Karl Delossantos

2017 Oscar Predictions: Can Any Film Take Down “La La Land” in Best Picture?

La La Land seems invincible in Best Picture. But I can see an upset coming from Moonlight or even Hidden Figures.

Since the film premiered at Venice in September, La La Land has been the frontrunner for Best Picture. It really has won everything it needs to win — Golden Globe, BAFTA, the Guilds — and has ratcheted up incredible buzz and box office. Not only that, it has gone above and beyond. It broke the record for the most wins at the Golden Globes, tied the record for most nominations at the Oscars, and if it wins, it will be the highest-grossing Best Picture winner since Slumdog Millionaire. However, I think it isn’t infallible at the Oscar like a lot of people think. You can read my full analysis about it here. In short, though, I think that the backlash that many other pundits are discounting is actually a lot more deep seeded. La La Land is a good movie, a great movie even. However, because of the incredible response from awards, the question of whether or not it’s overrated is becoming legitimate. If all the ingredients mix together properly, I think Moonlight can break its way in.

But first, let's talk about the other contenders. If we're going off the rule that you need to at least have a nomination for directing and editing — which isn't a perfect rule, but it is certainly strong — then only Arrival and Hacksaw Ridge are viable alternatives. Arrival has two things going against it. First, there is a huge genre bias in Best Picture. Sci-Fi movies have long been ignored and have yet to win in this category. Second, movies with a female lead also have a hard time winning, unfortunately. That coupled with the fact that it missed out in two categories it seemed like a lock in — Visual Effects and Actress for Amy Adams — it looks like it is knocked out of contention. Hacksaw Ridge, on the other hand, has a few things going for it. It's a war picture, which is very popular in this category. It nabbed all the key nominations including one for its lead Andrew Garfield. Lastly, it's going to be popular among the Academy's older and white demographic, which is easily its largest. However, despite receiving a shocking Best Director nomination, I think the Academy is going to be slower to forgive Mel Gibson than we think. Hell or High Water only received four nominations and missed out on director, so it isn't going to be a threat. Especially when the more popular Hacksaw Ridge is pulling votes from its demographic. Fences similarly only has four nominations and is likely to win Supporting Actress and, possibly, Actor. So, I don't think that voters are going to be in a rush to vote for it here. Manchester by the Sea seemed like a contender at the beginning of the season, but after a weak phase 2 campaign and waning support for its most-likely winner, Casey Affleck, it looks like they're going to have to settle for Original Screenplay. That leaves two more contenders. Both Hidden Figures and Lion seem like unlikely Best Picture adversaries, but they both have strong narratives. Lion is awards juggernaut The Weinstein Company's only horse in the race. Despite not having a lot of the markers for a Best Picture winner, Weinstein's narrative of immigration and acceptance is going to play very well in our current political environment. Same goes for Hidden Figures. Led by three black women, the film is diverse, talks about inclusiveness, and won the SAG Award for Best Ensemble. However, what truly makes it a threat is its high box office and broad appeal. Still, the only nominee that I think has a legitmate shot is Moonlight. If La La Land is the frontrunner, then Moonlight is the runner-up/underdog. As with many other years, the underdog narrative is proven to be a powerful one — The Hurt Locker vs. Avatar, Spotlight vs. The Revenant. There are some films that it seems everyone likes. Moonlight is one of those films. With the intense backlash La La Land is receiving, it's easier to see more voters putting it lower on their ballot. For a refresher, this article explains how voting in Best Picture works. I can see a lot of voters putting Moonlight at number 2 or 3 on their ballots. That's the sweet spot you want to be in. So, I'm going to go out on a limb here and say Moonlight upsets and wins. Will that happen? Probably not. Is it a possibility? Definitely. Check out the rest of our 2017 Oscar Predictions! Will Win: Moonlight Could Win: La La Land Dark Horse: Hidden Figures Should Win: Moonlight or La La Land or Arrival or Hidden Figures (it's been a great year for film)

December 6, 2016
Kubo and the Two Strings Movie Review — One of the most gorgeously animated movies ever

With some of the most beautiful animations committed to film, Kubo and the Two Strings is a movie that prides itself on story and delivers on its promise

“If you blink, do it now.” Some movies just remind you how much you love movies. These are the movies that transport you to a different world, dazzle you with gorgeous filmmaking, and tell a story that you lose yourself in. I think Kubo and the Two Strings more than any movie this year has done that.

