Favorite Films of 2016

10. The Lobster

This surreal dystopian drama from Yorgos Lanthimos thrives on its unique concept: single people are arrested and sent to a hotel, where they have 45 days to fall in love, lest they be turned into the animal of their choice and forced to live in the woods. Those that doubt Colin Farrell’s acting ability can look to his lead performance here as proof that he is adept given the right script. The supporting cast, including Rachel Weisz, Lea Seydoux and John C. Reilly, is also brilliant. This is a thoughtful examination of modern ideas on romance and self, equal parts humorous and sorrowful. This film is not for everyone, but those eager to embrace a strange melancholy and an ambiguous ending should check it out.

9. Zootopia

In 2016, Disney put Pixar to shame with a surprisingly poignant and timely story tailor-made for the current political climate. Finding Dory was good (although clearly a shameless cash grab), but Zootopia was great. The animation is some of the best I’ve ever seen, with an amazing level of detail down to the very hairs on each animal. This is a bold film by Disney standards, one that encourages dialogue between people with different backgrounds and opinions in such a way that works for all ages. Kids will love the cute animals and funny voices, and adults can appreciate those aspects coupled with the fact that it’s not talking down to us.

8. Hidden Figures

This is another film that I consider necessary viewing right now. I was skeptical going into the theater, given the film’s cheesy marketing and PG rating, which I feared might mean that it presents a sanitized account of history. But it’s undoubtedly a hard-hitting drama that serves as a powerful reminder of what women and minorities experience, and its relevance in 2017 cannot be ignored. The performances drive the film and deserve praise across the board, especially with Taraji P. Henson’s lead role offering some beautifully captivating moments throughout. The fact that the Academy snubbed her this year is a travesty.

7. Kubo and the Two Strings

One of the most purely creative films of the year, Kubo’s stop-motion animation is insanely impressive, and its emotional fantasy journey is equally worthwhile. This is a deep and surprisingly dark family film, and its themes of parental love and coping with loss are potent. The voice cast, including Charlize Theron, Rooney Mara and Matthew McConaughey, is memorable. And damn, I still just can’t get over how beautiful is it to look at.

6. Sing Street

Director John Carney wowed me with 2007’s bittersweet Once, and he once again mixes music and heart into something memorable with Sing Street. The Irish Catholic backdrop meshes successfully with the film’s underlying sense of humor. The soundtrack, which combines ‘80s anthems with some memorable original songs, stands out on its own. The ending wanders into painfully cheesy territory, but overall this celebration of music, youthful innocence and individuality is equal parts catchy and substantial.

5. Lion

This film caught me off guard. The true story, about an Indian boy named Saroo who is separated from his family and tries to reunite with them as an adult, is impressive in the way it balances its large scale and intimate emotions. To my surprise, the film spends roughly half its runtime focusing on Saroo as a child, and young actor Sunny Pawar is surprisingly capable under the weight of such a heavy drama. Dev Patel’s turn as adult Saroo is also gut-wrenching, and supporting performances from Rooney Mara and Nicole Kidman add further gravitas to this powerful story. Lion is heartbreaking, enthralling and exhilarating, often all at the same time. And it serves as an important look at a way of life that can seem so far away here in the U.S.

4. Moonlight

The rawest film of the year, Moonlight is often difficult to watch. But this deeply personal exploration of a young black man growing up in Miami is arguably the most significant film of the year. The epic story—following a man named Chiron across three distinct periods of his life—masterfully addresses so many important topics: race, masculinity, homosexuality, poverty, substance abuse, the importance of father figures. All three actors who portray the man character—the child, the teen and the adult—embody him with unprecedented realness, and watching them struggle through such a harrowing life is captivating and draining.  Mahershala Ali’s supporting performance as a drug dealer that takes Chiron under his wing is relatively brief, but his presence resonates through the entire film and long after the credits roll. Barry Jenkins’ confident direction and obvious passion permeate every scene and every shot of this film. Moonlight is the type of story that is far too often and easily overlooked, but it’s important, necessary and beautifully crafted.

3. Arrival

Denis Villeneueve is quickly becoming one of my favorite directors, with both Prisoners and Sicario being two of the most intense dramas in recent memory. His foray into science fiction does not disappoint. The story, which focuses on a linguist (Amy Adams) trying to decipher an alien language before war erupts, is a slow burn that might turn off some viewers. But the payoff is utterly brilliant, with what might be my favorite ending of 2016. The film deals with love, the passage of time and the implications of cultural differences with elegance. Adams’ performance is amazing, and her Oscar snub is an Academy blunder on par with Taraji in Hidden Figures. Arrival is must-see sci-fi.

