we've seen him do many times throughout his Oscar-winning career. It is an actor of the highest quality who would take a voice performance in a film called KUNG FU PANDA as seriously and with as much attention to detail as he would any serious dramatic role. David Cross, Ian McShane, Angelina Jolie, Jackie Chan and James Hong all deliver great voice performances as well in their supporting roles. Aside from the voice talent on hand here, the animators have really outdone themselves, going above and beyond with breathtaking action sequences (Tylong's escape from jail, the duel for the dumpling, and the bridge sequence all really stand out.), and backrounds that reflect the natural beauty of the Chinese mountains we've seen in many live action movies in the past. Kung Fu Panda may be a bit predictable and it really does lean toward a more child-based humor, but it is fun the whole family can enjoy.
Review Date: 9/29/2011

Jack Black gets a lot of buzz for this movie. And, he should. He's funny and brings a warm heart to this character we haven't always seen from his previous roles. However, the true standout is Dustin Hoffman in his first animation role. He receieves almost as much screen time as Black, but delivers his voice performance by immersing himself in the character, transforming himself like we've seen him do many times throughout his Oscar-winning career. It is an actor of the highest quality who would take a voice performance in a film called KUNG FU PANDA as seriously and with as much attention to detail as he would any serious dramatic role. David Cross, Ian McShane and James Hong all deliver great voice performances as well in their supporting roles. Aside from the voice talent on hand here, the animators have really outdone themselves, going above and beyond with breathtaking action sequences (Tylong's escape from jail, the duel for the dumpling, and the bridge sequence all really stand out.), and backrounds that reflect the natural beauty of the chinese mountains we've seen in many live action movies in the past. Kung Fu Panda may be a bit predictable and it really does lean toward a more child-based humor, but it is fun the whole family can enjoy.
Review Date: 11/12/2008

I love a good script and talented actors to carry it out. Michael Clayton delivers. It doeesn't hurt that the editing and score are also very sharp. Clooney, Wilkinson and Swinton were all Oscar-nominated for their performances (Swinton won), and the noms were well deserved. If there's any indication that Clooney has formed himself into one of the best movie stars of our generation based on talent and not just popularity, this film is it (also his Oscar-winning turn in Syriana and the more recent Up In The Air). Well, I won't ramble on too long, but I will point out, because there's been some confusion in some blogs I've read on other sites-Some people don't understand the horse scene. If you want to understand this scene you need to pay close attention to the scene later in the movie when Michael breaks into Arthur's apartment. The entire explanation is in one quick shot in that scene, so don't blink.
Anyway, I loved this movie, it is highly recommended.
Review Date: 1/13/2010

RAY is a brilliant film, in that it captures the atmosphere and personality of a man so well. The film isn't some revolution in the drama genre, but it sets the standard much higher for biopic perfomances. Jamie Foxx's performance isn't just an impression or impersonation, he embodies the very persona of Ray Charles. The movie doesn't just revolve around Ray's harsh drug addiction, and his love affiars, but also his greatest songs and musical innovations, making this more about the music and the man, than about his faults. The film is a bit long (2.5 hours), but should actually be longer, really, because it stops at 1976, and I was kind of hoping to get into his elderly years. But, that doesn't matter. You see, Jamie Foxx, along with a couple of really good supporting perfomances, keeps this film from being another melo-dramatic, semi-tearjerker about any icon celebrity. Foxx couldn't see through the prostetics put over his eyes to make him look like Charles, filming twelve to fourteen hours a day without his sight. Now, that's dedication. The movie features numerous performances of Ray Charles's music, and they are great, you'll be movin' and boppin' in your seat.
Review Date: 11/12/2008

Based a the 1936 propaganda film, REEFER MADNESS: THE MUSICAL is set up as a PTA viewing of a propaganda film about the effects marijuana has on two youths. The musical numbers, which are hilarious, may not look as grand in scale as something like CHICAGO, but they are still large, over-the-top, and well-choreographed. SHOtime's official website had this to say: "One of the most complicated musicals filmed for television, the movie contains sixteen musical sequences and several complex large-scale dance numbers. And every member of the cast was proud to display their real singing voice." Everyone puts in top-notch performances for a film that isn't supposed to be taken seriously in the first place. The true stand-outs are the lead Christian Campbell, Alan Cumming, and Ana Gasteyer. She does a great job with her role as a drug-dealer's abused girlfriend, who would love it if he just *accidently* fell off a cliff. The story is all in good fun, and the interruptions of it to see people's reactions in the PTA meeting are quite funny, rather than annoying, which is the result of many films that interrupt the main story. Our young protagonist battles drug-dealers, meets Jesus and the devil (in the same place), dances with what seem to be half-naked hula girls, and much more, often doing such things through his hallucinations while influenced by the drug. Sexually weird, drug-referenced to the core, and at times sacrilegious, REEFER MADNESS: THE MUSICAL won't appeal to everyone, and certainly not to children. It is a fun film, however.
Review Date: 11/12/2008