One of the first things you learn about when you study storytelling is the hero’s journey. It follows one person’s journey from the known to the unknown and the transformative growth that it comes with. Star Wars is probably the most high-profile example of the narrative structure. The reason it works is because the hero has to earn his or her ending. By going through challenges, defeats, and hard-fought lessons, they have to learn about themselves in the context of their story and the story of those around him or her.

Kubo is a perfect representation of the hero’s tale. The titular Kubo is a young boy whose life has been shrouded in darkness. The movie opens with his mother’s harrowing escape by boat through vicious waves to save an infant Kubo. Her father, the Moon King, plucked out Kubo’s eye in an effort to make him blind to humanity. Years later, the Moon King and his twin daughters continue to seek out Kubo to steal his other eye. After staying out after dark, Kubo is attacked by his twin aunts. His Mother saves him with the last of her magic and sends him on a quest with a monkey — voiced by Charlize Theron in a phenomenal performance — as his protector.

His mission is to find the three pieces of armor that will protect him from his Grandfather – the sword unbreakable, the armor impenetrable, and the helmet invulnerable. Along the way, they find a samurai who has been cursed and turned into a beetle named Beetle who was a student of Kubo’s father. The trio trek through dangerous landscapes and battle many foes. However, the real story is revealed throughout the movie, which ties up to an emotional gut-punch in the end.

At the center of the entire movie is some of the most dazzling animation I have ever seen. Stop-motion is a genre that I often forget to appreciate because its look could be disconcerting. But Kubo introduces beautiful Japanese inspired art that literally comes to life before your eyes. In particular, the animation of origami figures that fold themselves at Kubo’s will is most impressive. The animators use gorgeous, bold colors to paint vivid landscapes and portraits throughout the journey with painstaking detail that is marvelous.

Kubo and the Two Strings bravely trusts its audience, adults and kids alike, with its at times dark tale. Sometimes the plot comes to points where you forget that this is a movie marketed towards children. However, it includes flashes of humor — particularly from Beetle (voiced wonderfully by Matthew McConaughey) — that are pitch-perfect in their delivery and effect.

Laika has proved itself as an animation studio to watch with three hits in a row. With Kubo and the Two Strings, it proves that it’s a top animation studio. From the power of memory to strength in the face of loss, Kubo deals with some heavy themes for a kids movie. However, it balances it out with such beauty, a strong story, and surprising flashes of humor that make it one of the strongest animated movies of the year.

8.5/10

Kubo and the Two Strings is available on Digital HD on Amazon!

November 29, 2016
Arrival Movie Review — One of the Best Sci-Fi Movies of the Decade

Smart, impeccably made, with a phenomenal performance by Amy Adams, Arrival proves to be a high point in the science fiction genre

Denis Villeneuve is a filmmaker that I thought could be one of the great auteurs of our generation (two of his films appeared on our list of the best thrillers of the decade). After blasting onto the American scene with the Oscar-nominated Incendies, he followed suit four films that all ended up in my top tens of their respective years. Prisoners was a dark ethical exploration of violence with deep emotional complexity. Then came a psychological thriller that begged for cinematic analysis with Enemy. Last year, he made a play for the mainstream with his critique of the drug war in Sicario. This year, he cemented his place as one of my favorite directors of all time with the masterpiece Arrival.

Based on the short story Story of Your Life, Arrival begins with twelve egg-shaped UFOs positioning themselves around the globe in countries like the U.S., China, Russia, Sudan, and Pakistan. The biggest question surrounding our planet is answered: are we alone in the universe? However, once that question is answered another one emerges: what is their purpose on Earth? That is why the government — represented here by Colonel Weber (Laurence Fishbourne) and Agent Halpern (Michael Stuhlberg)— contacts linguist Louise Banks (Amy Adams).

Every 18 hours, the door to the UFO, which they call the shell, opens. Banks along with Ian Donnelly (Jeremy Renner) must find a way to decode the visitor’s language and communicate with them before they attack or we do. As progress is made, foreign relations push Banks and Donnelly to the brink of their knowledge to speak with the beings before someone pulls that trigger.

It’s hard to talk about this movie without spoiling the experience. So, I will say this. Arrival may become the pinnacle of sci-fi movies this decade, if not this century. Its complex plot is communicated beautifully to the audience without being condescending with a twist that ties the experience into a wholly satisfying conclusion.