2. The Witch

This is the kind of horror movie that comes maybe once a year and really moves the genre forward. Its authentic colonial setting and beautifully bleak cinematography complement each other well. Some scenes are difficult to watch, and the entire film is deeply unsettling. But its exploration of humanity’s demons and our relationship with a higher power is profound. And the film passes the real test of any scary movie. It stuck with me after I left the theater and long into the night.

1. La La Land

If you’ve ever been in love or had grand, crazy dreams, La La Land will speak to you. It’s a near-perfect film that is by far the most magical time at the theater that I have experienced this year. It’s a rousing tribute to the power of film and music and the artists behind them. It’s a raw love story, complete with the requisite pure joy and harrowing sadness that must accompany it. It’s a beautiful work of art that I cannot recommend enough. It’s the happiest movie in recent memory, as well as the saddest. But ultimately, it’s a stirring celebration of life. It’s a wonderful whirlwind of emotions and song and color, one that benefits from the theater experience, shared with an audience equally at the mercy of the big screen and elaborate sound system. Unless you absolutely hate musicals, La La Land demands to be seen.

 

John Wick: Chapter 2 – The Pinnacle of Action Filmmaking

The first John Wick surprised many, including myself, upon its quiet and unassuming release back in 2014. The film’s story was elegant in its simplicity: a retired assassin is thrust back into action when a mobster’s dumbass son kills his dog. Who among us hasn’t read some article about animal cruelty and imagined the lengths to which we would go to exact justice if it happened to our own furry friend? The symphony of beautifully choreographed violence that follows as Keanu Reeves’ titular character rains vengeance down upon endless minions is endlessly satisfying.

The film boasted just the right amount of self-awareness that it could laugh at the more ridiculous action clichés while still serving as a tour de force of the genre. The character’s backstory involving his recently deceased wife humanizes him just enough that the audience actually cares about his endeavors. And with twice the budget backing it up this time around, John Wick: Chapter 2 is even more viscerally exciting than the original.

(For those wondering, yes, the adorable dog from the original film’s ending returns and—spoiler, I guess—more importantly no, it doesn’t die).

People often criticize Keanu Reeves’ acting ability, and there are certainly times when that is justified. But when he finds a role that suits his range, his commitment to the craft shines. Plus, the dude has been through some shit (look it up and you will feel things), and it’s just good to see a genuinely nice person succeed in the face of tragedy.

Reeves really let’s his character consume him here. He does many of his own stunts (like Tom Cruise minus the crazy douchebaggery), and it pays off in the final product. Shaky camerawork and ADD-fueled editing have become staples of modern action movies. Aside from the Jason Bourne movies, which manage to benefit from this style because Paul Greengrass actually knows what he’s doing, these techniques are usually used to hide less dedicated actors’ reliance on stunt doubles along with poor fight choreography.

Movies like Taken (especially the godforsaken sequels) and Quantum of Solace exemplify this. The result is a visual mess where the audience can never really see what’s going on and if it’s exciting at all, it’s only on a primitive level. John Wick is the antithesis. Some may disagree, but action filmmaking is an art all its own, and this series is becoming a textbook example of how and why when it’s done right.

The sequel opens with a bang. Wick must settle a score with the brother of the first film’s villain, an excuse for an immediate barrage of bullets and burning rubber. Luckily, this potentially uninspired angle is relegated to the prologue and not the main focus. It’s an excuse for instant gratification that doesn’t overstay its welcome.

The remaining story is once again simple, but it’s more than enough to justify the action. Again trying to enjoy retirement, Wick is called upon to fulfill a favor for a fellow assassin who helped make our hero’s oft-referenced “impossible mission” possible. Some twists follow, never revolutionary yet always engaging.

The real star, of course, is the action. The bigger budget allows for more elaborate set pieces, and the filmmakers do not squander this opportunity. Every single headshot (and there are a lot of headshots) is rewarding. The climactic sequence, involving a mirror-filled museum exhibit, is particularly creative. Chapter 2’s violence is also more graphic this time around. This allows for some unexpected and truly, “Oh shit!” moments. The rest of the audience in my theater seemed equally appreciative.

Director Chad Stahelski got his start choreographing stunts for films like The Matrix and 300, some of the most noteworthy action works of the last 20 years. These gigs were clearly the perfect preface to his directorial efforts behind both John Wick films. He understands precisely how to use the camera and the movement within to maximum effect. The result is fully realized mise-en-scene (and that sentence is what thousands of dollars towards film school got me).

The film’s neon, neo-noir art direction adds to its thrills. The distinct style is just one more way in which the series stands out from other contemporary competition.

