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Raymond Thang

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A Beautiful Day in the Neighborhood Review

I think this movie is made for the cynics out there and I happen to be one of them. Sometimes it's good to be good. But it's great to be good in a bad world. Loosely based on the Tom Junod Esquire article "Can You Say... Hero?" and the friendship that spawned from Junod and Rogers, it tells a tale of a jaded journalist (named Lloyd Vogel in the movie played by Matthew Rhys) and his turbulent relationship with his estranged father (Chris Cooper). The movie is mostly about him and his family and Tom Hanks' Mr. Rogers (the only logical casting choice, of course) just so happen to be there to make things a lot better. It's framed like a high concept extended episode of Mister Rogers' Neighborhood -puppets and mini docs intact- and gives insight to Rogers through the people he knew and worked with. The dynamic between Lloyd and Fred work beautifully and the film takes a lot of visual risks that pay a lot of homage to the TV show and Rogers' legacy. It's also a very fragile film to watch in a crowd. Tender moments might be seen as cheesy and ridiculous for those who are uninitiated to Rogers' relentlessly altruistic philosophy. But I wouldn't want things any other way. It's a very mature film punctuated by Marielle Heller's gritty style -qualities that you wouldn't think would work for a movie featuring Mr. Rogers. But here we are. A Beautiful Day in the Neighborhood is the ultimate feel good drama. It's good to feel good, wouldn't you agree?

A Beautiful Day in the Neighborhood Review

Raymond Thang December 17, 2019
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Marriage Story Review

Reminiscent of Bergman's Scenes from a Marriage and Linklater's Before Midnight, Marriage Story tells a tale about a crumbling relationship between two good but flawed individuals. Starring Adam Driver (Kylo "Daddy Issues" Ben), and Scarlett Johnsson (who's able to play any person, tree or, animal) both at the very top of their game. Working off of some of writer/director Noah Baumbach's real life experiences and a very sharp (at times hilarious) script backed by some strong cinematography, gut punching editing and the best film score of the year by Randy Newman. This movie is one of the most brutal portrayals of disillusionment in the family I've ever seen since 2011's A Separation. Part of the movie is about what things could've been if a person had just said something differently or listened, another part of the movie is a rigorous, nasty legal battle where the characters are reduced to things that are less than human, but it all comes back to how it affects the parents and their child.

Marriage Story is definitely a hard watch and is probably gonna ignite some stuff between you and your partner if you decide to watch it with your partner. But it's incredible and worth your time. The one drawback for me is that I don't like kids in movies or in real life. I'm not a fan of the kid in the movie. Just wasn't feeling it. He seems kind of annoying. I don't get what people even see in child-rearing or why they even get married in the first place. But I don't know, maybe that's just me.

PS There's a scene towards the end that's improvised by Laura Dern and it's incredible. She's a treasure.

Marriage Story Review

Raymond Thang December 7, 2019
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Frozen II Review

Hoping to catch lightning in a bottle for the second time, Frozen II follows the events of its phenomenal predecessor which spawned some of Disney's most memorable characters and a musical anthem of a generation. Sadly, it's a lackluster sequel that not only fails its characters but also its own story.

We're introduced to the Northuldra, a tribe neighbouring Arendelle that could've been had a lot of geo-political dynamic and commentary but they really don't have much in them in terms of characters or plot. A few minutes later, we're re-introduced to Anna (who's way more interesting than her one-note emo-sister, Elsa) and the gang and the themes that the movie somehow never actually resolves. These include themes of maturity, existentialism, family and trust, racism and conspiracy, and at one point, even mental illness and the idea of living with a person you love who has it. We've seen other animation studios deal with these darker themes in Pixar and Studio Ghibli but Frozen II always appear hesitant in following through with any sort of nuance. Actually, Frozen II is 100% a kids' movie and, judging from all the commercials that played before the screening, just a feature length commercial to sell toys to kids. Besides its breathtaking cinematography from artists like Tracy Scott Beattie (layout) Mohit Kallianpur (lighting) that builds on some strong storyboarding and animation (except for one particular shot near the end), and a score that sounds more consistent and more impressive than the original, in my opinion, there's nothing else in it for grownups. I would say that it's a good movie to show kids but that would mean that the movie had something important to teach and has logical ways of teaching it. It unfortunately does not.

In the end, Frozen II is a storytelling disaster. It's a mainstream movie that somehow regresses its characters, cheats its finale without any antagonists to speak of and manages to forget about adding a climax at the end of its sluggish hour and a half of near meaningless build up. Frozen II is one of the worst sequels in recent memory and a mediocre movie at best that doesn't deserve some of the talent that had went into its presentation.

Frozen II Review

Raymond Thang December 7, 2019
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The Irishman Review

The Irishman is a dense movie. It's three and a half hours long and there's no way a review can do any of it justice. You should watch it. Plain and simple.

Based on Charles Brandt's I Heard You Paint Houses, it recalls the life and times of hitman Frank Sheeran which spans several decades from the 50's to just before his death in 2003. It's similar to other Scorsese crime classics like Goodfellas and Casino but slower in pacing and a lot more meditative. The great casting, soundtrack and tight editing are all hallmarks of a Scorsese picture and are all here as one would expect and it's great to see cinema's most legendary figures at the top of their game. I'm referring to Scorsese himself who has never really faltered as a filmmaker and documentarian, Thelma Schoonmaker who's still one of the greatest film editors of all time, Robert De Niro and Al Pacino who haven't given such nuanced and emotional performances since 1995's Heat, and the return of Joe Motherfucking Pesci. There's also Rodrigo Prieto (Brokeback Mountain, The Wolf of Wall Street, Silence) in charge of the cinematography, and writer Steven Zaillian (Schindler's List, Moneyball, The Girl with the Dragon Tattoo 2011) so there's obviously going to be a lot of hype for this particular gangster epic.