Check Out: 10 Best Thrillers of the Decade (so far)

The first act of the film is Louise’s story. Everything we see is either of Louise or her point-of-view. Our emotions and thoughts are filtered through her. She is an observer at the beginning of the film. How is the world reacting? Villeneuve doesn’t go the easy route with a montage of news clips. We know what Louise knows. We see how she reacts and thus how the world reacts. As she’s brought onto the team that is making contact with the shell, the story is taken away from her. It becomes the world’s story. However, soon we realize that it’s not. It’s Louise’s story through and through. She is ingrained into the plot. Even as it gets more philosophical she anchors it in a humanistic way.

Amy Adams is at the top of her game. It blows my mind that she still doesn’t have an Oscar after all these years. Her performance carries the emotional baggage of the entire film as well as the whole story. Renner is great here but really exists to support Adams. Outside of these performances, the steady and dark cinematography by Bradford Young finds such beautiful shots in the sets. Editor Joe Walker understands how to show audiences what they need to know rather than tell them. Lastly, Jóhann Jóhannsson — after last year’s Sicario — again scores a home run with his score that defies genre by pulling from both the horror and thriller genres.

Sci-fi is a hard genre to pull off. Sci-fi with extraterrestrial life is even harder to. The few that make it to become classics like Contact. and Close Encounters of the Third Kind have one thing in common: the human condition. Are we alone in the universe? It’s a question that everyone has at one point pondered. How would we react? What would we do? That’s what Arrival is interested in. Specifically, it is interested in how we communicate. Language and Louise are at the center of this movie. The plot surrounds them and Villeneuve understands that. He understands how people consume movies. They don’t want to be told. They want to see. Arrival will challenge us to think and to question. And while we come away with answers, we also experience the stunning power of great filmmaking, great writing, and a great story. 9/10

Arrival is available on DVD, blu-ray, and digital on Amazon!

November 28, 2016
Wonders of the Invisible World Book Review — A mature, but magical young adult novel

Wonders of the Invisible World is a refreshing adventure into the space of fantasy young adult genre that feels completely original

I think one of the most interesting and successful parts of the young adult genre is the “weird” factor. You have to admit, a lot of YA is weird with weird characters in weird situations. But no YA book is quite like Wonders of the Invisible World by Christopher Barzak. Aiden Lockwood is your typical outcast in your typical small town high school. However, when Aiden’s former best friend Jarrod comes back to town he surfaces an entire hidden story in Aiden’s past.

Not only is the story hidden, but Aiden has simply lost large swaths of his memory. As he and Jarrod slowly uncover his past, they realize that the story is a lot more complicated than they initially thought. It transcends generations, time, and even worlds.

Like a lot of young adult novels, at the center of whatever conflict is a romance. However, what I really appreciated about the romance is that avoided almost all the cliches of a YA romance. First of all, Barzak doesn’t hit us over the head with “adorable” scenes that manipulate us into wanting the central couple to get together. The build up is very organic. He also doesn’t try to make the love interest sarcastically charming or a misunderstood rebel or bad boy with a heart of gold. We want the couple to be together because they’re right for each other. He doesn’t need grand romantic gestures to prove that.

And that is what is really refreshing about Wonders of the Invisible World is that Barzak doesn’t force Aiden’s personal storyline or the fantasy storyline into melodrama. In fact, for all the fantastical elements or potential for a soaring high school outcast story he keeps the story pretty lean. You’ll thank him for that in the end because it would pay a disservice to Aiden. His entire story is that he leads a non-fantastical life. The magic and curses and visions speak for themselves.

I will also say that this is a very weird book. It deals with things in a wholly original way that will catch you off guard throughout. But between family curses, disembodied voices, and a personification of death, it’s not exactly your typical book. It’s easy to forget that the fantastic elements are all that fantastic, though. Barzak’s nonchalant style when it comes to writing about the fantasy elements really refreshing. The lack of hyperbole makes the clearly magical parts of the story seem realistic.

Wonders of the Invisible World doesn’t try to reinvent the wheel of the young adult genre. However, it does spin it on a different rhythm. The tropes we have come to know and love and love to hate are twisted to make an entertaining and satisfying adventure into the mystical. 7.5/10

November 18, 2016
2017 Oscar Predictions: Best Animated Feature

Zootopia is the comfortable frontrunner in this category, however, Kubo and the Two Strings could pull off a surprise upset

While Best Animated Feature sounds like an open and shut category, there is actually room for an upset. But let’s start at the bottom first. I think the only film that has absolutely zero chance of winning The Red Turtle. I simply think it’s a movie that not enough people have seen. Plus, with a few exceptions, movies with large box office hulls and buzz with this category. So, The Red Turtle probably has to settle for a nomination in a competitive year.