I never expected to become invested in the lore of this universe, yet here we are. As ridiculous as it sounds, John Wick’s gritty world of seemingly infinite assassins and surprisingly captivating rules is fresh and exciting. Chapter 2’s ending brilliantly sets the stage for a bigger and more badass third chapter. Honestly, I can envision this series thriving well beyond that.

John Wick: Chapter 2 is a film that I can unashamedly describe simply as “awesome.” It shows off how purely entertaining action cinema can be, and I could not be more excited to see what the future of this franchise might have in store. For the time being, all you really need to worry about is seeing this really cool movie.

Hidden Figures – Necessary Viewing for a Divided Time

When I was younger, I watched civil rights dramas and thought about how far society has come in the decades since. But as I sat in the theater experiencing Hidden Figures, I often pondered how far we still must yet go. This makes the movie all the more relevant and necessary as I witness the fears and concerns of minorities and women around me in 2017.

The film poignantly depicts the struggles of female African American mathematicians trying to aid in the space race of the 1960s. The marketing gave me a slight Hallmark Channel vibe, but luckily the film is much more nuanced and affecting than the cheesy poster might suggest.

A story centered around math might sound dull, but there is plenty of heart and soul to be found in between shots of chalkboard equations. The three protagonists are played with an inspiring combination of gravitas and wit by Taraji P. Henson, Octavia Spencer and Janelle Monae. As they deal with segregation, casual sexism, courtroom battles, love and loss, there is always an impending moment that will punch you right in the gut. One such scene that stands out follows Henson’s Katherine Johnson as she is forced to run half a mile from her desk and back, in the rain, simply to use the restroom.

Hidden Figures was just nominated for several Oscars, including best picture and best supporting actress for Octavia Spencer. Spencer is undeniably fantastic, but the fact that Taraji P. Henson did not receive her own nod is a travesty. The film ultimately rests on her shoulders and she has some beautifully captivating moments throughout the film. As much as I love Meryl Streep (she’s definitely not overrated, despite anything President Cheeto Benito says), she doesn’t deserve a nomination every damn year. Henson will bring tears to your eyes at least once if you have a soul—which I don’t, and she still got to me!

The performances are the driving force behind the movie, and director Theodore Melfi deserves credit for giving the actors space to do their thing. Some of the supporting roles are also strong, including Kevin Costner and relative newcomer Glen Powell as astronaut John Glenn. Less convincing is Jim Parsons (as in Sheldon, as in “Bazinga!”), who never shakes the shadow of his sitcom role. I simply could not see past it, and that’s not ideal for a hard-hitting drama.

The score, composed by a team of Hans Zimmer, Pharrell Williams and Benjamin Wallfisch, also features several memorable melodies. Pharrell also has a couple of catchy original songs featured in the film, although I found their anachronism distracting at times.

The film’s setting is particularly exciting for locals in the 757. It takes place primarily in Hampton, Va., at NASA’s Langley Research Center and the surrounding area. It’s fascinating to see a familiar town recreated onscreen, particularly in the context of a period piece. It also leads to much needed reflection upon witnessing some of the darker side of Hampton Roads’ history.

Going into the theater, I was skeptical about the Oscar-worthiness of Hidden Figures. La La Land is still my favorite to win, although that’s likely the artsy white guy in me talking (and I might shut up about that movie soon, but not yet). But Hidden Figures is powerful, elegantly crafted and beautifully acted, and it deserves as much acclaim on its own. This is a wonderful film that deserves a trip to the theater, where you can surround yourself with strangers who aren’t such strangers because of the shared experience of witnessing the events onscreen. And during such divided times, this power that movies can possess is as important as ever.

 

 

Manchester by the Sea – A Grounded Drama with Stellar Performances Worth Sea-ing

Manchester by the Sea was one of the early contenders in this year’s Oscar race. While it’s not as accessible or easy to love as other contenders like La La Land, it permeates raw emotion that feels definitively real through the final shot’s fade to black. It’s a slow burn that won’t win over everyone, but for those interested in a well-crafted depiction of flawed humanity, it’s worth two hours of your time.

Casey Affleck’s lead performance as down-and-out Lee Chandler already earned him a Golden Globe nomination, and it is easily the highlight of the film. Affleck often lurks in the shadow of big brother Ben, although he has previously garnered acclaim in works such as The Assassination of Jesse James by the Coward Robert Ford (whew) and Gone Baby Gone (directed by Ben, who has proven to be surprisingly capable behind the camera). Here, he conveys his character’s complex emotions with the sort of subtlety that is out of reach for many actors.