There's a lot of context when the movie begins. We listen to De Niro's Sheeran being interviewed near the end of his life as he tells us where he was at the time, who he was with, why they matter, what they were all doing, how they were doing it, and why. Although it's a slower movie than your Goodfellas and Casino, that doesn't mean that the movie slows down. It's a constant burst of information, and it's always fascinating and full of historical context and it all comes back to Sheeran, Pesci's Russell Bufalino, and Pacino's Jimmy Hoffa. There are a lot of main events but it's always about Sheeran's reactions to the other men and the ones he's close to. There's also a tricky story arc with him and his daughter Peggy played by Lucy Gallina and Anna Paquin that feels earned and became of the the most emotional parts of the movie for me personally but a lot of people don't feel the same way due to her lack of dialogue. But her involvement and the events during the final hour of the movie are tense, and beautiful.

You might've heard that there's a lot of de-aging vfx handled by Industrial Light & Magic. It was great in Ant-Man, Guardians of the Galaxy 2, and Captain Marvel. But now it's seamless I think. It's a perfect mix of practical and digital effects and for all I know they could've shot this movie over the span of 50 years. It look incredible. Except for the colour grading. Which, at times, looks like an outtake from 2004's The Aviator. But it wasn't enough to distract me from what I think is a perfect movie and an all time classic. The Irishman is another one of Scorsese's masterpieces.

The Irishman Review

Raymond Thang November 30, 2019
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Doctor Sleep Review

Although it appears to be souless rehashing of the original Shining, Doctor Sleep is a smart, compelling character drama that acts as an organic extension of the world that had been set up by its predecessor. And it does a pretty damn good job at it as well. Anchored by Stephen King's strength as a world builder and Mike Flanagan's visceral direction and patient pacing, we end up with a very satisfying conclusion to The Shining mythos.

We follow Danny (Ewan McGregor) after the traumatic events at the overlook hotel, still haunted by the literal demons of his past and the alcoholism that tore his family. He befriends a girl (Kyliegh Curran) who can also shine while they're both hunted by a cult that feeds on children with psychic powers led by Rebecca Ferguson. It's fantasy psychic war movie, y'all! To start off the cast is great from the ones who play returning characters (which can be a bit distracting at first but you'll get used to it) and the newer characters especially Ferguson as Rose the Hat and Kyliegh Curran as Abra Stone -and holy shit are they incredible. Ewan McGregor shines (pun intended) as an older, more vulnerable Danny Torrance (something that was unfortunately missing in Kubrick's classic. It's a slow building redemption story that feels fully earned and acts as a legacy story passed down from him to a child of a new generation and, in turn, an newer audience. I can totally see Doctor Sleep becoming the horror movie that gets younger audiences interested in horror movies much like The Shining did since the 80's. The story is bigger in scope, the characters are more relatable (even the villains) and the stakes are higher -all things that make a sequel great.

Some things I didn't like include the Newton Brothers' score which is a bit of a knock off to Wendy Carlos' revolutionary work on the original and I wished they had done something more and different in this one because I think the score ends up feeling like a bland imitation rather than an inspired tribute. The colour grading is also not good in my opinion. It's the exact same look as The Haunting of Hill House which I also had the issues with -particularly in the darker looking scenes. The movie looks great when we revisit the hotel and during its more abstract sequences but those are exceptions to a weird looking movie.

In the end, Doctor Sleep somehow managed to meet my extremely high expectations as a sequel to my favourite horror and Kubrick film and as a movie from one of my favourite contemporary horror directors. The references can feel a bit forced and repetitive at times but the story it tells is well worth your time.

Doctor Sleep Review

Raymond Thang November 10, 2019
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The Lighthouse Review

The Lighthouse is directed by Robert Eggers (The Witch), and in it, two men are stuck in a lighthouse and slowly lose their shit. To grossly oversimplify, The Lighthouse is The Shining but in a lighthouse with a lot references to some Greek mythology. It's a very challenging film to sit through, similar to 2017's Mother!, which is also a very atmospheric and stylized allegory. It's shot in 35mm in 1.19:1 with very dim and naturalistic lighting with an abstract score from Mark Korven. It moves at a slow, hypnotic pace and is punctuated by shocking imagery and fart jokes lifted by Willem Dafoe and Robert Pattinson's transcendent performances. It's a weird one and it's very unique but I don't think I was into it for the most part.

The movie seems to want to get you in the same mindset as its characters -that being stuck in one location doing monotonous lighthouse maintenance work and that it does that very well. At times it reminded me of Béla Tarr's style of filmmaking where everything is also shot in black and white and people exist in a shitty environment. But unlike Tarr, who's movies are always a breeze for me to sit through and to unpack despite some of their runtimes, The Lighthouse's pacing felt like a chore (which I guess was a point) but I don't really have much interest in that. The experience gets more interesting when being unpacked with some of its references but I eventually felt little need to ever want to think about it again.

Sadly, The Lighthouse isn't a movie that I liked too much. It's down to personal preference. If you're interested in one of 2019's weirdest and grittiest then your visit to The Lighthouse will be a more welcoming one than it was for me.

