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Movies You've Seen Recently | February 2019
- Thread starter Divius
- Start date
I'd say keep watching. I don't know if it gets any appreciably better or worse from there, but I liked it and if you were enjoying it to that point I think you probably still would through the rest of it.
Lu Over the Wall: Who knew that the cure for ennui lay in the capable fins of a mermaid? A literal toe-tapper of a film, the small-town doldrums we find most of the humans enduring contrasts with the very, very vibrant musical styling of the merfolk as the various issues that the humans have with them aren't something that a little singing and dancing can't solve. The story is, unsurprisingly, not going to win points for originality, and it is hard not to immediately compare this to that other anime feature film about a little mermaid girl, finding this a bit looser and messy in comparison, but what this may lack in overall polish and clean character development is more than made up for with its blasts of energy, aided frequently by lovely little odes to old-school squash-and-stretch animation and a very lively soundtrack that matches the action perfectly. And while this may not be as memorably bizarre as Masaaki Yuasa's other films, it's hard not to be amazed by both the incredible use of color throughout and some very strong emotional payoffs for some of the side characters by the film's conclusion. Plus, a film with mer-doggies can't possibly be bad at all.
Just got home from Happy Death Day 2U. The good word of mouth on era, and a free night, coupled with boredom, sent me to see it. I liked the first one a lot but wasn't sure of how this sequel would turn out, or if it could even pull one off.
2U isn't as good as the first one. It has a strange and interesting way of changing things up, though, and is pretty good. Worth seeing if you liked the first one for sure, but not as good.
I made the mistake of writing the first one off, and waiting until I could borrow the DVD from the library (they don't have Bluray).
2U isn't as good as the first one. It has a strange and interesting way of changing things up, though, and is pretty good. Worth seeing if you liked the first one for sure, but not as good.
I made the mistake of writing the first one off, and waiting until I could borrow the DVD from the library (they don't have Bluray).
Agreed. I really liked the direction it was going in the first 15 minutes, but then the film just abandons that to go down a similar path as the first, without much in terms of scares. It never felt like a movie that needed a sequel.
Hey, I have also just watched it. It was a lot of fun, many great jokes. I wonder how many of those a kid would get, but I may be underestimating them. The post-credits scene was a perfect way to end it.
Watched it last night and really enjoyed it. All in all the perfect movie for a plane ride.
Tonally it was inconsistent - maybe even schizophrenic - it doesn't seem to know if it's From Dusk Till Dawn or Reservoir Dogs. It's also Spoilers ahead obviously including one for The Village:
The phone booth outside really bothered me. Looked like it had just been set down in the middle of the parking lot so sloppily and impractically that it became one of several (I assume) unintentional red herrings. The vinyl double glazed windows at the very start of Dunkirk almost completely ruined that movie for me because after that everything done in the name of authenticity is undermined. Like almost the opposite of spotting how modern and wrong the sets and costumes in Shyamalan'sThe Village look. That twist worked great - because I got to feel good about how clever I was while also "forgiving" the movie for not having bad set decor after all. But Dunkirk and El Royale have a few of those that don't work out for the movies.
The sisters plot was wonky and the pair of them as murdering selfish bastards did nothing for me after Don Draper's attempt to save the young one. Like I stopped caring about both of them - which made their deaths hollow and absent redemption but intended to feel tragic? I guess you could argue I'm just demanding they be a cliche and help each other or at least give big sis a heart.
The editing on Cynthia Arevo's Rufies self-rescue AND the priest's tangled lies, was weird and I couldn't tell if she'd seen him taint the drink or not and if his memory loss was real or not (I assumed he was buying himself a plausible set of excuses for later but again it was too clear to be ignored and too murky to take a position on) - so there was a needless mystery there that doesn't didn't go anywhere without serving as a red herring either. So when the Father verbally exposited all of it later I was dissatisfied. If they wanted us to have doubts then hammering it over our heads later seems inconsistent with letting us be smart.
The hotel being in Nevada and California was sort of irrelevant and the timeline meant the footage they found could only meaningfully have been Kennedy - who's predilection for banging chicks hardly qualifies that film for a place in the Lost Ark warehouse - more like the no shit warehouse.