Well, ok, it is not a completely accurate portrayal of the legal system, as some have complained. But, you need to remember that IT IS a movie. Plus, it is a GREAT movie. Hackman delivers one of his best performances. For some reason, you just like seeing him play the villain. Hoffman, Cusack, and Weisz all give good performances, too. And, Weisz does a pretty good American accent. The scene between Hackman and Hoffman (real-life close friends) is fantastic, especially granted that it was shot two weeks after the film was already finished. Runaway Jury is definately a must see.
Review Date: 11/12/2008

"The price for your glory is their suffering."

Martin Scorsese's new drama was not designed to be easy on its audience. Silence is a dark tale of violence and persecution that raises many questions about faith and martyrdom, but doesn't pretend to have the answers to those questions. This is what makes the film so profound. Those that consider themselves very religious will find sympathy and outrage at the circumstances displayed. Those that are not religiously-minded, or that consider themselves atheist or agnostic, will find it unfathomable that people can treat each other in such ways over religion-or that people would be willing to die for their god. The question at the core of Silence is "While you may be willing to die for your faith, are you willing to allow others to die for it?" Silence does not pretend that there is a right or wrong answer to this question, instead it gives you the results of the decisions made by these specific characters-and allows you to ponder and decide for yourself what right and wrong is, or you may decide there isn't a right or wrong. Either way, I don't believe anyone can leave a viewing of Silence unaffected.

As a movie, I went in a little worried. I had read that it was long and deliberately slow. But I didn't find this to be the case. While it is long, at 2 hours and 41 minutes, I did not feel that the film dragged, nor did it feel like it was too long. In fact, I was so enthralled by the characters on screen, I didn't really want it to end. At the same time, as much hardship is displayed on screen, the film needed to end-before it induced some semi-permanent depression on its audience. I guess what I'm saying is, if you're a fan of mature, thought-provoking movie-making, don't let the lengthy run-time scare you. Long-time Scorsese-collaborator Thelma Schoonmaker proves once again why she is one of the best film editors in the business. She's been doing this for fifty years now (according to IMDB), and Silence is one of her finest works yet. Not a single scene feels unnecessary or tacked on. Even though she already has three wins (The Departed, The Aviator, Raging Bull), I hope the Oscars don't leave her out this year.

As for the cast, there's several award-worthy performances on display. Andrew Garfield is having quite the year. He's already been Golden Globe-nominated for his excellent turn in Hacksaw Ridge. But I believe his work in Silence is even better. His character has to deal with an intense crisis of faith, and it has to feel real or the film simply wouldn't work. Garfield makes this look effortless. The supporting actors, including Adam Driver, Liam Neeson and Ciarán Hinds all bring their A-game. The Japanese cast is also top-notch. Yoshi Oida, Shin'ya Tsukamoto, Yôsuke Kubozuka and Tadanobu Asano are all memorable. It's Issei Ogata as Inoue the Inquisitor who I really wish was in the awards conversation this year. His performance is humorous at times, bordering on just a bit hammy, but his character is so evil that these things only make him more despicable.

The film is also a gorgeous production. Rodrigo Prieto's cinematography is stunning. The costume and set designs give you a real sense of time and place, transporting you to world few films have gone and even fewer have made look this authentic.

As for the star behind the camera, Martin Scorsese is one of those directors we've come to hold to a higher standard. Like Steven Spielberg or Francis Ford Coppola, when their films aren't great it is more noticeable-simply because these filmmakers have given us so many classics we hold in high esteem. Thankfully, Scorsese does not disappoint. At 74, he's delivered one of his most technically ambitious features. While Silence may not be as entertaining or rewatchable as some of his past efforts, it is certainly one his most thought-provoking and important films. Movie-goers also shouldn't let the "Scorsese-brand" worry them as far as the film's content. The film does feature some very intense scenes of torture and violence. But there is nothing in the way of profanity nor sex/nudity.