The Lighthouse Review

Raymond Thang October 26, 2019
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Joker Review

The Joker is arguably the most popular villain in fiction. He's a character shrouded in mystery. He represents the worst outcome of our world. I think what works so well for this character is because of the mystery of how he becomes who he becomes. To quote The Killing Joke "If I'm going to have a past, I prefer it to be multiple choice!" When first hearing of this movie, I was very skeptical of it. I'm not a fan of origin stories let alone an origin of an elusive comic book character like the Joker. The DC movies post-The Dark Knight have been mixed to negative for the most part and Todd Phillips doesn't seem to have the best track record. Still, I was curious to see where things would go. Then the first wave of reviews hit after its festival run and now it has my full attention.

Let's try to isolate the movie from the press for the moment. You should go see it and talk about it because it somehow feels like the worst and best time to have a Joker movie right now given the current political and social climate. You should watch it and enjoy it and be critical about it. For me, Joker is a well put together film with a gorgeous presentation in IMAX and 70mm (if you can seek that out). The art production, costuming, sound design, score, editing, cinematography, and performances are top notch and highly immersive with Joaquin Phoenix chewing up every scene of the movie. It's a movie hat helps us to understand a broken person living in a broken system. Taking elements from Scorsese classics like Taxi Driver and The King of Comedy and Alan Moore's infamous Batman comic and serving that chilling cocktail to a new generation of movie goers. It's a good idea but being a movie that's a product of its influences, the message in Joker remains relatively identical to Scorsese's 1976 opus. I don't think it has anything new to say that hasn't already been said. It's a movie that's bold in tone but at the same time feels like one giant predictable cliche. It's definitely a breath of fresh air to all the other comic book movies that have been coming out but that feeling is brief after realizing that it's been done already 4 decades ago.

Joker is going to garner some extreme and polarizing reactions from people and that's what's so fun about movies. I went into it expecting to like the technical aspects of the film and I did but was let down by the been-there-done-that premise. Someone who might've never seen Taxi Driver will have a very different reaction than mine. It's a movie that I can see becoming a modern classic down the line. It's just not a movie that would ever want to watch or think about ever again.

Joker Review

Raymond Thang October 4, 2019
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It Chapter Two Review

It's been 24 hours since I've watched It Chapter Two and just like most of the characters in the movie, I have forgotten almost all of it by now. Like its predecessor, the movie is a spectacle of horror set pieces that unfortunately don't work as well as the ones in the first. The movie is relentless to the point of desensitization. It's loud in its sound mix and in its imagery. It's a movie that's more like a demo reel for Bill Hader and Bill Skarsgård. Its vfx are as much a hit or miss than they are actually immersive. The tone is random and some of the brutality is highly problematic and unjustified.

It Chapter Two is a sequel that fits too many ideas into its 2 hour 40+ minutes. The only thing that saves it are the genuinely heartwarming bond between its multi generational cast despite frustratingly dull performances from the adult Losers. Except Bill Hader. He's awesome.

That's really all i could say about It Chapter Two. Maybe it would've been a smoother experience if it was all one giant movie with all the excess scares and tonal shifts cut out. Guess It Chapter Two couldn't cut it.

It Chapter Two Review

Raymond Thang September 13, 2019
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Parasite Review

Parasite is written and directed by Bong Joon-ho and, in short, is a genre movie that feels like 3 different movies linked on to each other. It shouldn't work as well as it does but it does and it works very well. It's hard to describe it since some of the major things that happen occur about halfway into the film. It's a movie that could've taken the direction that it was going for during its first half as it clearly sets up a fairly interesting premise with its unique idiosyncratic characters. But since it's a Bong Joon-ho movie, things are never quite what they seem, and what it becomes is all the more impressive.

Parasite is a playground for amazing production design, dialogue, and performances with standouts from Song Kang-ho and Park So-dam just to name a few. What stands out for me specifically is the work from Snowpiercer/Burning/The Wailing cinematographer Kyung-pyo Hong who's able to capture Bong's sociopathic depiction of class and the bleak, and at times, surreal moments that surround these environments. As great as the characters themselves are, it's no small task to make a story's setting have as much personality as it does in this movie. And these are locations you'd want to revisit, trust me.

For those who aren't into Bong Joon-ho's frantic tonal shifts, I think you can rest somewhat easy here as the movie puts in more of an effort to balance bleakness and dark humour (something I think he's a master at). It's a much more organic experience than Okja and Snowpiercer for sure but it's unafraid to make audiences laugh during its darker moments and no moment ever feels wasted or outstays its welcome.

I have to say that I love Parasite. There's a lot I want to say about it but can't because the surprises that are in the movie are so amazing that you shouldn't know about any of them beforehand. It's a multilayered narrative that takes incredible risks and they pay off in such a unique way. It's a movie that rewards multiple viewings and invites future discussion years from now. Parasite is a masterpiece.

Parasite Review

Raymond Thang August 30, 2019
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Once Upon a Time in Hollywood Review

Once Upon a Time in Hollywood is Quentin Tarantino's 9th and second last movie (or so he says). It's his most personal project set in 1969 Hollywood following Sharon Tate's fictional next door neighbour Rick Dalton (Leonardo DiCaprio) and his best friend Cliff Booth (Brad Pitt). It's slice-of-life buddy comedy with the Manson family looming in the background. And yes, you should do some research about the Manson Family and Sharon Tate before watching this movie or you'll be lost.