All that said, having a happy ending - as assymetrical as it ended up, was satisfying. I thought the cult of Thor was handled pretty well and Chris Hemsworth continues to be an out of type treasure - especially in the flashbacks and in how practical and pragmatic he is instead of being full Mandy cult. A slick nasty piece of shit pederast holding it all together confidently and cynically.
The "126" reveal was super awesome. I got slight Unbreakable goosebumps when his "cowardice" is explained and his "power" is exposed.
And I will watch again to be certain but I don't recall if I was supposed to think Jeff Bridges was supposed to be a real priest after all and had forgotten what he did before bank robbing. Or if he just told the kid what he needed to hear. Which is what I currently assume.
I might have missed a detail while cooking dinner and maybe that was clarified one way or the other.
The sisters plot was wonky and the pair of them as murdering selfish bastards did nothing for me after Don Draper's attempt to save the young one. Like I stopped caring about both of them - which made their deaths hollow and absent redemption but intended to feel tragic? I guess you could argue I'm just demanding they be a cliche and help each other or at least give big sis a heart.
The editing on Cynthia Arevo's Rufies self-rescue AND the priest's tangled lies, was weird and I couldn't tell if she'd seen him taint the drink or not and if his memory loss was real or not (I assumed he was buying himself a plausible set of excuses for later but again it was too clear to be ignored and too murky to take a position on) - so there was a needless mystery there that doesn't didn't go anywhere without serving as a red herring either. So when the Father verbally exposited all of it later I was dissatisfied. If they wanted us to have doubts then hammering it over our heads later seems inconsistent with letting us be smart.
The hotel being in Nevada and California was sort of irrelevant and the timeline meant the footage they found could only meaningfully have been Kennedy - who's predilection for banging chicks hardly qualifies that film for a place in the Lost Ark warehouse - more like the no shit warehouse.
All that said, having a happy ending - as assymetrical as it ended up, was satisfying. I thought the cult of Thor was handled pretty well and Chris Hemsworth continues to be an out of type treasure - especially in the flashbacks and in how practical and pragmatic he is instead of being full Mandy cult. A slick nasty piece of shit pederast holding it all together confidently and cynically.
The "126" reveal was super awesome. I got slight Unbreakable goosebumps when his "cowardice" is explained and his "power" is exposed.
And I will watch again to be certain but I don't recall if I was supposed to think Jeff Bridges was supposed to be a real priest after all and had forgotten what he did before bank robbing. Or if he just told the kid what he needed to hear. Which is what I currently assume.
I might have missed a detail while cooking dinner and maybe that was clarified one way or the other.
I watched Arizona before I went to bed this morning. I don't normally like Danny McBride, but he was pretty good in this and it had a good cast around him. I enjoyed it quite a bit.
7.5
7.5
First Man
I can see what Chazelle is going for here, and it really is admirable: a man finally facing his grief, vulnerability, and doubt after a decade of inner-turmoil by having to set aside those vulnerabilities in facing the astronomical pressures that Neil and those other pioneers had in making history, and questioning whether any of it was even worth it at all. Neil had to go literally as far away as humanly possible to face his demons so that he could live again and finally come "home". There really is an incredibly compelling narrative here, but in taking nearly two and a half hours to get there, it makes me question whether or not Chazelle himself was ready as a filmmaker to tackle such lofty goals. Having to wrap such a well documented and studied event in history around such a deep and affecting issue can be seen in how lengthy, yet thin the movie feels overall. So much emphasis has to be put on these characters who we have a decade to learn about, but their journeys dont feel as if a decades worth of story is covered, not even close. The actual space sequences are fantastic, and the OST is incredible. "Moon Walk" is pure auditory perfection and never fails to hit me right in the chest, especially when combined with the visuals. Gosling's stiffness works to his advantage here, and a few of his scenes actually surprise me when he choses to let that vulnerability slip through. I think he did the job well enough.
Im definitely going to have to rewatch this to settle my feelings, but I appreciate its ambitions far more than the issues which detract from it overall.