Those going to Silence looking to be entertained may be disappointed. Not all films are designed to entertain. Some are made to promote thoughts and conversations about important subjects like religion, war and prejudice. Films like Schindler's List and Apocalypse Now come to mind; movies that you may not see over and over again-but that everyone should watch at least once. Silence may be difficult to watch at times. It can be faith-assuring or faith-shaking depending on what you take away from it. But like those other films I mentioned, it is a film everyone should see at least once.
Review Date: 6/21/2018

"The price for your glory is their suffering."

Martin Scorsese's new drama was not designed to be easy on its audience. Silence is a dark tale of violence and persecution that raises many questions about faith and martyrdom, but doesn't pretend to have the answers to those questions. This is what makes the film so profound. Those that consider themselves very religious will find sympathy and outrage at the circumstances displayed. Those that are not religiously-minded, or that consider themselves atheist or agnostic, will find it unfathomable that people can treat each other in such ways over religion-or that people would be willing to die for their god. The question at the core of Silence is "While you may be willing to die for your faith, are you willing to allow others to die for it?" Silence does not pretend that there is a right or wrong answer to this question, instead it gives you the results of the decisions made by these specific characters-and allows you to ponder and decide for yourself what right and wrong is, or you may decide there isn't a right or wrong. Either way, I don't believe anyone can leave a viewing of Silence unaffected.

As a movie, I went in a little worried. I had read that it was long and deliberately slow. But I didn't find this to be the case. While it is long, at 2 hours and 41 minutes, I did not feel that the film dragged, nor did it feel like it was too long. In fact, I was so enthralled by the characters on screen, I didn't really want it to end. At the same time, as much hardship is displayed on screen, the film needed to end-before it induced some semi-permanent depression on its audience. I guess what I'm saying is, if you're a fan of mature, thought-provoking movie-making, don't let the lengthy run-time scare you. Long-time Scorsese-collaborator Thelma Schoonmaker proves once again why she is one of the best film editors in the business. She's been doing this for fifty years now (according to IMDB), and Silence is one of her finest works yet. Not a single scene feels unnecessary or tacked on. Even though she already has three wins (The Departed, The Aviator, Raging Bull), I hope the Oscars don't leave her out this year.

As for the cast, there's several award-worthy performances on display. Andrew Garfield is having quite the year. He's already been Golden Globe-nominated for his excellent turn in Hacksaw Ridge. But I believe his work in Silence is even better. His character has to deal with an intense crisis of faith, and it has to feel real or the film simply wouldn't work. Garfield makes this look effortless. The supporting actors, including Adam Driver, Liam Neeson and Ciarán Hinds all bring their A-game. The Japanese cast is also top-notch. Yoshi Oida, Shin'ya Tsukamoto, Yôsuke Kubozuka and Tadanobu Asano are all memorable. It's Issei Ogata as Inoue the Inquisitor who I really wish was in the awards conversation this year. His performance is humorous at times, bordering on just a bit hammy, but his character is so evil that these things only make him more despicable.

The film is also a gorgeous production. Rodrigo Prieto's cinematography is stunning. The costume and set designs give you a real sense of time and place, transporting you to world few films have gone and even fewer have made look this authentic.

As for the star behind the camera, Martin Scorsese is one of those directors we've come to hold to a higher standard. Like Steven Spielberg or Francis Ford Coppola, when their films aren't great it is more noticeable-simply because these filmmakers have given us so many classics we hold in high esteem. Thankfully, Scorsese does not disappoint. At 74, he's delivered one of his most technically ambitious features. While Silence may not be as entertaining or rewatchable as some of his past efforts, it is certainly one his most thought-provoking and important films. Movie-goers also shouldn't let the "Scorsese-brand" worry them as far as the film's content. The film does feature some very intense scenes of torture and violence. But there is nothing in the way of profanity nor sex/nudity.