I wanted to put out there that Tarantino is one of my favourite screenwriters and directors out there and I'm always there to watch what he does. Pulp Fiction, Inglorious Basterds, Kill Bill, and Reservoir Dogs are among my favourite films of all time and I even love watching Death Proof and The Hateful Eight. I go to see Tarantino movies for the dialogue, gratuitous violence, retro soundtrack, and, although I don't have a foot fetish, there's a lot of that in his filmography and that's... Great? I got to experience all of these things but in a more meditative form. As of late, specifically after the passing of his longtime editor Sally Menke, his films have been very sloppy and paced very strangely. Not throwing shade at Fred Raskin but I think there needs to be someone who can really trim the excess. Once Upon a Time in Hollywood is in a weird place. It's a film that anchors itself in the mundane. We watch Rick shooting scenes for a Western, Cliff driving around, Sharon Tate going to the movies. In the moment I found myself asking where it was all going and what the purpose was for these moments. But then I thought back to scenes in Pulp Fiction and Reservoir Dogs where he also did this. It's just that the dialogue is not as interesting or as punchy this time around. Some moments had a lot of emotional significance to me and other moments were very forgettable and boring. Boring is not an adjective I would ever think to associate with Tarantino movies but here we are. But then the final 40 minutes happen... And it's one of the greatest things Tarantino has ever done and it's definitely more powerful of a moment because of how slow and mundane the movie was up to that point.

Although Sharon Tate doesn't have much dialogue in the movie, Margot Robbie gives a very sweet and humanizing performance as the late actor. You can argue that Sharon Tate didn't need to be in the movie at all, but I think she's absolutely necessary at a meta level for everything to work. Although I didn't know much about her, I got so much joy just from observing her daily routine and those moments were made all the more powerful when the movie ends. Brad Pitt is a complete badass with a vaguely problematic backstory. There are a lot of moments of him with his dog that I really enjoyed and there's a scene of him just watching TV with Leo that I was really into. He's a very laid back and sometimes goofy character but I think he's going to be a very iconic movie character years from now. Cliff Booth is one of Brad Pitt's best performances and is up there with his work in Fight Club. There are a lot of other great performances sprinkled though out that I can't really get into specifically but there's a little girl that Leo interacts with in the middle of the movie portrayed by Julia Butters (American Housewives). She's incredible and her scenes become important moments to Rick Dalton's character growth later on and her scenes had a lot of lasting impact for me.

Overall, it's very unique and it's very good. It's also a very boring movie to watch for the first time and I still don't really care for 60% of it. But I feel more positive the more time I've had to sit with it. I wouldn't recommend the movie to anyone except for die hard Tarantino fans and fans of cinema. There are going to be a few walkouts and there are going to be conversations about it years from now about its significance. It's absolutely going to develop a cult following. If you're just looking for a by-the-numbers contemporary Hollywood movie, this is it. But if you're down to just hang out with a movie for its characters and escape to 1969 without expecting a plot, Once Upon a Time in Hollywood might be the fairy tale for you.

Once Upon a Time in Hollywood Review

Raymond Thang July 29, 2019
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The Farewell Review

Writer/director Lulu Wang brings us the story of her grandmother's terminal cancer diagnosis in which she had around 3 to 4 months left to live. The story is framed around a lie in which the family must not tell her of her illness.

The Farewell is one of the most personal and important movies ever made. As I kept watching, I found myself realizing more and more that I've never seen Chinese culture portrayed in such detail in a mainstream Western release before. It's an eclectic mix of Chinese, American and European filmmaking backed up by some incredible and authentic writing and performances from Awkwafina, Zhao Shuzhen, and Jiang Yongbo just to name a few and is inspired by the works of realist filmmakers like Mike Leigh.

As blunt and bleak as the subject matter is, the movie takes a lot of time to find joy and humour in things that you wouldn't expect from a story like this. It's a masterful balance of tone that a lot of storytellers struggle with and Lulu Wang pulls it off completely. Watching The Farewell is like sitting down with a well written literary novel. Every family member and background character is a fully realized person and every decision the main characters make involve layers upon layers of performance and deception. There's also a great use of colour, symbolism, dense set designs, distant and observant cinematography from Anna Franquesa Solano, and sharp editing all accompanied by one of if not the best film soundtrack and score of 2019 by Alex Weston, Mykal Kilgore, Elayna Boynton, Fredo Viola, Hera Hyesang Park, and Lulu Wang herself featuring music from Beethoven and Leonard Cohen mixing together modern romantic western classical music with an American gospel sound.

The Farewell is incredible and its ending is one of my favourite endings in a movie ever. It's a must watch and essential to the cinematic canon. Maybe it's too soon to tell, but I think The Farewell is a masterpiece.

The Farewell Review

Raymond Thang July 19, 2019
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"Spider-Man: Far from Home” Review

Spider-Man: Far from Home is the third second Spider-Man movie and the twenty third movie in the MCU and takes place after the events of Avengers: Endgame. But I'm sure you know all this by now. Spoilers for everything up to this movie.

After the exhausting nature of its most recent release, I was ready to return to Peter Parker and his adventures away from the main MCU story. Frustratingly, Far from Home forces Peter and me back into the Marvel lore whether we want it or not. We're dealing with Tony Stark's death and the Snap and ignoring the fact that since time travel is a big element in the recent phase of these movies and that whatever happens can be immediately fixed by this plot-breaking mechanic, I still enjoyed the crap out of this movie (also Spider-Man is my favourite fictional character of all time. So no bias here!)

The first act catches you up with some of the recent story arcs. The cold open feels out of place and the first act just doesn't look that great or feel like it was paced as constantly as the rest of the movie. I saw this in IMAX and a lot of the action just looked off and unfinished from a VFX standpoint (which gets a significant upgrade towards the second half in what is one of the best IMAX presentations I've had so far despite a bunch of problems I had in the theatre: 3D not working, previews being set in a warped aspect ratio, a smudge on the projector, and an interruption by the staff during its first 5 minutes- despite all of this, the movie was great enough to make me forget all this and that takes a very special movie for it do that).