Lee is an uncle who finds himself suddenly responsible for his teenage nephew following the death of the boy’s father. His character also harbors a dark secret from his past, and the guilt he lives with manifests in interesting ways that are simultaneously often difficult to watch. This is an uncomfortable film, particularly for those of us familiar with losing close family, but sometimes that’s necessary and cathartic. When Lee’s past is revealed through a haunting flashback, the examination of his guilt and erratic behavior pay off, culminating in something truly thoughtful.

Kenneth Lonergan writes and directs here. I was unfamiliar with his name before, although he did pen the script for Martin Scorsese’s Gangs of New York, a solid film yet not one of Scorsese’s best works (not even when limited to his films starring Leo). He also wrote the godforsaken live action Adventures of Rocky and Bullwinkle, which might be the complete opposite film compared to Manchester by the Sea. But hey, there’s something commendable about that level of range.

Here, Lonergan lets the subdued nature of the story play out elegantly. It’s a quiet and thought-provoking work that hits most of the right notes. Visually, the film does little to stand out. It’s largely standard drama setups without much creativity. The writing and acting are the clear focus here, which is fine, but the film is not exactly firing on all cylinders either.

Alongside its heavy themes, the film unexpectedly boasts a solid sense of humor. Lucas Hedges provides many of the funniest moments as Lee’s nephew, Patrick. He gracefully balances his tragic situation with the inherent absurdity of being 16. That’s not to the detriment of his more emotional moments, however. He handles those with a similar level of admirable restraint present in Affleck’s performance, made even more impressive given Hedges’ age.

Michelle Williams also shines in a supporting role as Lee’s ex-wife, Randi. Williams has delivered stunning performances before in films such as Blue Valentine and My Week with Marilyn, and here she gets some of the hardest hitting and most believable moments in the film as a working-class woman who has suffered more than her own share of loss. She’s certainly come a long way since Dawson’s Creek.

Manchester by the Sea is most noteworthy for its strong performances. Casey Affleck, Lucas Hedges and Michelle Williams elevate the film to Oscar contention, although I expect its fierce competition will come out on top. Lonergan’s script is also commendable for its raw emotions and humanity, and for its confident decision to leave things a little messy at its conclusion. It doesn’t really need to be seen in theaters, but if you’re in the mood for some of the emotional therapy that movies can provide so well, check this one out.

La La Land – A Mesmerizing Movie for the Dreamer in All of Us

La La Land is a near-perfect film made for the lovers and the dreamers of the world. It’s by far the most magical time at the theater that I have experienced this year. It’s a rousing tribute to the power of film and music and the artists behind them. It’s a raw love story, complete with the requisite pure joy and harrowing sadness that must accompany it. It’s a beautiful work of art that I cannot recommend enough.

With this week’s passing of Singin’ in the Rain star Debbie Reynolds (as well as her incredibly influential daughter, Carrie Fisher), what better excuse could one need to escape to an old-fashioned musical? The setting and the characters are modern and fresh, but the production itself is a loving throwback to the classics of that era, unlike any other contemporary film out there. The film is persistently whimsical, and its heartfelt optimism in the face of struggle is refreshing in this age.

The story follows an actress named Mia, played by Emma Stone, and a musician named Sebastian, played by Ryan Gosling. Both have grandiose dreams of success, and both are floundering in their fields. As they meet and their relationship develops, the way in which they support the other’s wildest dreams is nothing short of inspiring. It’s a realistic portrait of a loving relationship, one that may not be meant to last forever but is brilliant in its time. Following these characters as they follow their dreams, as Mia aspires to be an A-list star and Sebastian an authentic jazz club owner, is thrilling on its own. Another takeaway: it’s just not damn fair that Stone and Gosling are such talented actors, and they’re both such pretty people, and they’re both solid singers, and Gosling can play the fucking piano, too? Life is but a cruel joke. But I’m getting sidetracked.

The film kicks off with a dazzling opening number, in which a Los Angeles traffic jam makes way for “Another Day of Sun,” a warm burst of energy that has been lighting up my Spotify frequently since exiting the theater (along with, well, the entirety of this amazing soundtrack). The scene, which actually shut down an LA freeway for two days during filming, is the perfect prologue to an often dreamlike film. The complex choreography, captured with an intricate single shot like many of those classic musical numbers of old, sets high expectations for what’s to come. And writer-director Damien Chazelle, who delivered 2014’s equally mesmerizing albeit significantly darker Whiplash, meets that high bar at every opportunity. Every single outburst of song and dance in this film is exciting. Every one evokes the intended emotions with impressive fervor. They all relentlessly maintain the masterful use of camera and space to achieve sheer exhilaration.