I can see what Chazelle is going for here, and it really is admirable: a man finally facing his grief, vulnerability, and doubt after a decade of inner-turmoil by having to set aside those vulnerabilities in facing the astronomical pressures that Neil and those other pioneers had in making history, and questioning whether any of it was even worth it at all. Neil had to go literally as far away as humanly possible to face his demons so that he could live again and finally come "home". There really is an incredibly compelling narrative here, but in taking nearly two and a half hours to get there, it makes me question whether or not Chazelle himself was ready as a filmmaker to tackle such lofty goals. Having to wrap such a well documented and studied event in history around such a deep and affecting issue can be seen in how lengthy, yet thin the movie feels overall. So much emphasis has to be put on these characters who we have a decade to learn about, but their journeys dont feel as if a decades worth of story is covered, not even close. The actual space sequences are fantastic, and the OST is incredible. "Moon Walk" is pure auditory perfection and never fails to hit me right in the chest, especially when combined with the visuals. Gosling's stiffness works to his advantage here, and a few of his scenes actually surprise me when he choses to let that vulnerability slip through. I think he did the job well enough.
Im definitely going to have to rewatch this to settle my feelings, but I appreciate its ambitions far more than the issues which detract from it overall.
It's definitely worth a watch, and actually more interesting to me in how my feelings on it are more than just straight up good or straight up bad.
For some boiling hot-take action, I think it eclipses Interstellar in pretty much every way. I feel no reason to recommend that movie over First Man for what it reaches for and succeeds (or fails, especially) at doing.
It's definitely worth a watch, and actually more interesting to me in how my feelings on it are more than just straight up good or straight up bad.
For some boiling hot-take action, I think it eclipses Interstellar in pretty much every way. I feel no reason to recommend that movie over First Man for what it reaches for and succeeds (or fails, especially) at doing.
I enjoyed interstellar but my lame complaint is that like the dreams in Inception or the fights in Batman, the planets are tedious and uninspiring. A shallow lake and a glacier with a roof.
I enjoyed the physics and the Sci fi but instead of stunning wonderment and incredible invention I got "the Sensible Bureaucrats Guide to Class M Planets, edited for the Easily Awed "
lol
Agreed, if it did more of that then I could say it at least has that cool scifi edge to its spectacle that you cant get in a biopic like First Man, but even that stuff is forced to take a backseat to the melodrama the movie bends itself over backwards to fulfill. ("LOOOVVVVEEEE"). While it might hide its hand too much or spread itself too thin, I think First Man handles its personal drama in a FAR more nuanced and compelling way.
E.T. The Extra Terrestrial - Good but The Iron Giant is *clearly* the superior film in the "lonely suburb kid in fictionalized version of the directors childhood finds magical friend who must leave because lame government officials" sub genre. Also, the Iron Giant is a big cool ass robot, while ET look like a failed prototype for Yoda. Mothafucka looks like a giant sack of potatoes. I'd report ET immediately to the authorities.
I honestly wonder if Henry Thomas would have nailed his audition if he knew what ET looked like ahead of time. That kid was acting like Old Yeller was about to get vivisected, not the failed mating result of a whale's dead penis and the pile of shit from Jurassic Park.
ViewtifulJC you think you're better than us watching all these classics? 🧐
Watch bad movies like a normal person pls
Watch bad movies like a normal person pls
Well like I said a couple months ago, I finally upgraded my home theater after like a decade to a new 4KTV and an actual sound bar, so all these blu rays I've amassed since 06 are taking on brand new life. Like I could go out and watch What Men Want but I think I'm gonna crank up The Incredibles or Rushmore instead.
*sharp inhale* Idk fam, what DO men want? Maybe Taraji has the answers.
In other news, 2018 turned into a good year by the end. I'm happy with my top 10, but I could go to 25 and still be comfortable.
I was wondering wtf was going on. You can't have steak every night man.
Nausicaa of the Valley of the Wind: 8/10. So... was her pussy just like out the whole time?
Burning: I can only hope that my dreams in the future can strive to be as mesmerizing and as engaging as this felt. A hazy tale of romantic intrigue that shifts seamlessly into a mystery, but one that constantly defies your best attempts to pigeonhole it into one particular type on both counts. The time absolutely flew by as I hung onto every frame of this, wanting to know more to find myself delighted at just how slippery it turned out to be. A film that's not at all what I expected it to be, and it's all the richer and more satisfying for it.