Those going to Silence looking to be entertained may be disappointed. Not all films are designed to entertain. Some are made to promote thoughts and conversations about important subjects like religion, war and prejudice. Films like Schindler's List and Apocalypse Now come to mind; movies that you may not see over and over again-but that everyone should watch at least once. Silence may be difficult to watch at times. It can be faith-assuring or faith-shaking depending on what you take away from it. But like those other films I mentioned, it is a film everyone should see at least once.
Review Date: 6/21/2018

This Series Deserved To Survive

Studio 60 follows the exlploits of the cast and crew of a SNL-type show. I know what you're thinking, but this was on before 30 Rock. This show featured, to me, some of the best writing in the history of television. Few writers can write this way. A way in which fifty topics can be covered in one conversation between several characters and instead of being confusing, the dialogue flows with such a lucid intensity that the viewer understands and retains all the information spoken. But you know what you need to make such great writing work? A great cast. And if there ever was one, you've got it here. Matthew Perry, Bradley Whitford, Amanda Peet, D.L. Hughley, Steven Weber, Sarah Paulson, Nathan Corddry, Nate Torrence, and Timothy Busfield (who also directed many of the episodes) all do some of the best work of their careers on this show. The show is original, funny, and at the same time rather controversial-covering such subjects and faith, drugs, abortion, celebrity obsession, politics and death. Its not afraid to take jabs at itself or at others, and almost never looks at any one subject from one point of view.
So what happened? I mean we all want more original, more intelligent programming right? We've complained about being fed the same old cop shows and crime dramas right? Its amazing how we as an audience will beg for a better level of entertainment and then when its actually on we're watching those same old shows! The death of FOX's brilliant Arrested Development could be painted the same way. It was called "the funniest show nobody ever watched" (I don't remember where I heard that). Studio 60 could be similarly labeled.
The DVD is a decent release. The show would have to be the main selling point. The picture and sound quality are good, but a drastic lack of features is dissapointing. It contains one featurette that is more annoying than educating and no episode commentaries. I would love to see a cast and crew commentary on at least a few of these episodes. But get this DVD for the show, that's the reason to go for it. Enjoy an amazing show, pick out your favorite episodes and revisit them whenever you like. The wonder of DVD.

"Time flies like an arrow, fruit flies like a banana." -G. Marx
Review Date: 8/16/2010

"The Terminal" benifets greatly from Hank's top-knotch performance, and Spielberg's great camera shots and editing. Hanks has a way of acting, in all his roles, so that you don't feel like "Oh, here's this actor playing this character," but rather you feel like you're actually watching that character. That's just one of the things that make Hanks one of the greatest actors of recent times, and is also what will make him remembered for years to come. Catherine Zeta-Jones does a fair job with her role. The best part about her in this movie is that she isn't playing that evil, stuck-up woman she usually plays in films like "America's Sweethearts" and "Chicago." The worst part about her role is that she just doesn't get as much screen-time nor good script lines that someone of her talent probably deserves. However, she does what she can with what she is given. The supporting cast does a great job. Of course, when has Stanley Tucci failed us? Also a good performance by Kumar Pallana (Gunta). He gets a chance to spin plates and juggle in a scene, which is something he is a professional at in real life. A truly great thing about this movie is its production design and art direction. They actually built a mostly functional mini-airport to film the movie, complete with real working escalators and functioning ovens, cash registers, etc. Just remember, though a lot of the story is changed for Hollywood, this film is based on the true story of Merhan Nasseri, an Iranian refugee. In 1988, he landed at Charles de Gualle Airport near Paris and was denied entry. He had to live in in the terminal. The film may come off light-hearted and fluffy at times, but it's one of those movies made to make us feel good and smile. Do so, and you will love this movie.
Review Date: 11/12/2008

WE OWN THE NIGHT is one of my favorite movies of 2007. Joaquin Phoenix gives a terrific performance to match his WALK THE LINE Oscar nomination, only he gets to be a little more creative here, playing an original character without the restrictions of playing a real person. Mark Wahlberg is continuing to show the improvement he started with in THE DEPARTED, but he doesn't get as much screen time here as you might expect. Robert Duvall is always good, so no surprise there. However, Eva Mendes gives the best performance of her career thus far. Her chemistry with Phoenix is fantastic. There is a car chase in the rain here that showcases some of the best shooting and editing of the year. WE OWN THE NIGHT is fun, fast-paced and emotional. Don't miss it.
Review Date: 11/12/2008