Beyond the memorable music, La La Land is delightful to look at, too. It’s actually shot in ultra-widescreen CinemaScope, another love letter to such films of the ’50s era. This is particularly effective in showcasing the utter scale of Los Angeles trying to consume the characters whole. Some shots of the city truly look like a gorgeous painting. The film’s vibrant use of color combined with its lavish set design make for a remarkable visual experience. There are some imaginative dream sequences that are beautiful and just plain cool as well.

At the center of it all, we have two perfect leads. Stone is the real star here, with some profoundly heartwarming and heart-wrenching moments. Her solo performance of “Audition (The Fools Who Dream)” is the perfect showcase for her immense talent. At times, the emotions she conveys simply through her big, blue eyes are enough to knock you on your ass. Gosling is no slouch, though. He balances the film’s lighter moments with its dramatic scenes with finesse, and numbers such as “City of Stars” showcase his impressive musical talents. The two leads have appeared together before. They were cute as love interests in Crazy, Stupid, Love. And they starred again in Gangster Squad, which is a movie, I will give it that much. But here, they create a beautiful chemistry and a truly believable romance, one that the audience really, seriously wants to succeed.

If you’ve ever been in love or had grand, crazy dreams, La La Land will speak to you. It’s the happiest movie in recent memory, as well as the saddest, but ultimately it’s a stirring celebration of life. It’s a wonderful whirlwind of emotions and song and color, one that benefits from the theater experience, shared with an audience equally at the mercy of the big screen and elaborate sound system. Unless you absolutely hate musicals, La La Land demands to be seen.

Rogue One: A Star Wars Story – The Review

For the better part of the last decade, it seemed as though the Star Wars film saga was over. George Lucas went mad with creative power, delivering an underwhelming and unnecessary prequel trilogy that tried its hardest to kill moviergoers’ collective interest, while simultaneously making uninvited changes to the beloved original trilogy in what I assume was a deliberate effort to destroy everything we already loved.

Because Pixar, Marvel and my beloved Muppets weren’t enough, Disney casually dropped $4 billion to purchase Lucasfilm and the rights to Star Wars. Lucas is obviously responsible for some brilliant ideas. Star Wars is his baby. But he was best when he worked with others to weed out his bad ideas. The best movie in the series (obviously The Empire Strikes Back, I shouldn’t even have to say it) was already directed by someone else, the late, great Irvin Kershner. And after the poorly written mess of the prequels, it was time for an entirely different creative direction. Last year, Disney proved their deal was a good one for all of us.

J.J. Abrams braved the crazy fanbase and impossible expectations and delivered The Force Awakens. It was not perfect, but it did a great job of balancing nostalgia with moving the series forward in a modern context, even if the conflict did boil down to “emo kid builds bigger Death Star.” I still loved it, it made an absurd amount of money, and fans overall seemed to respond positively (with a solid 8.2 average on IMDb, which means nothing but it’s the best we’ve got).

I hope you liked it too, because we’re getting a new Star Wars movie every fucking year until, presumably, they get so bad that they somehow ignite World War III. The first of many planned spin-offs is this year’s Rogue One: A Star Wars Story. It’s yet another Death Star drama, but at least now we finally get an explanation as to why the original damn one had such a fatal design flaw. And it’s nothing life-changing, but it’s an enjoyable ride for fans, although it likely won’t win over any new ones.

Going into the the theater, I was mainly intrigued by the opportunity to see a darker side of the original trilogy’s rebellion. The main entries in the series are pretty tame and family friendly, and while Rogue One is no V for Vendetta, it definitely takes the lore to places we haven’t seen onscreen before. A lot of people die in this movie, and the climax in particular does not hold back as I feared it might.

Director Gareth Edwards is best known for the monstrous disappointment that was the 2014 Godzilla reboot (and he also delivered the much more worthwhile Monsters in 2010). Most of Godzilla‘s flaws stemmed from the lackluster writing, which couldn’t even set up cool monster fights. He still managed to squeeze some impressive imagery out of the script, and his gritty style transitions well to fit Rogue One‘s tone.

Edwards and cinematographer Greig Fraser deliver an immersive, often harrowing experience that at times almost feels like some sort of PG-13 Saving Private Ryan. The film conveys the massive stakes better than the main films. As the various rebels are introduced, it genuinely feels like they have everything to lose.

The action sequences are easily the highlight. They successfully put the audience into the middle of the fray as would-be boots on the ground. It’s a refreshing change of pace from The Force Awakens, which was exciting in its own way, but much more like a traditional space opera.