Lobster night!
The Incredibles - The best superhero movie. Makes a good argument that animation is just better than live action for costumed crusaders. No source material allows Brad Bird and the geniuses at Pixar to come up with a family drama that grounds the sci fi shenanigans with a deeply human story. It's a beautifully designed world, all 1960s space age/James Bond pop fantasy, with a super cool John Barry style score from Gianchino. Incredibles 2 definitely has it beat with the advance in tech, but there's a superior clarity in purpose of its narrative and thematic strands that propels this movie forward. And in the midst of its thrills, it has some of the most believably human characters in the Pixar canon, well sketched out with perfect vocal performances. Not, I think, a match for the personal, heart rendering Iron Giant, but still a pillar of excellence for the genre. Nothing has ever captured the pure escapist powerful fantasy joy of superheroes like Dash figuring out he can run across water.
Ooph we back to that wrong myth of confusing bipolar or dissociative identity with "schizophrenic" and it perpetuates stigma of mental health illnesses when used frivolously in media criticism, just have to correct that :P
Does anyone know what's going on with Takashi Miike? He often does 2-3 films a year, but there was one (and one TV show) last year, but there hasn't been anything announced for this year.
Maybe he's finally taking a break? Having over 100 films to your name in ~30 years is a hell of a laurel to rest on, especially when they're not porn.
He's letting Sion Sono be the sole Japanese hyper-prolific director.
Mobile Suit Gundam NT (NARRATIVE): Like almost every Gundam movie out there, it features the same problem as they do: 90 minutes will never be enough to cram in what is effectively an entire cour's worth of storyline in a way that doesn't feel like that you should have taken an AP course ahead of time, especially with how much this follows up on Gundam Unicorn. Jumbled storytelling aside, there's still quite a bit to recommend here, from the gorgeously choreographed battles to Hiroyuki Sawano's dependably invigorating soundtrack, and it wouldn't be Gundam if we didn't have all of the melodrama belted to the heavens above with some lively overacting on the part of all the VAs. Undoubtedly fun and a real visual treat by the finale, but be warned that there's a better than good chance that a lot of it will go over your head.
You act as though there is some career defining performance from an actor that has been consistently putting out good work for 2+ decades now.. or something.
Shoplifters
It's a very heartwarming story about a bunch of misfits picking who they want as their own family that, as it continues, you start seeing the cracks of their maybe not so happy family. The set up of the movie would normally be really fucked up but the way it's framed you're almost rooting for something you know you shouldn't be rooting for.
A Private War
Jesus Christ just give the Oscar to Rosamund Pike already.
It's a very heartwarming story about a bunch of misfits picking who they want as their own family that, as it continues, you start seeing the cracks of their maybe not so happy family. The set up of the movie would normally be really fucked up but the way it's framed you're almost rooting for something you know you shouldn't be rooting for.
A Private War
Jesus Christ just give the Oscar to Rosamund Pike already.
I just watched this recently as well. The acting is laughably bad at times and the mother is an extremely thin character that's aggressively absent. The relationship between the kid and E.T. works and it packs an emotional punch by the end.
I agree though, Iron Giant is a far better film.
Just watched this a couple nights ago and I was blown away! It's an absolutely beautiful film.
firmed up my 2018 list as well. Went with 24 Frames up top and searching now looks like that will be the only vote on the whole site for the film. disrespecting Kiarostami like that smh
Birds of Passage 2018
★★★★★
Both directors being Colombian took incredible care to dissolve cliches and Hollywood stereotypes we have associated with the Colombian drug cartel. There is no true enemy or big bad boss in this film, just corruption, and greed plaguing the land like locust plague crops. In the Wayuu culture, they believe in the power of dreams, and omens. These dreams serve as foreshadowing throughout Birds of Passage as they often come to fruition. As the Wayuu people begin to stray away from their traditions and embrace their worldly desires, they begin to ignore the omens that warn them of having these desires. After the events have unfolded, the only things left to pass on the story of these people are the birds and the people who carry their blood throughout the generations.
shits on a lot of 2018 films, but I am going to count it as 2019 since that is the year it released stateside.