After that, every nominee has some path to winning. Following their monster success with Frozen, which won Best Original Song and Best Animated Feature and becoming the highest-grossing movie in history, Disney had a more modest hit with Moana. Though it received stronger critical notices – it outscored Frozen on both Rotten Tomatoes and Metacritic – I think it simply got stuck with a more competitive year in animation. However, animated movies with nominations in other categories tend to win, so that gives it an outside shot.

The surprising and unlikely dark horse of this category is My Life As A Zucchini made headlines when it ended up making it to the short list for the Best Foreign Language category. While it didn’t get nominated, that shows that people have watched the movie and are paying attention. I think it could be a surprising twist in the category.

The biggest contender to this year’s frontrunner is Kubo and the Two Strings (check out our review here!). It isn’t the hit that the other contenders in this category are, but it has its rabid fans. Plus, it is the first movie to ever be nominated for both Best Animated Feature and Best Visual Effects. It is also only the second animated movie to be nominated for the latter category. It also got strong guild support with an unprecedented nomination at the Costume Designers Guild Awards and a win at the Visual Effects Society Awards. I think it might have the support to unseat the frontrunner.

Zootopia (check out our review here!) has been the consistent frontrunner this entire year and took the Producers Guild Award and Golden Globe, which often signals success in this category. Its timely story and insane box office make it a prime candidate in this category. Plus, despite premiering more than a year ago, it feels like its still being talked about. However, it has one startling statistic against it. Only one movie that premiered before May has won this category. That movie was Rango, a notoriously weak year for the category. Whether that is a statistic or a coincidence, I don’t know. But an upset in this category would set a precedent.

Check out all our 2017 Oscar Predictions!

Will Win: Zootopia
Could Win: Kubo and the Two Strings
Dark Horse: My Life As A Zucchini
Should Win: Kubo and the Two Strings

November 15, 2016
2017 Oscar Predictions: Viola Davis is unbeatable in Best Supporting Actress

Best Supporting Actress is pretty much won by Viola Davis for her incredible performance in Fences.

With the shocking — but actually not shocking at all — news that Viola Davis (Fences) would be campaigning in Best Supporting Actress at the Oscars, the category turned from a free for all to all but won. Davis has the reputation as a great actress, a career trajectory (and Oscar history) that would mean she’s prime for a win and an incredibly emotional role. On top of that, she has been everywhere during awards season. In addition to sweeping every award along the way, she received honors from the Critics Choice awards, a star on the Hollywood walk of fame, and has introduced Meryl Streep not once, but twice! A win by anyone else would be shocking.

If Davis hadn’t moved into the category, it would likely have been Michelle Williams (Manchester by the Sea) winning the trophy. Though her total screen time amounts to less than 10 minutes, the impact of her scenes is palpable and would have been a shoo-in. However, with the waning support for the movie and Davis so solidly in the lead, she’s not going to factor into the race too much.

However, the true dark horse would have been and is still Octavia Spencer (Hidden Figures). After a Best Ensemble win at the SAG Awards and her movie likely being the highest grossing best picture nominee, Spencer could have been the spoiler to Davis. What is working against her is the fact that she recently — at least in the eyes of The Academy — won for The Help. Thought it’s not unheard of for an actor to win Oscars in close proximity, it’s definitely a rare occurrence.

Nicole Kidman (Lion) does some really great work in the Best Picture nominee. In another year she would have been a stronger contender, especially with her film’s late surge and the key Oscar scene in her back pocket. However, in such a competitive year it is not enough. Plus, her thin screentime is bolstered by the fact that she only has one really strong scene that isn’t the centerpiece of the movie that way Williams’ scene is. I guess she’ll just have to cry into her Best Actress Oscar when she loses this one.

The final contender is Naomie Harris (Moonlight). Though her screen time is similarly thin, she is the only actor in the movie to appear in all three acts. Plus, she has a strong scene in every act. However, she is often overshadowed by the other performances. This is just her first nomination and it’s clear from this performance that she will have many more chances for an Oscar to come.

Check out the rest of our 2017 Oscar Predictions!