The story is less impressive. It takes place prior to A New Hope, covering the Imperial development of the planet-destroying Death Star and the rebellion’s effort to steal its blueprints so they can nip that shit in the bud. It’s a decent concept, but if you’ve seen anything Star Wars, you know where it’s all going, and as a prequel it doesn’t add much actual substance.

The film’s many characters are hit-or-miss. Felicity Jones caught my attention opposite Eddie Redmayne’s Stephen Hawking in 2014’s The Theory of Everything. Here, she is not nearly as memorable as Jyn Erso, the daughter of a reluctant Imperial scientist responsible for building the Death Star. She has some satisfying emotional moments involving her father, but often she just looks like she doesn’t really know what’s going on, and her attempts at rallying the troops later in the film would probably be enough to turn me to the dark side alone.

Luckily, this is more of an ensemble piece, and although none of the other major players are developed enough to leave a substantial impression, many have some worthwhile moments to shine. I wanted more of these characters, and that speaks to their impact with their limited presence. Donnie Yen’s blind and badass Chirrut Imwe along with Alan Tudyk’s K-2SO (because what’s Star Wars without a robot sidekick?) are easily the highlights. The massively talented Forest Whitaker also mesmerizes in a small role during the film’s first act. His character, a rebel extremist named Saw Gerrara, is twisted and engaging. I would have loved to further explore this concept of rebellion devolving into fanaticism. It’s a fascinating lens to apply to Star Wars.

The film sees many opportunities for cameos, and trust me, the filmmakers do not squander that opportunity. The results are uniformly cringe-worthy, particularly a surprise one near the end. There are a couple of characters from the original trilogy present here, with heavy CGI implemented in an attempt to make them look like their their 1977 counterparts, and the results are garish and distracting. Darth Vader (not a spoiler, since he was featured in the trailers and marketing, whether he should have been or not) also shows up in a couple of scenes that elicit eye-rolling rather than heart-racing, regardless of whether or not they fit the narrative.

Ultimately, the story doesn’t do much to add to the overarching Star Wars saga, and those not already invested in the universe likely won’t care much about what’s going on. I enjoyed the film mostly because of the mood it evokes and the spectacle of it all. It’s no Empire, nor even The Force Awakens. But overall, it’s a fresh take on a familiar universe, and if you’re interested in it, you will likely enjoy it. Just don’t expect anything revolutionary.

Suicide Squad: DC’s Cinematic Universe is Still Screwed

Let’s talk about Suicide Squad. The marketing was stylish, subversive and fun, and it appeared as though this movie could set DC’s attempt at a cinematic universe back on track. Depressingly, it’s not a good movie.

But first, some good news. The killer soundtrack is the real star here. The eclectic mix of rap, ‘70s rock and contemporary pop fits the film’s style beautifully, and it keeps things moving at a breakneck pace. The original songs, even Panic! at the Disco’s cover of “Bohemian Rhapsody,” deserve a better kind of movie. Will Smith’s Deadshot and Margot Robbie’s Harley Quinn are also highlights. After a few years flying under the radar and trying to force his children upon the world, with some failed Oscar bait mixed in, it’s a pleasant surprise to see Smith having fun and just being cool again. Robbie plays up Quinn’s craziness just right, making for a sympathetic, memorable and endlessly entertaining role.

It’s great to see some of these more obscure characters onscreen in general, and the cameos from Batman and other heroes are enjoyable while feeling less forced than they did in Batman v Superman: Dawn of Justice earlier this year. But others such as Killer Croc and Enchantress are impossible to take seriously. It doesn’t help that Cara Delevigne is an awful actress, and the plot revolves heavily around her idiotic witch character.

Do you know why the cool trailers never showed what the Suicide Squad were actually fighting? It’s because the villains are plain stupid, comic book villainy at its cheesiest and most underdeveloped. (Minor spoilers: Enchantress and her magical brother end up being the antagonists, and I’m not sure if her awkward CGI half-naked dancing near the end is supposed to be creepy or sexy or both, but it is only embarrassingly awful.)

In a supporting role as the Joker, Jared Leto tries to channel the comic books more faithfully than Heath Ledger’s and Jack Nicholson’s interpretations. But someone needs to teach him the difference between method acting and overacting as he tries, clearly so hard and so desperately, to live up to Ledger’s timeless portrayal. Ultimately, he’s too over-the-top, even for a character as ridiculous as the Joker can be, and he’s never truly intimidating or frightening as a result. Just kind of annoying.