★★★★★
Both directors being Colombian took incredible care to dissolve cliches and Hollywood stereotypes we have associated with the Colombian drug cartel. There is no true enemy or big bad boss in this film, just corruption, and greed plaguing the land like locust plague crops. In the Wayuu culture, they believe in the power of dreams, and omens. These dreams serve as foreshadowing throughout Birds of Passage as they often come to fruition. As the Wayuu people begin to stray away from their traditions and embrace their worldly desires, they begin to ignore the omens that warn them of having these desires. After the events have unfolded, the only things left to pass on the story of these people are the birds and the people who carry their blood throughout the generations.
shits on a lot of 2018 films, but I am going to count it as 2019 since that is the year it released stateside.
I was on a Kiarostami run a few months back but got cut off before I could get to Taste of Cherry and beyond. Please forgive me. The Koker trilogy and Close Up are still probably the best things I've seen in the last 12 months.
The LEGO Movie 2: The Second Part: It's been a while since I've seen the first one, and I've forgotten how imaginative it can be, not just with the designs, but the animation, especially on Queen Watevra, who is constantly shapeshifting, but is essentially using the same pieces. The Sistar system is obviously the kid's sister, but there's more to it, and it does build directly off the ending of the first one. The existence of the real world still teases you enough to keep you wondering how it all fits together before the reveal. An entertaining movie for sure.
hah all forgiven. I'm mostly joking too since it is very distinct as an epilogue to his career and is literally an experimental film, so I wouldn't imagine it could catch on the way something like Certified Copy got traction.
I still haven't seen the finale of the Koker trilogy because I'm holding out for the set. when criterion please
If Beale Street Could Talk (2018): I was in the seemingly fairly small "Moonlight was solid, I guess" camp, so going into this film I was hoping my reaction this time around would more closely track with the consensus. Verdict: it's a very good film, and I can see why so many love it. I read the book around a month ago in anticipation of seeing the film, and I think Barry Jenkins improves on it, not so much in any specific detail but because this is the kind of story where the actors do a lot more to invest you in the comparatively slender story. The movie has one scene that really bugs me, though, to the point where it detracted from my enjoyment of the film in a manner greatly disproportionate to the amount of the run time it occupied --
Au revoir les enfants (1987): Even if you were unaware of director Louis Malle's background before seeing the movie, this is unmistakably the sort of storytelling that comes straight from the heart. Powerful, sensitively-handled stuff, and with a very stark and memorable ending.
The scene where Fonny's family is informed of Tish's pregnancy, because Fonny's mother and both his sisters are written as such one-note cartoons whose every action seems to exist only to enable a snarky putdown from a member of Tish's family. That sort of writing doesn't bother me in and of itself -- in many movies it can be quite fun -- but in the context of this movie's overall humanistic tone, it feels very out of place, and it becomes especially questionable when Fonny's father, who we're shown physically abusing Fonny's mother in that scene, is given subsequent scenes that let him be much more nuanced and sympathetic.
Au revoir les enfants (1987): Even if you were unaware of director Louis Malle's background before seeing the movie, this is unmistakably the sort of storytelling that comes straight from the heart. Powerful, sensitively-handled stuff, and with a very stark and memorable ending.
I'd defend Jenkins here and put that blame on Baldwin. Jenkins adapts that scene basically word for word action for action. it's more reflective of how Baldwin felt organized religion, especially Christianity, often held black Americans back: https://learningenglish.voanews.com/a/a-23-2006-09-30-voa1-83130322/126336.html
I do think those earlier sections are rougher, but not for what happens. I think the film gets better once Jenkins starts making it his own, shuffling and changing things.
A Simple Favor
This is the story of a dumb book that read like a stupid Lifetime original movie. That book went to Hollywood, where it underwent changes, became even more over the top and turned into an even stupider movie.
This is the story of a dumb book that read like a stupid Lifetime original movie. That book went to Hollywood, where it underwent changes, became even more over the top and turned into an even stupider movie.