Will Win: Viola Davis, Fences
Could Win: N/A
Dark Horse: Michelle Williams, Manchester by the Sea
Should Win: Viola Davis, Fences

October 31, 2016
The Nice Guys Movie Review — An Incredibly Fun 70s Buddy Cop Romp

Anchored by its leads, The Nice Guys is a hilarious take on the buddy cop movie that is sharp and smart

If 2016 has been lacking in anything, it’s comedy. There have been few hits, critically and commercially, and seemed that more comedies bombed than anything. However, there has been one gem from this year that should stand at the end of this year as the best comedy. I use the word “romp” in reviews a lot, but no movie this year fits the definition of the word more perfectly than The Nice Guys. The film is a no holds homage to the buddy cop movies of the 70s complete with mustaches, lingo, clothes (the costume design is spot on), and topsy-turvy plot. All these factors and two leads whose chemistry will make any other buddy cop duo jealous leaves us with a film that is not only entertaining, but downright hilarious.

The duo at the center of this film has quirks that make them perfect for each other and a terrible mismatch at the same time. Ryan Gosling’s Holland March is a semi-successful alcoholic private investigator who isn’t above taking a job to just make an extra buck — he agrees to help a confused willow search for her dead husband whose urn is perched on her mantel. However, when his job gets crossed with Russell Crowe’s Jackson Healey — whose goodbye after their first meeting is “give me your left arm, and when you talk to your doctor, tell him you have a spiral fracture of the left radius” and then sipping on a yoohoo — he doesn’t realize that he’s going to be his unlikely partner in an even bigger investigation.

Crowe plays the straight man to Gosling’s clumsy, sloppy, high-pitched shrieking March as they come together to investigate the disappearance of Amelia (Margaret Qualley) who is being pursued by a cast of villains (including Matt Bomer in a refreshingly mischievous turn as John Boy). With the help of March’s too-smart-for-her-age daughter Holly (Angourie Rice), the duo finds out that the true subject of the chase is a porn film that reveals a government conspiracy involving air pollution and Volkswagens.

As the plot thickens, the clear star of this film is the dynamic between Crowe and Gosling. They play off each other’s energies so perfectly. When March does something idiotic like falling off a balcony, rolling down a hill, and uncovering a dead body, Healey is there to stand in disbelief of his idiocy. But between the two, Gosling proves himself to be a more than capable comedic actor. He goes from pitch-perfect zingers like “so you’re telling me you made a porno where the plot is the point?” to no-bar physical comedy seamlessly — his character doesn’t seem to stop falling. If anything, watch the movie for one of the best performances of Goslings career.

But another reason to watch is the production value. The movie firmly drops you into the 70s. It even begins with the Warner Bros. logo from the decade. For me, the clear standout is the costume design by Kim Barrett (best known for The Matrix). Her costumes from Healey’s various ridiculously patterned shirts to the gorgeous romper Yaya DeCosta as Tally wears in the final act not only drop us further into the time period, they also keep up the fun attitude the film takes.

In the end, The Nice Guys is nowhere near a perfect movie. It could certainly use a lot of trimming, especially towards the drawn-out third act. The laughs become a bit thinner and the plot a bit of a drag. However, the journey to get there is a delightful — wait for it — romp. Though the crime it focuses on can get serious at times, the characters never take themselves seriously…

March: Look on the bright side. Nobody got hurt.
Healy: People got hurt.
March: I’m saying, I think they died quickly. So, I don’t think they got hurt.

…and you wouldn’t want it any other way. 8/10

The Nice Guys is available on DVD, Blu-Ray, and digital on Amazon!

October 26, 2016
2017 Oscar Predictions: Can Denzel Washington Win Oscar #3 in Best Actor?

Denzel Washington (Fences) could win his 3rd Oscar while Casey Affleck (Manchester by the Sea) is in the hunt for his first Oscar for Best Actor.

For the longest time, it looked like Best Actor was going to be one of the sure-bets of the night. Until it didn’t. After Denzel Washington (Fences) shockingly upset frontrunner Casey Affleck (Manchester by the Sea) at the SAG Awards, the momentum shifted. The SAGs are probably the best predictor when it comes to the acting categories. However, they don’t match up sometimes. One of those times was Washington winning for Training Day over Russell Crowe for A Beautiful Mind. Funny enough, part of the reason Washington won was because of a controversy involving his main opponent. More on that later.

However, that’s not the only reason Washington could win. Let’s start with who probably won’t win first.

Viggo Mortensen (Captain Fantastic) made an unlikely awards season run that resulted in a Best Ensemble nomination at the SAGs, and, of course, an Oscar nomination for him. However, every year there is always the odd man out and this year he is it. His film has no other nominations and is probably not widely seen from the Academy. He’s a popular actor, but there’s no chance he’s beating the frontrunners.

Another nominee that made an unlikely awards season run is Andrew Garfield (Hacksaw Ridge). His film, which was also an unlikely contender, nabbed six nominations, including a surprising Best Director nomination for Mel Gibson. While that could signal more widespread support, I don’t think he has enough in his corner to overcome the next three nominees.