There are engaging action sequences sprinkled throughout, but the climactic battle is a dull CGI clusterfuck much like we saw in Batman v Superman. The film is a textbook example of choppy editing, as it tries to balance all the characters and their backstories unsuccessfully. It also stumbles trying to balance its humor and neon imagery with its grim violence and darker themes. The result is more cringe-worthy than edgy and rebellious. Director David Ayer is responsible for some quality movies, like Training Day, End of Watch and most recently, Fury. He has a talent for dark material, but it’s wasted here.

Suicide Squad is more fun to watch than Batman v Superman and Man of Steel. Most of the characters and their banter are entertaining, and the visuals are occasionally inspired. It’s nice to see DC deliver something more colorful and less serious, although I do appreciate the attempt at something darker than Marvel’s cinematic universe. They’re running out of second chances, however. Sure, Wonder Woman looks decent, but we know they can make a good trailer out of a shit movie by now. Suicide Squad is relentlessly fast-paced and frequently fun, and the music is brilliant. But the film never overcomes its weak story, dumb villains and overall poor filmmaking.

The Martian: Like Interstellar, But Good

You’re welcome for that clickbait title, by the way. The Martian is a much needed reminder of how much fun a cinematic space adventure can be. With Matt Damon’s versatile acting, Ridley Scott’s penchant for massive epics, and author Andy Weir’s fascinating novel as its foundation, one of the year’s best movies has arrived in theaters.

Gravity is a great film, but its story is simplistic (though I will argue until the day that I die from choking on a mountain of Tic Tacs that this doesn’t make it bad). It’s also so consistently intense that it’s almost suffocating. I expected greatness from Interstellar last year, but I found its attempts at intellectual and emotional resonance superficial. The Martian has the cool special effects, beautiful interplanetary imagery, A-list stars and ambition of those films, with an effective story about hope in the face of overwhelming odds.

One of the most exciting aspects of the film is that it doesn’t take itself too seriously. The severity of the situation is always underlying, but the characters’ use of humor throughout the film works as both a coping mechanism for them and a source of genuine joy for us. Matt Damon perfectly balances the film’s tone.

Damon is the one who carries the film. He spends most of his scenes alone. His constant narration can get slightly tiresome and feels forced at times. But it’s usually still useful information for the audience, especially considering the hefty amount of science in the film (which I hope doesn’t dissuade you from watching, because it shouldn’t). His character’s evolution is profound.

Ridley Scott has earned his reputation as one of the great directors, although he can be remarkably inconsistent. The man who gave us Alien, Blade Runner and Gladiator also gave us last year’s pretty pointless Exodus: Gods and and Kings, the pretty but painfully dumb Prometheus, as well as The Counselor. My god, The Counselor… a vapid, self-aggrandizing mess that decided to place its dramatic payoff on the shoulders of Cameron goddamn Diaz. How you can make a shitty movie with my boy Michael Fassbender is beyond me. But I digress. Scott in his old age can still craft a gem.

Scott is as visual director as they come, and that lends itself perfectly to the Mars setting here. The sweeping wide shots are uniformly gorgeous. Scott and cinematographer Daruisz Wolski find captivating compositions even in the film’s most mundane planet earth-based scenes. Mars isn’t just a stage for terror in this film. It’s a beautiful place in its own right. The film’s release right after the discovery of water on the real red planet adds an exciting timeliness to the story as well.

The sense of wonder in The Martian is exciting. It could have easily been another harrowing space drama. The intense scenes are there in proper measure, but it’s the movie’s almost whimsical hopefulness and youthful energy that make it the first must-see film in months.

Black Mass: What Happens When Johnny Depp Actually Tries

Fresh off of the infamous flop and all-around turd that was Mortdecai and a slew of just plain crappy movies, Johnny Depp gives a remarkable return-to-form performance in Black Mass. He makes the movie as Boston gangster James “Whitey” Bulger, commanding the screen every chance he gets.

The film is directed by Scott Cooper, a native of Abingdon, Va. He is best known for helming 2009’s Crazy Heart, a moving drama that earned Jeff Bridges his Oscar for his portrayal of an aging country singer. Black Mass is much darker and has a lot more going on, but Cooper is developing a brooding style that I admire so far. His second feature, Out of the Furnace, is forgettable despite the presence of Christian Bale and Woody Harrelson. But that same style gives the movie at least an ounce of personality.

Black Mass is definitely a slow burn. Don’t go in expecting a bombastic climax like the one in The Departed. But it’s perpetually unnerving. The violence in particular is sparse, but when it happens, it is effective. It’s intimate and real, and it got to me more than most films are able to.