Prospect
★★★★
Even far from Earth, greed and desperation reign supreme. Prospect is frontier life and frontier violence transplanted to a distant moon. It actually reminded me a bit of Pitch Black (minus the creatures), due to the presence of mercenaries and outsiders on the fringes of space, as well as the rugged aesthetic of the movie's technology. Amid this toxic new frontier, a father and daughter seek a final haul of precious stones, a task that is soon diverted by unexpected company and complications. It's a small simple story delivered with little exposition, letting the visuals and tone do most of the work.
Prospect struggles to expand beyond the scope and story of the original short, with a flabby pace, clunky dialogue, and thin characters. The movie is at its best when the ramshackle analog future is contrasted with the lush alien landscape, when harsh violence erupts between men in bulky spacesuits. The glimpses of life and culture in this futuristic frontier are intriguing, the performances are solid enough, but I feel like the short told a similar narrative more effectively.
Originally had this at 3.5, but the world-building and world design really elevated the film for me. Textured, tangible, believably rugged and grounded, like a sci-fi western offshoot of Ron Cobb's aesthetic for Alien. Prospect does a lot with its budget.
Free Solo (Rewatch)
★★★★★
It's a testament to the film-making of Free Solo that the climbing remains so white-knuckle intense even during a second watch. Free Solo provides the same harrowing tension found in films like Sorcerer and First Man, that methodical technical approach to overcoming a monumental challenge. Except here, it's 100% real, no movie magic or special effects wizardry. Just a man and a cliff, just fingers and toes gripping infinitesimal edges thousands of feet above the ground.
As genuinely awe-inspiring as Free Solo is, it's also incredibly human. Alex's awkward yet endearing personality and the stunning nature of his feats are juxtaposed with the emotional burden placed on the people closest to him. A remarkably patient girlfriend who has to consider that the goodbye before a climb might be their final goodbye. The cameraman unable to watch as his friend attempts a notoriously dangerous section. That contrast humanizes the man but never glorifies his actions. We root for Alex as much as we question his decisions and perspective. The greatest strength of Free Solo is how it intertwines relatable drama and breathtaking athleticism, providing satisfying closure for both facets.
Happy Death Day 2U
★★★★
I thought the slasher trappings were the weakest parts of the first Happy Death Day; the horror conventions seemed extraneous, an excuse for time loop shenanigans. Largely freed from the slasher shackles, Happy Death Day 2U is able to become the more confident and entertaining movie.
The first film acts as the heart of the sequel, playing with our knowledge of events and expanding the roles of certain characters. The slasher elements return but they're just one facet of 2U's larger story. Sci-fi silliness is at the forefront now, plus more comedy, more friends, and more Jessica Rothe being the best part of the movie. Similar to Ripley in Aliens, she's well-versed in the situation, allowing 2U to use her frustration and familiarity to great comedic effect. The sequel is even able to mine some effective emotional beats from the time looping and new sci-fi elements, all hinging on Rothe's versatile performance.
★★★★
Even far from Earth, greed and desperation reign supreme. Prospect is frontier life and frontier violence transplanted to a distant moon. It actually reminded me a bit of Pitch Black (minus the creatures), due to the presence of mercenaries and outsiders on the fringes of space, as well as the rugged aesthetic of the movie's technology. Amid this toxic new frontier, a father and daughter seek a final haul of precious stones, a task that is soon diverted by unexpected company and complications. It's a small simple story delivered with little exposition, letting the visuals and tone do most of the work.
Prospect struggles to expand beyond the scope and story of the original short, with a flabby pace, clunky dialogue, and thin characters. The movie is at its best when the ramshackle analog future is contrasted with the lush alien landscape, when harsh violence erupts between men in bulky spacesuits. The glimpses of life and culture in this futuristic frontier are intriguing, the performances are solid enough, but I feel like the short told a similar narrative more effectively.
Originally had this at 3.5, but the world-building and world design really elevated the film for me. Textured, tangible, believably rugged and grounded, like a sci-fi western offshoot of Ron Cobb's aesthetic for Alien. Prospect does a lot with its budget.
Free Solo (Rewatch)
★★★★★
It's a testament to the film-making of Free Solo that the climbing remains so white-knuckle intense even during a second watch. Free Solo provides the same harrowing tension found in films like Sorcerer and First Man, that methodical technical approach to overcoming a monumental challenge. Except here, it's 100% real, no movie magic or special effects wizardry. Just a man and a cliff, just fingers and toes gripping infinitesimal edges thousands of feet above the ground.