*Review: Zootopia*
The last time a Disney feature received overwhelming critical and audience acclaim, such as Zootopia has been getting, was last year's Inside Out (a Disney/Pixar production). I allowed my hopes to get quite high, then was disappointed to find that film just didn't appeal to me as much as it did to others. In fact, I slept through at least twenty minutes of it in the theater. That's not to knock it for people that did enjoy it. I certainly intend to give it a second chance someday soon. However, that experience caused me to keep my enthusiasm a bit more in check when Zootopia was released to glowing reviews and big box office. I loved the trailers. They didn't give the whole film away like some do, and one of them was basically just the sloths at the DMV scene from the film, which I probably watched a dozen times because it is just so funny. Anyway, I went into Zootopia with high hopes, but level expectations. Thankfully, this time, I was not disappointed.
Is Zootopia the masterpiece critics have made it out to be? Some of them have claimed it is one of Disney's all time greatest animated features. I don't know that I would go that far. Disney has had great difficulty replicating the magic of their animated classics, such as Aladdin, The Lion King, Beauty and the Beast, 101 Dalmations and Alice In Wonderland. Those films are legendary, and I don't know that this generation's cynical kids, who seem to know everything before they see their first armpit hair, are able to become as emotionally invested in the fanciful worlds animated films create as the movie-going kids of years before could. And now those kids who grew up with Disney's animated classics are themselves world-weary adults. I guess what I'm saying is that while many of us movie buffs blame Disney for not making animated films as wonderfully as they used to, the audience has to bear some of that blame also. Still, there's no denying that Disney Animation Studios' output in current years has been hit or miss, with Disney's best animated features being those helmed by Pixar.
I am happy to report that Zootopia can stand toe-to-toe with most of Pixar's films. It starts with a great script. This script is funny, very funny. But it is also relatable, heartfelt and timely. There has been much discussion and praise of the films messages of embracing diversity and not giving up on one's dreams. While that latter message is a common theme in most family fare, the points the film makes about diversity couldn't be coming along at a better time. Many of us watch the news and see the stories of unarmed minorities being harmed or killed by police officers, or protests over the Oscars' lack of nominee diversity, and we realize there is truth and relevance to many of these issues. But how often do we stop to think about how our kids are responding to these things? They often watch, read and hear the same news we do. The main theme of Zootopia is not judging others based on their "species" and avoiding common misconceptions and stereotypes about anyone who may not come from the same origins you do. Admittedly, the movie beats this point more than a dirty rug (a skunk-butt-rug perhaps? You'll see.). But it doesn't interfere at all with the movie's enjoyment factor.
Aside from an extremely witty script, we have a well-cast group of actors bringing life to a plethora of unique new characters. In the lead is Ginnifer Goodwin as Judy Hopps, Zootopia's first bunny cop. One thing that set Disney's classics apart was their creation of unique and memorable characters. Think Genie from Aladdin, Dopey from Snow White, the White Rabbit from Alice In Wonderland or Timon & Pumba from The Lion King-characters that have thrived in the pop culture ether long after their movies' releases. Judy Hopps is one of Disney's best new characters in years and she deserves to be every bit as memorable as those others I mentioned. She could have thrived on the cute factor alone, but she is much more three-dimensional than that. She has experienced real bullying and prejudice in her life but insists on enduring through whatever others throw at her so she can become a cop and "make the world a better place". She's clever, funny and even a little flawed, making her easy to connect with and root for. Jason Bateman costars as the sly fox Nick Wilde, who must learn throughout the film to look past his cynical view of the world and his own selfish attitude. As a Jason Bateman fan, I was glad to see him lending his famously sarcastic tone to this project. In his character's first few scenes I wasn't sure he was the right fit, but once Wilde and Hopps partner up, his range kicks in as his character faces a new emotional journey. The supporting cast includes Idris Elba, Bonnie Hunt, Tommy Chong, J.K. Simmons, Octavia Spencer, Alan Tudyk, Maurice Lamarche, Jenny Slate and Shakira as a pop star named Gazelle who treats us to a fun concert during the end credits. Nate Terrance gets one of the film's best supporting roles as Clawhauser, the police department's front desk officer-a fat, goofy, over-the-top, donut-loving cheetah. He and Judy get one of the best scenes in the movie when he uses a certain word to describe her and she responds with a friendly "only bunnies can use that word" attitude. It is obvious what real world scenario this scene is mirroring, and it is a very clever part of the movie's diversity message.
All these characters are part of the movie's great mystery-why has there been a disappearance of multiple mammals, and why, in an evolved society where all animals live in supposed harmony, are some animals turning "savage" and attacking others? I certainly won't spoil it here; and while the big reveal may be a tad predictable, it fits the film well. The pacing is near perfect, never does the movie feel like it's dragging or rushed. The sloths at the DMV scene featured in the film's second trailer is probably the funniest scene in the movie. However, there is a little more to it and even though I had already seen it multiple times, it still brought me to tears laughing in the theater. Thankfully, there's plenty more great lines and gags throughout to keep the laughs coming.
Obviously, with any animated feature, the quality of the animation is an important factor. Zootopia looks great. It may not be jaw-dropping like The Good Dinosaur, but all the images are well drawn and crisply rendered. There is also nice attention to detail throughout-little things like the carrots on Bonnie Hopps' skirt, Judy's activity tracker watch, and Mrs. Otterton's thread-pilling sweater. Characters' fur looks to stand out and flow naturally. It is clear directors Byron Howard, Rich Moore, Jared Bush and their animation team set out to make a visually satisfying movie experience that doesn't skimp on animation quality.
Disney should be proud of their latest effort. Zootopia works well not just as a animated movie or family film-but just as a good movie period. I certainly wouldn't oppose going to see it again. It works on multiple levels and should be appealing to the whole family. 9/10
Review Date: 3/9/2016