Benedict Cumberbatch, usually quite the reliable actor, is pretty difficult to take seriously here as Whitey’s brother, Billy. His Boston accent is impossible to take seriously. I was always constantly aware that I was watching Cumberbatch and not his character. He was clearly trying so hard not to sound like a sophisticated British dude, but his nasally voice here is just distracting. Luckily, like many of the supporting characters, he gets relatively little screen time.

The rest of the cast is solid. Joel Edgerton (who just wrote, directed and starred in The Gift, which I previously reviewed) in particular stands out as John Connolly, an FBI agent and childhood friend of Bulger’s. This dynamic provides an interesting twist on a film in the crowded gangster genre. Dakota Johnson, on the heels of her greatest-of-all-time performance in 50 Shades of Grey [cue Beyonce], does admittedly substantial work as Bulger’s wife despite only appearing a handful of scenes.

The makeup team deserves particular props. Depp looks old, nasty and most importantly, terrifying. Just look at those eyes! It makes his performance that much more believable. Their work on Breaking Bad’s Jesse Plemons is also remarkable. He looks much older and worn down, and he definitely looks like he’s had the shit beaten out of him numerous times.

Overall, Black Mass is a raw, unsettling and memorable gangster movie. If you’re the type who loves this kind of dark subject matter, like myself, it’s the first film worth seeing at the theater in weeks. And if you’ve forgotten what Johnny Depp can accomplish when he brings his A-game, this film is a worthy reminder.

The Gift: A Grounded, Satisfying Thriller

Let’s get this out of the way right now: In The Gift, Jason Bateman plays a character who is actually named Simon Cowell, like American Idol Simon Cowell. The writer (in this case, Joel Edgerton, who also directs and acts in the film) could have picked literally any other last name and it would have been less distracting and ridiculous.

Simon Jones. Simon Pegg. Simon Shrek the Third. Even Simon Joseph Stalin Buttface would have probably been less unfortunate.

But at least that’s my only major complaint with the movie, and the rest is good news.

I though that The Gift looked pretty terrible, based on the marketing. The trailer presents a generic thriller, with haphazard jump scares that feel meaningless, cheap and cheesy without context and a poor explanation of the story that presents nothing fresh.  I wrote this film off pretty quickly, but Internet buzz (along with a persistent girlfriend) convinced me to give it a chance. It turns out that The Gift is one of the more refreshing cinematic experiences so far this year.

Jason Bateman stars as Simon Cowell and Rebecca Hall stars as his wife, Robyn. The married couple seems happy enough as the pair move back to Simon’s hometown, buy a new house and prepare to start a family. But one of Simon’s high school acquaintances, Gordon (Edgerton) reappears in his life, and then things start to get real weird. Gordon appears at their house, bringing unwanted gifts and overstaying his welcome. It quickly becomes clear that Simon and Gordon both have secrets and agendas that are related to one another.

The question quickly becomes, Who is really the oppressed and who is really the oppressor? The movie spurns your curiosity at every turn and it really does keep you on the edge of your seat.

The first few scenes do a great job of balancing the line between awkward and creepy at the hands of Edgerton’s character. Something is definitely off with Gordon, but it’s also believable that Simon and Robyn wouldn’t immediately say, “Aww hell naw!” to this weird guy who may just be friendly, if a little socially awkward.

Edgerton, who you might know from Warrior, The Great Gatsby or Zero Dark Thirty, gives a commendable performance. As his motivations are slowly revealed, I was always eager to learn more and I had only a vague hunch of where the story was going. His writing brings with it some unique ideas and a worthy final twist.

Bateman is obviously better known for comedic roles in works like Arrested Development and Horrible Bosses, but he shows his range here as he makes the audience question Simon as much as they do Gordon. Is he the compassionate victim or is he the real asshole? The answer is worth finding out.

Hall’s acting is also good, but it’s clear the writing for her character isn’t as strong. She’s a pawn off of which the other two can play more than anything, but the insight we get into her backstory is also somewhat satisfying. Hall is much more memorable in Ben Affleck’s Boston bank robber drama, The Town, and Woody Allen’s Vicky Cristina Barcelona.

The aspect of The Gift that perhaps stands out the most to me is that it always feels grounded in reality, as if everything onscreen could realistically happen. It doesn’t rely on supernatural elements or convoluted plot points to create suspense. It’s a believable thriller and that’s a hard task to pull off.

The Gift’s raw nature, strong performances and satisfying twists make for a movie that’s almost worthy of being called great. I hope Edgerton gets more opportunities to write and direct; he shows promise here. It isn’t necessary to see his debut in theaters to get the full effect, as it would work just as well curled up on a couch, under a blanket and with the lights turned off. But it’s worth taking the time to see it somewhere, somehow.