There's a struggle of balance between Peter's need to have a normal life for once and being a responsible super hero. This is nothing new and it's always been Spider-Man's bread and butter. But the slice-of-life element of Far from Home is rocky to say the least. Since its anchored by his feelings for MJ (a character that we didn't really get to know at all in Homecoming). Its love story is a huge flaw in the movie. We get no mention to Peter's previous crush and at no point did I believe that he and MJ were actually attracted to each other despite Tom Holland and Zendaya's excellent and intentionally awkward chemistry. It felt much more like an after thought than anything that was arrived at through logic. One thing I thought that does work very well is his relationship to Jake Gyllenhaal's grounded and multi-dimensional take on Mysterio. But I'll let you find out what happens with that when you go watch it.

Compared to Homecoming, Far from Home feels more confident in its execution. The set pieces (excluding the ones during the first act are amazing. Specific sequences were inspired by the visuals of Into the Spider-Verse and Looney Tunes. I'd never thought that I would have the pleasure of seeing Spider-Man action put together in this way -yet here we are! I also can't stress enough how great Tom Holland is as Peter Parker and Spider-Man. He's grown as a character yet he feels just as awkward and vulnerable and lovable as you'd expect, more so than most of Marvel's big screen super heroes. He's easily one of the most relatable characters in fiction and through the writing, his relationships, and Tom Holland's portrayal, this version of Spider-Man continues to preserve pretty much everything from its traditional comic book counterpart. Although I'm not a big fan of the Peter and MJ relationship in this movie, I think Zendaya's version of that character is so unique and coded in cool such a specific way that people have never seen before and it feels exciting. She's great to watch and Marvel has the potential to tell one of its most iconic love stories. With a little bit more character development, they can really do a lot of justice to this romance but it's just not quite there yet. Instead the movie has a bit of an identity crisis with the Spider-Man character (I guess this was what it wanted to focus on after all). Since Uncle Ben has yet to be explicitly mentioned (as annoying as it would be to see that part of the story again, I do think he's necessary to Peter Parker) and since they swapped him for Tony Stark, Spider-Man is a mix of the Iron Man character in the story and in the meta narrative. Since Iron Man is gone, they clearly want Spidey to be its new poster boy. But every turn it takes, Peter Parker is never able to escape the shadow of Tony Stark. It goes way deeper than just Peter Parker and it's beginning to feel very very repetitive. I'm down for this new version of Spider-Man in the MCU but I can't help but want Spider-Man to do its own thing and be his own person.

Although I sound a bit harsh on the movie, I still really enjoyed it. It's one of my favourite MCU movies and I enjoyed it more than Homecoming (which was already a very a good movie). I can't really talk too much about specific parts of the movie without going into spoilers. Far from Home has 2 end credit sequences and in traditional MCU fashion, one of them is a major plot development and the other is just for the shits and giggles, in my opinion. But the one that does matter is probably my favourite post-credits scene since the first Iron Man. Don't miss it because you will never let yourself live it down if you do.

Far from Home is my favourite Spider-Man movie after Into the Spider-Verse. It's currently my fourth favourite MCU movie after the Russos' movies. It's a must-see in IMAX for Spider-Man fans and fans of the MCU.

Spider-Man: Far from Home Review

Raymond Thang July 17, 2019
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"Midsommar” Review

So after having gone through a bad break up, Ari Aster decided to write and direct Midsommar (not to be confused with the 2003 Danish film of the same name that deals with very similar themes and settings).

Throughout the screening, I was trying hard to not compare this to Hereditary but they seem to be different sides of the same coin. Both are extended contemplations on grief punctuated with folk horror elements. While Hereditary felt very original and fresh, Midsommar feels like a straight up reimagining of The Wicker Man and an amalgamation of several folk and pagan horror tropes. If you've seen The Wicker Man, there won't be any surprises here story-wise. That might be disappointing to a lot of people but its existence in contemporary horror is interesting with folk horror being one of the more lesser known film sub-genres. Another thing I was disappointed by were its side characters -particularly the ones played by William Jackson Harper and Will Poulter. Although they were both good in their roles with most of the best comedic relief coming from Poulter's lines, they felt way more ancillary to the story than I had hoped to the point where I think they could've been combined into a more compelling character or removed entirely instead of having one act mainly as an exposition device and the other used solely for comedic relief. That all being said, I really really really liked this movie a lot.

Undoubtedly, Ari Aster has championed contemporary folk horror like nobody's business. Once again teaming up with cinematographer Pawel Pogorzelski and editor Lucian Johnston to deliver one of the most gorgeous cinematic displays ever put together. Every shot and cut is filled with tension and impact, each moment is in complete service to its atmosphere and performances with Florence Pugh being a clear standout. We see her at her absolute worst and at her most ferocious and she's able to play these emotions like a fiddle. While Aster and his crew has a chokehole at my throat, Florence Pugh has a dagger to my heart.

Big kudos to its costumes, set design, and dance choreography (yes there's dancing in this and it's as relentlessly wondrous as it is exhausting). Also the movie has one of the best sound editing and sound mixing... ever -featuring long sequences of near-silence and psycho-psychedelic soundscapes led by Bobby Krlic's (aka The Haxan Cloak) score which is a perfect mix of neo-romantic and modernist western classical music and diegetic folk choir passages culminating in one of the most memorable horror film scores in recent memory.

Midsommar is a slow, meditative epic that portrays past folk horror tropes with extreme competence. It's a technical marvel crafted by an emerging master of horror and drama. What it falls short in story and character, in my opinion, is completely made up by its incredible audio and visual presentation. It's a must-see for any cinephile and aspiring filmmaker but may be extremely boring and familiar to other viewers. Like The Witch and Hereditary, Midsommar will undoubtedly be polarizing among critics and audiences for years to come.