The last time a Disney feature received overwhelming critical and audience acclaim, such as Zootopia has been getting, was last year's Inside Out (a Disney/Pixar production). I allowed my hopes to get quite high, then was disappointed to find that film just didn't appeal to me as much as it did to others. In fact, I slept through at least twenty minutes of it in the theater. That's not to knock it for people that did enjoy it. I certainly intend to give it a second chance someday soon. However, that experience caused me to keep my enthusiasm a bit more in check when Zootopia was released to glowing reviews and big box office. I loved the trailers. They didn't give the whole film away like some do, and one of them was basically just the sloths at the DMV scene from the film, which I probably watched a dozen times because it is just so funny. Anyway, I went into Zootopia with high hopes, but level expectations. Thankfully, this time, I was not disappointed.

Is Zootopia the masterpiece critics have made it out to be? Some of them have claimed it is one of Disney's all time greatest animated features. I don't know that I would go that far. Disney has had great difficulty replicating the magic of their animated classics, such as Aladdin, The Lion King, Beauty and the Beast, 101 Dalmations and Alice In Wonderland. Those films are legendary, and I don't know that this generation's cynical kids, who seem to know everything before they see their first armpit hair, are able to become as emotionally invested in the fanciful worlds animated films create as the movie-going kids of years before could. And now those kids who grew up with Disney's animated classics are themselves world-weary adults. I guess what I'm saying is that while many of us movie buffs blame Disney for not making animated films as wonderfully as they used to, the audience has to bear some of that blame also. Still, there's no denying that Disney Animation Studios' output in current years has been hit or miss, with Disney's best animated features being those helmed by Pixar.

I am happy to report that Zootopia can stand toe-to-toe with most of Pixar's films. It starts with a great script. This script is funny, very funny. But it is also relatable, heartfelt and timely. There has been much discussion and praise of the films messages of embracing diversity and not giving up on one's dreams. While that latter message is a common theme in most family fare, the points the film makes about diversity couldn't be coming along at a better time. Many of us watch the news and see the stories of unarmed minorities being harmed or killed by police officers, or protests over the Oscars' lack of nominee diversity, and we realize there is truth and relevance to many of these issues. But how often do we stop to think about how our kids are responding to these things? They often watch, read and hear the same news we do. The main theme of Zootopia is not judging others based on their "species" and avoiding common misconceptions and stereotypes about anyone who may not come from the same origins you do. Admittedly, the movie beats this point more than a dirty rug (a skunk-butt-rug perhaps? You'll see.). But it doesn't interfere at all with the movie's enjoyment factor.