As genuinely awe-inspiring as Free Solo is, it's also incredibly human. Alex's awkward yet endearing personality and the stunning nature of his feats are juxtaposed with the emotional burden placed on the people closest to him. A remarkably patient girlfriend who has to consider that the goodbye before a climb might be their final goodbye. The cameraman unable to watch as his friend attempts a notoriously dangerous section. That contrast humanizes the man but never glorifies his actions. We root for Alex as much as we question his decisions and perspective. The greatest strength of Free Solo is how it intertwines relatable drama and breathtaking athleticism, providing satisfying closure for both facets.
Happy Death Day 2U
★★★★
I thought the slasher trappings were the weakest parts of the first Happy Death Day; the horror conventions seemed extraneous, an excuse for time loop shenanigans. Largely freed from the slasher shackles, Happy Death Day 2U is able to become the more confident and entertaining movie.
The first film acts as the heart of the sequel, playing with our knowledge of events and expanding the roles of certain characters. The slasher elements return but they're just one facet of 2U's larger story. Sci-fi silliness is at the forefront now, plus more comedy, more friends, and more Jessica Rothe being the best part of the movie. Similar to Ripley in Aliens, she's well-versed in the situation, allowing 2U to use her frustration and familiarity to great comedic effect. The sequel is even able to mine some effective emotional beats from the time looping and new sci-fi elements, all hinging on Rothe's versatile performance.
A Star is Born (2018): That old chestnut of a Hollywood fable returns for the modern age in a remarkably rock-solid rendition. Literal every man Bradley Cooper acquits himself quite well on several fronts, as he has a refreshing expressive approach to the classic story from a visual perspective (aided further by the gorgeously vivid color choices that DP Matthew Libatique brings in, making me wonder why more dramas don't go for more colorful art direction), as well as delivering a damn good performance as Jackson Maine, convincing not only as a dimming celebrity, but rather credible as a singer as well in the many performance scenes. And though she has the tendency in other projects to belt out everything to the cheap seats, I do feel that Cooper managed to find a way to wrangle Lady Gaga into something far more manageable and meaningful with her performance, filled with a lot of tender moments where she can shoot you a quick look and tell you everything we need to know without a single line of dialogue. It is a bit funny to see some of the hallmarks of the average biopic crop up in here, including the requisite "public display of shame and fuck-uppery" that reaches some unintentionally humorous heights with how much it wallows in the misery, but by and large, Cooper does sidestep some of the issues with his show, don't tell approach. On occasion, the approach lands him in some trouble as the momentum seems to be going off the tracks with how much it can jump ahead without warning, but then you'll get a scene with some dynamite acting or a strong transition for the purposes of juxtaposition that can catch one off guard in a rather pleasant way. It's not hard to see why this wound up such a big hit, and quite frankly, there's never a bad time for a quality melodrama, especially with the artful touches on display here. It's not a world-changing event, but as far as emotional roller coasters come, this is quite the polished one.
045. The House by the Cemetery (1981, Lucio Fulci) ★★½
046. The Blob (1988, Chuck Russell) ★★★
047. At Midnight I'll Take Your Soul (1964, José Mojica Marins) ★★★½
048. Abducted in Plain Sight (2017, Skye Borgman) ★★★
049. Fyre (2019, Chris Smith) ★★★
050. Fyre Fraud (2019, Jenner Furst, Julia Willoughby Nason) ★★
051. Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman) ★★★★★
Had kinda low expectations for Spider-Man, but they nailed it.
046. The Blob (1988, Chuck Russell) ★★★
047. At Midnight I'll Take Your Soul (1964, José Mojica Marins) ★★★½
048. Abducted in Plain Sight (2017, Skye Borgman) ★★★
049. Fyre (2019, Chris Smith) ★★★
050. Fyre Fraud (2019, Jenner Furst, Julia Willoughby Nason) ★★
051. Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman) ★★★★★
Had kinda low expectations for Spider-Man, but they nailed it.
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