"Midsommar" Review

Raymond Thang July 6, 2019
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"Toy Story 4” Review

"Toy Story 4" is another sequel from Pixar that no one asked for. After watching it, if they decide to make another one, I would totally be fine with it.

After one of the most emotional endings of all time, Toy Story 4 serves as an epilogue of sorts for Woody. One of the main criticisms I had with the previous films is that his and Bo Peep's relationship were never truly fleshed out. We sat glimpses of what could've been as a relationship and as a decent story but it was dropped completely in the previous film without any real explanation. This one wisely chose to revisit that dynamic. She returns to the narrative as a more experienced and tougher presence which is evident from the very first scene. Along with that, we continue to explore a sentient toy's purpose after a child loses interest in playing with them. We get introduced to a DIY spork in Forky who becomes Woody's surrogate son post-Andy. In other words, Toy Story has never felt more existential than it has in this one. All these themes coalesce in what I think is one of the most complex antagonists in any movie I've ever seen: Gabby Gabby, played by a very subdued Christina Hendricks.

There's a lot of story to get through and we don't get to spend as much time with characters like Buzz, or the rest of Andy's and Bonnie's toys -which is a bit of a bummer. But I think this is all the better for it as it really follows Woody's character arc as he grapples with his purpose as a child's plaything and as a guardian to Bonnie and her only friend, Forky. We do get fully realized plots for Buzz, Bo, Gabby, Forky, and even Duke Caboom (kudos for casting Keanu Reeves as a Canadian motorcycle-loving stuntman) but the heart of the movie is really all about Woody and its conclusion reflects his journey and the themes surrounding him. Tom Hanks gives perhaps the most empathetic and mature take on this ironic character he's portrayed for 24 years and it's hard for anyone to not be swept up by his charm and the direction the character takes. In short, Pixar makes me super emotional and sad.

Once again, Pixar has created one of the most visually impressive movies of all time -I feel like I say this with every new Pixar movie but each one doubles down on its visuals. The rainstorm in the prologue sequence is jaw dropping. It renders water and mud and casts light like nobody's business. There's also a lot of heists going on as there usually are in Toy Story movies but it's incredible how much visual storytelling is packed into each shot and still have it feel comprehensible and straightforward. There's also this impressive tracking shot early on that acts as a nice piece of editing and summary of the adventure so far which will have cinephiles nerding out about it for years to come.

As I think back to my experience with the Toy Story movies, I think this is the second time they've delivered the perfect ending to these characters. It's a mature story about a father's purpose after you've already given everything to raise a bunch of kids. I've grown up with Woody and it's heartbreaking to watch him go through hell and back and realize that the thing you gave everything to has moved on while you stay in existential purgatory. The catharsis I felt watching him reckon with that fact adds up to one of my most memorable experiences at the movies so far. Although it feels compact and although it spends a lot of its time away from its more familiar characters, the story it chooses to focus on has the most dramatic weight behind it in the whole series by far. I can nitpick about pacing and accelerated character beats and, yeah, those are issues I have with the movie -but I can't deny how great it ultimately feels to walking out of it. "Toy Story 4" is not only my favourite of the series at the time of writing this, but a near-perfect movie and a must-watch.

"Toy Story 4" Review

Raymond Thang June 22, 2019
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"Godzilla: King of the Monsters” Review

Not gonna lie, when that Godzilla music kicked in near the end, it felt so good.

As far as Godzilla movies go, King of Monsters is one of the better ones. Most of the Godzilla movies are pretty terrible in my opinion. That being said, the movie has an identity crisis. Does it want to be a cheesy action movie (it fails at this) or does it want to be a serious drama with some monsters fighting in the background (it also fails at this)? Pretty CG clashes aside, there's nothing in it for me that made me feel invested in its bland characters (big and small), its generic story about #family or whatever, and its troubling, confused and borderline tone deaf commentary about nuclear warfare. Godzilla movies have come a long way from its potent and haunting post-WWII cosmic horror sci-fi roots. I quite liked the direction of its 2014 predecessor but this one just felt emotionless and lost in its abysmal script and sludgy pacing. It's three parts bad character writing and one part hollow spectacle.

If the movie knew just how stupid it was, maybe I would've had some fun. But instead, I just got a splitting heading from watching it. Good acting, music, shots, and special effects though.

"Godzilla: King of the Monsters" Review

Raymond Thang June 21, 2019
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"Rocketman” Review

Rocketman is a biopic based on Elton John's life. Being a big budget Hollywood musical biopic like it, it naturally has its issues. In a typical one, you start the movie off before an important performance that holds significant meaning to its subject, flashback to their childhood, then it goes into how they were playing at some clubs, then it shows them getting a manager then touring then the drugs then some betrayal then they get their shit together then they play the big concert then a bunch of words fade into the screen with still images of the actual subject and end movie with one of their songs. It's an unfortunate cliche and this hits almost all of those beats with one big subversion near the beginning that echoes throughout the rest of the film. Then the first musical sequence happens. And I thought: holy fuck, it's a musical... I think I love this.

As someone who has little to no interest in Elton John's music and know basically nothing about this career and life, I'm happy to say that Rocketman is a great movie and is destined to become a classic in the musical biopic genre. It stars Taron Egerton who gives equal parts vulnerability and bombasticism (not a word, I know) to one of pop music's biggest icons. He also a really good singer! Jamie Bell portrays Bernie Taupin, spectacle and music aside, if the relationship and chemistry between these two men didn't work, the whole movie would've fallen apart. Luckily everything about them does work, very well actually. One big issue I had with some of the characters were that Elton's parents were cartoonishly cold but clearly realism is not what the movie is aiming for here so I'm letting that slide.