Aside from an extremely witty script, we have a well-cast group of actors bringing life to a plethora of unique new characters. In the lead is Ginnifer Goodwin as Judy Hopps, Zootopia's first bunny cop. One thing that set Disney's classics apart was their creation of unique and memorable characters. Think Genie from Aladdin, Dopey from Snow White, the White Rabbit from Alice In Wonderland or Timon & Pumba from The Lion King-characters that have thrived in the pop culture ether long after their movies' releases. Judy Hopps is one of Disney's best new characters in years and she deserves to be every bit as memorable as those others I mentioned. She could have thrived on the cute factor alone, but she is much more three-dimensional than that. She has experienced real bullying and prejudice in her life but insists on enduring through whatever others throw at her so she can become a cop and "make the world a better place". She's clever, funny and even a little flawed, making her easy to connect with and root for. Jason Bateman costars as the sly fox Nick Wilde, who must learn throughout the film to look past his cynical view of the world and his own selfish attitude. As a Jason Bateman fan, I was glad to see him lending his famously sarcastic tone to this project. In his character's first few scenes I wasn't sure he was the right fit, but once Wilde and Hopps partner up, his range kicks in as his character faces a new emotional journey. The supporting cast includes Idris Elba, Bonnie Hunt, Tommy Chong, J.K. Simmons, Octavia Spencer, Alan Tudyk, Maurice Lamarche, Jenny Slate and Shakira as a pop star named Gazelle who treats us to a fun concert during the end credits. Nate Terrance gets one of the film's best supporting roles as Clawhauser, the police department's front desk officer-a fat, goofy, over-the-top, donut-loving cheetah. He and Judy get one of the best scenes in the movie when he uses a certain word to describe her and she responds with a friendly "only bunnies can use that word" attitude. It is obvious what real world scenario this scene is mirroring, and it is a very clever part of the movie's diversity message.

All these characters are part of the movie's great mystery-why has there been a disappearance of multiple mammals, and why, in an evolved society where all animals live in supposed harmony, are some animals turning "savage" and attacking others? I certainly won't spoil it here; and while the big reveal may be a tad predictable, it fits the film well. The pacing is near perfect, never does the movie feel like it's dragging or rushed. The sloths at the DMV scene featured in the film's second trailer is probably the funniest scene in the movie. However, there is a little more to it and even though I had already seen it multiple times, it still brought me to tears laughing in the theater. Thankfully, there's plenty more great lines and gags throughout to keep the laughs coming.

Obviously, with any animated feature, the quality of the animation is an important factor. Zootopia looks great. It may not be jaw-dropping like The Good Dinosaur, but all the images are well drawn and crisply rendered. There is also nice attention to detail throughout-little things like the carrots on Bonnie Hopps' skirt, Judy's activity tracker watch, and Mrs. Otterton's thread-pilling sweater. Characters' fur looks to stand out and flow naturally. It is clear directors Byron Howard, Rich Moore, Jared Bush and their animation team set out to make a visually satisfying movie experience that doesn't skimp on animation quality.
Disney should be proud of their latest effort. Zootopia works well not just as a animated movie or family film-but just as a good movie period. I certainly wouldn't oppose going to see it again. It works on multiple levels and should be appealing to the whole family. 9/10
Review Date: 6/28/2018

The last time a Disney feature received overwhelming critical and audience acclaim, such as Zootopia has been getting, was last year's Inside Out (a Disney/Pixar production). I allowed my hopes to get quite high, then was disappointed to find that film just didn't appeal to me as much as it did to others. In fact, I slept through at least twenty minutes of it in the theater. That's not to knock it for people that did enjoy it. I certainly intend to give it a second chance someday soon. However, that experience caused me to keep my enthusiasm a bit more in check when Zootopia was released to glowing reviews and big box office. I loved the trailers. They didn't give the whole film away like some do, and one of them was basically just the sloths at the DMV scene from the film, which I probably watched a dozen times because it is just so funny. Anyway, I went into Zootopia with high hopes, but level expectations. Thankfully, this time, I was not disappointed.

Is Zootopia the masterpiece critics have made it out to be? Some of them have claimed it is one of Disney's all time greatest animated features. I don't know that I would go that far. Disney has had great difficulty replicating the magic of their animated classics, such as Aladdin, The Lion King, Beauty and the Beast, 101 Dalmations and Alice In Wonderland. Those films are legendary, and I don't know that this generation's cynical kids, who seem to know everything before they see their first armpit hair, are able to become as emotionally invested in the fanciful worlds animated films create as the movie-going kids of years before could. And now those kids who grew up with Disney's animated classics are themselves world-weary adults. I guess what I'm saying is that while many of us movie buffs blame Disney for not making animated films as wonderfully as they used to, the audience has to bear some of that blame also. Still, there's no denying that Disney Animation Studios' output in current years has been hit or miss, with Disney's best animated features being those helmed by Pixar.