Big kudos goes to the choreography and staging of some of these musical numbers. They're romantic surrealist in nature and always remained focused on the feels. I've never felt so emotionally invested in Goodbye Yellow Brick Road in my life than I was by the time the credits rolled. I was never quite clear as to what year or decade it was but do to it being a surrealist musical, it gets away with condensing years through its music, art direction and editing. Specifics and facts become irrelevant when the movie is clearly more interested in trying to make you feel everything at once and tries so hard to get you in the mindset of a person that lost control of his life for many years.

If you're looking for melodrama, beautiful costumes, grounded performances, with the spectacular and edge that most music biopics fail to bring, look no further. Rocketman is fantastic!

PS. did you know this movie is directed by the replacement director of Bohemian Rhapsody? That's pretty interesting.

"Rocketman" Review

Raymond Thang June 21, 2019
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"Booksmart” Review

Who would've guessed that Olivia Wilde can make such an amazing movie for her debut directorial effort. It's a coming-of-age story reminiscent of Superbad which went on to launch the careers of several young actors and this one will most likely do that same. Not only are all of the performances incredible but so are the characters. Coming-of-age movies are kind of my thing. So this is totally something I'm into and I had a blast. For the most part.

Booksmart takes place over roughly 24 hours of story time. It's a day before bffs Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) are to graduate. These girls are the most academic in their class and basically textbook model students. They go through an existential crisis and decide to go to a house party so they can cross that from their bucket list and of course, shit happens and hilarity ensues.

From the very first scene we get a strong sense of who these characters are. Through some clever writing, dialogue, and improv. But something else that we get a strong sense of is the movie's editing style... It's very aggressive and it's not gonna stop being so over-edited until the credits finish rolling. There's a lot of brilliance in its direction especially during its final act and it's unfortunate that the movie never truly feels as confident as it sounds. Literally. It's loud and relies heavily on its soundtrack. A lot of it feels on-the-nose, a lot of it I enjoy, and a lot of it I hated. Music-wise, it's a mixed bag and I wouldn't have made such a big deal of this if the movie hadn't kept subjecting me to its quirky music choices, its uneven audio mixing and frantic audio editing. It's not gonna bother most people, but It bothered me to no end.

I absolutely loved how it manages to tell a cohesive narrative while letting every minor character have their moment without them overstaying their welcome. They all have motivations and a logical reason to do what they do despite how unrealistic and out of this world a lot of the beats are. I usually watch coming-of-age movies for their realism and this one is not like that... at all. But I was totally fine with that. The movie even takes a moment to experiment with a different aesthetic. It's weird and it only enhances the fun I had watching it. The grounded character moments leading up to its climax is phenomenal and the events that follow are well earned and makes the whole crazy story worth revisiting for years to come.

Booksmart is a feel good high school party movie anchored with strong character writing and Feldstein and Dever's electric chemistry that transcends their fictional presence. It's a very fun, cringey good time. I'm definitely excited for whatever Olivia Wilde does next behind the camera.

"Booksmart" Review

Raymond Thang June 21, 2019
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"John Wick: Chapter 3 - Parabellum” Review

The first John Wick was very much an action movie about people and these last two ones are solely movies with people doing action. Similar to its big budget stunt demo contemporary, Mission: Impossible, "Parabellum" provides a plot that serves as a vehicle to the next amazingly choreographed action sequence. After sitting through two exhausting hours of some of the most ambitious action scenes put on film that are all driven by biting sound design, impossibly technical stunt work, spectacular cinematography and set pieces ripped out of the best moments from films like The Villainess and Skyfall, I wondered if any of it made sense from a script or character standpoint. Not really. But that's clearly not the selling point of the movie. I think there's a lot that feels lost because of that.

What at first felt like a grounded story about a man's grief over his dead wife, portrayed by a man who has gone through that in real life, now feels like a really gruesome cartoon that doubles down on the tongue-in-cheek meta humour and bloody gushing action (featuring some of the best animal stunt performers). I would be lying if I said I didn't have fun but this hollow loop of boring plot set up to the next big fight scene eventually felt really repetitive, despite how great the set pieces were.

Halle Berry is a welcome addition to the ever growing roster of eccentric characters and the movie sets her up to be a great foil to Wick himself. But in the end, doesn't quite know what to do with her arc, at least for now. Mark Dacascos is also an amazing presence to have and is a meta subversion in the best way and feels like a fuller character than everyone else in the movie and I wish there was as much thought point into the rest of the characters as there was for him but what's actually in it is a bit disappointing.

John Wick 3 is a balls to the wall fun action movie but its lack of logic in character and plot holds it back from being one of the best action movies. That being said, as one scene points out, art is suffering. A lot of people have suffered to bring you entertainment as spectacular as this. And you should definitely go watch it.

"John Wick: Chapter 3 - Parabellum" Review

Raymond Thang May 25, 2019
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"Avengers: Endgame” Review

Avengers: Endgame is the conclusion to the 21 films that came before it. It should be apparent by now that if you haven’t been keeping up with the last 11 years of Marvel Studios movies, now is the time to catch up, or give up. If space wizards, evil planets, and super soldiers sound uninteresting to you, then don’t watch it. For those who are into it, here it is. It’s not holding anything back. Things get wild. And since the trailers almost exclusively shows off the first 30 minutes of the movie, there won’t be any spoilers in this review. But there will be spoilers for the other movies before it.

Here’s a quote from Prestige that I found relevant: “Every great magic trick consists of three parts or acts. The first part is called The Pledge. The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called The Turn. The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call The Prestige”

The heroes in these movies are the pledge. the snap or the “decimation” is the turn and Endgame is the MCU’s attempt at a prestige.

Endgame, in my opinion is the second half to a much larger movie that was started by Infinity War. Despite its 3 hour runtime, it feels incomplete from a pacing and story and structural point of view, it feels weird. I’m not saying that the story doesn’t feel completed, because it does, but it’s the equivalent of watching the two parts of Deathly Hallows separately. But, if you were to watch this as one giant five and a half hour movie, it would feel like one complete thing. It’s not a flaw, just a feeling I got while watching it. I really like where things go from a character standpoint which are the more slower parts of the movie. When things go to 11, that’s where the movie begins to lose me a bit. The plot, although interesting, causes a lot of logic issues especially when it tries to explain the pseudo-science behind it. Honestly, the plot was broken when they introduced time wizards and quantum-bullshittery to the equation and this movie doubles down on all of that. Though the results add up to a few hours of great callbacks and fan service (which I like). But then it eventually feels super repetitive and the way things go do seem to have consequences but it’s a blockbuster Hollywood franchise that has a bunch of sequels and prequels planned. Of course, most people will know deep down that there’re gonna be sequels to Spider-Man, Guardians of the Galaxy, Doctor Strange, Black Panther, and probably Avengers: Endgame. A lot us want to see how they perform this epic prestige and it works, kind of. I was expecting sound logic but it didn’t really turn out that way. That I didn’t like too much.

What I do enjoy is the emotional story it’s telling about its characters and how they all deal with grief and failure. And it’s backed by some of the best performances by Robert Downey Jr, Chris Evans, Scarlett Johansson, Jeremy Renner, Chris Hemsworth, Paul Rudd, and Karen Gillan. There are also some returning faces that will blow your mind. Unfortunately, one character I was disappointed with was Captain Marvel. The way things have been set up, she feels like an afterthought and she’s just kind of there to be convenient and badass and weirdly enough, she’s more fun to watch in this than she was in her own solo movie. With the exception of Robert Downey Jr, no other cast member read the complete script before and after they shot their scenes. A lot of them didn’t even know who there were sharing scenes with until the day of. This was also Brie Larson’s debut performance and she did the best with limited time and context that was given to her, I think. It’s like a weird art house film experiment that costed $356 million. It’s interesting but I don’t think it benefited Brie Larson’s performance in any way.

Endgame is also a funny movie but I’m so sick of Marvel humour at this point that a lot of the jokes, although funny, ended up undermining the dramatic tension (especially for one scene in the middle). Some people will be fine with this but it really bothered me and the moment didn’t affect me as much as I thought it should’ve. The last hour or so of the movie is bananas and is everything fans have imagined but more. It’s at times even too much and it’s quite exhausting. I love and hate the set piece at the same time. On one hand, it’s a lot of CG effects happening really quickly. On the other hand, the payoffs and interactions left people cheer in the theatre and really got the blood pumping. FUCK! IT’S SO INTENSE!

It’s really hard to talk about this movie without spoiling anything but in the end, I liked it. At its best, It’s a very emotional, character driven odyssey. At its worst, it’s a wonky pseudo-sci-fi fantasy movie with explosions and CG people beating each other up with weird sudden tonal shifts. The performances are excellent, the score pays a lot of homage to past scores and tackles the Marvel music problem for the better and the ending, although dramatically perfect, creates… Problems... It’s a weird one. But a worthy closing chapter to one of cinema’s longest running storylines.

"Avengers: Endgame" Review

Raymond Thang April 28, 2019
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"Shazam!” Review

"Shazam!" is a new movie from the Worlds of DC canon (or whatever people are choosing to refer to it as). If you know nothing about super heroes, you might find it indistinguishable from a typical Marvel movie. It takes a lot from the MCU formula, especially towards its final moments. In a way, the movie sacrifices a lot of the unique qualities in previous DC movies and they seem to be moving as far away as it can from the tone of the Snyder films. What we end up with is a decent super hero origin story that has a lot of fun and feels really goofy. It's a good thing. But it does have a lot of problems.

The movie suffers from a very generic and boring first act that sticks out in a really bad way. Its dialogue is mostly clunky exposition that feels more like a first draft of a beat sheet than it does a fully realized screenplay. Characters like the wizard Shazam feels out of place and more like a plot device than an actual character. We're also watching the movie develop a flimsy motivation for the villain character (which I don't recall the name of because he was really boring). It's jarringly slow and the rest of the movie simply feels like another movie. It's whatever.

None of the performances really stand out for me except for Zachary Levi's hyped-af portrayal of the titular character and his youngest foster sibling played by a very enthusiastic and fun Faithe Herman. A lot of the movie does seem to ride on the relationship between the main character and this one annoying kid played by Jack Dylan Grazer. It kind of works, especially in the later half of the movie, but that character in particular is really annoying (did I mention that?) and there's this noticeable disconnect between Asher Angel's somewhat dull and reserved performance as the kid Shazam and Levi's big guy Shazam. One is kind of boring and the other is grand and fun. I never once believed that these two people were actually playing the same character. But maybe that will be remedied in future WODC movies (if they don't end up rebooting it... I don't what's going on with this franchise anymore).

The last two thirds of the movie is pretty sweet. Specifically from the convenient store scene onward. What ensues is nothing less of comedy gold. The villain is there but he just feels like a requirement for a movies like this. Very formulaic stuff. It's whatever. It's fun. Cool sound design, funny improv dialogue, great screen presence from Zachary Levi. Nice popcorn movie that most people can enjoy. Maybe I might've liked this movie if it came out a decade before.

"Shazam!" Review

Raymond Thang April 5, 2019
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