I am happy to report that Zootopia can stand toe-to-toe with most of Pixar's films. It starts with a great script. This script is funny, very funny. But it is also relatable, heartfelt and timely. There has been much discussion and praise of the films messages of embracing diversity and not giving up on one's dreams. While that latter message is a common theme in most family fare, the points the film makes about diversity couldn't be coming along at a better time. Many of us watch the news and see the stories of unarmed minorities being harmed or killed by police officers, or protests over the Oscars' lack of nominee diversity, and we realize there is truth and relevance to many of these issues. But how often do we stop to think about how our kids are responding to these things? They often watch, read and hear the same news we do. The main theme of Zootopia is not judging others based on their "species" and avoiding common misconceptions and stereotypes about anyone who may not come from the same origins you do. Admittedly, the movie beats this point more than a dirty rug (a skunk-butt-rug perhaps? You'll see.). But it doesn't interfere at all with the movie's enjoyment factor.

Aside from an extremely witty script, we have a well-cast group of actors bringing life to a plethora of unique new characters. In the lead is Ginnifer Goodwin as Judy Hopps, Zootopia's first bunny cop. One thing that set Disney's classics apart was their creation of unique and memorable characters. Think Genie from Aladdin, Dopey from Snow White, the White Rabbit from Alice In Wonderland or Timon & Pumba from The Lion King-characters that have thrived in the pop culture ether long after their movies' releases. Judy Hopps is one of Disney's best new characters in years and she deserves to be every bit as memorable as those others I mentioned. She could have thrived on the cute factor alone, but she is much more three-dimensional than that. She has experienced real bullying and prejudice in her life but insists on enduring through whatever others throw at her so she can become a cop and "make the world a better place". She's clever, funny and even a little flawed, making her easy to connect with and root for. Jason Bateman costars as the sly fox Nick Wilde, who must learn throughout the film to look past his cynical view of the world and his own selfish attitude. As a Jason Bateman fan, I was glad to see him lending his famously sarcastic tone to this project. In his character's first few scenes I wasn't sure he was the right fit, but once Wilde and Hopps partner up, his range kicks in as his character faces a new emotional journey. The supporting cast includes Idris Elba, Bonnie Hunt, Tommy Chong, J.K. Simmons, Octavia Spencer, Alan Tudyk, Maurice Lamarche, Jenny Slate and Shakira as a pop star named Gazelle who treats us to a fun concert during the end credits. Nate Terrance gets one of the film's best supporting roles as Clawhauser, the police department's front desk officer-a fat, goofy, over-the-top, donut-loving cheetah. He and Judy get one of the best scenes in the movie when he uses a certain word to describe her and she responds with a friendly "only bunnies can use that word" attitude. It is obvious what real world scenario this scene is mirroring, and it is a very clever part of the movie's diversity message.

All these characters are part of the movie's great mystery-why has there been a disappearance of multiple mammals, and why, in an evolved society where all animals live in supposed harmony, are some animals turning "savage" and attacking others? I certainly won't spoil it here; and while the big reveal may be a tad predictable, it fits the film well. The pacing is near perfect, never does the movie feel like it's dragging or rushed. The sloths at the DMV scene featured in the film's second trailer is probably the funniest scene in the movie. However, there is a little more to it and even though I had already seen it multiple times, it still brought me to tears laughing in the theater. Thankfully, there's plenty more great lines and gags throughout to keep the laughs coming.

Obviously, with any animated feature, the quality of the animation is an important factor. Zootopia looks great. It may not be jaw-dropping like The Good Dinosaur, but all the images are well drawn and crisply rendered. There is also nice attention to detail throughout-little things like the carrots on Bonnie Hopps' skirt, Judy's activity tracker watch, and Mrs. Otterton's thread-pilling sweater. Characters' fur looks to stand out and flow naturally. It is clear directors Byron Howard, Rich Moore, Jared Bush and their animation team set out to make a visually satisfying movie experience that doesn't skimp on animation quality.

Disney should be proud of their latest effort. Zootopia works well not just as a animated movie or family film-but just as a good movie period. I certainly wouldn't oppose going to see it again. It works on multiple levels and should be appealing to the whole family. 9/10
Review Date: 6/28/2018

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