In a stronger year, Ryan Gosling (La La Land) probably wouldn’t even be in the conversation. But with the lack of competition and the strength of his film in other categories, he will actually be a strong contender. Plus, the Oscars are suckers for a good musical and La La Land is a great one. While Emma Stone is getting most of the praise – she’s probably winning at this point too – Gosling holds his own. The one thing going for him is that it’s a very charming role. When was the last time a charming role in a movie about Hollywood won? Just a few years ago when Jean Dujardin won for The Artist. He could also be taken along on a sweep if La La Land ends up on a roll come Oscars night.

Then there is Casey Affleck. His deeply emotional performance made him a frontrunner from the beginning of the season. He cruised through the critic’s awards. Snagged the Golden Globe. But then he was stopped dead in his tracks at SAG. Now there are a couple theories. It could be because Washington has never won a SAG Award or the sexual assault allegations are taking their toll on his campaign. While the records from the case were sealed, his refusal to talk about has significantly hurt his chances.

However, there are other reasons for Washington winning other than Affleck’s stumble. The film, which he directed, won him a Tony for Outstanding Performance by An Actor In A Play. The role is pretty much the perfect Oscar role. From long emotional monologues to strong emotional complexity, Washington pretty much has everything he needs to win. He’s also at the perfect point in his career to win his third statue. It’s been 14 years since his win for Best Actor for Training Day. While it’s not quite as long of a wait as Meryl Streep had (29 years), it’s certainly a long enough time to get away from the “it’s too soon” talk. Daniel Day-Lewis only had to wait six years between wins.

I’m going to go with Washington. It feels right and just. However, I won’t be surprised to see Affleck win Oscars night.

Check Out More 2017 Oscar Predictions!

Will Win: Denzel Washington, Fences
Could Win: Casey Affleck, Manchester by the Sea
Dark Horse: Ryan Gosling, La La Land
Should Win: Denzel Washington, Fences

October 18, 2016
Carry On Book Review — A Harry Potter satire that is just as magical
Carry On by Rainbow Rowell is a sharp and hilarious satire of Harry Potter featuring the worst chosen one ever

Simon Snow is the worst “chosen one” that has ever existed. That’s pretty much the line that drew me to Carry On. Rainbow Rowell is known more for her books like Eleanor & Park and Fangirl — pretty standard YA “outcast” fiction. But her first journey into fantasy was done so well that I wouldn’t be surprised if her next few novels are in the genre.

Carry On takes place in a magical world where magicians attend a school called Watford to hone their skills. Watford is run by a headmaster known as “The Mage” who takes an orphan boy under his wing because he believes that he is “the chosen one.” If you’re not catching a clear comparison here, then this should clear it up:
- Non-magical beings are completely unaware of the magical world and are called “Normals”
- Students are paired with their roommates through a crucibleMagicians use wands — along with rings, staffs, and other objects — to direct their spells
- Spells are phrases like “up, up, and away” and “some like it hot”
- There is a coven that is a board that handles all things political in the magical world
- There is a powerful being threatening the very fabric of the world called “The Insidious Humdrum”
Did you get it yet? Carry On is for all intensive purposes a satire (rip-off?) of the Harry Potter series. I didn’t learn until after I read the book that it was actually based on fan fiction written in Rowell’s previous novel, Fangirl. Which is why the book feels so familiar. In Fangirl, the series is meant to be a parody of Harry Potter. But as it’s own novel, it becomes a really well-made and unique satire that has strong enough roots to stand on its own as a unique novel.

Starting en media res, we are first introduced to Simon Snow in his last year at Watford. After surviving a goblin attack — the goblins decided that whoever kills him becomes their King — he returns to Watford. Throughout the beginning of his book he is obsessed with the whereabouts of his roommate, Tyrannus Basilton Grimm-Pitch or Baz, as he’s known. Baz is Simon’s sworn enemy and Simon is sure that he is up to now good. Throughout the book the two take swipes at each other and keep track of the other’s movements. However as the book switches perspectives, which it does every couple pages or so, we learn that there could be more than meets the eye.

But what made Carry On so fun and charming was that Rowell didn’t take the story and the world too seriously. There are silly YA romance moments that would make you roll your eyes in any other book. But Rowell embraces the silliness. She was not out to create high-art. She created a hilariously fun world filled with magicians and vampire and merewolves (mermaid-werewolves for you uncultured swine).

Not only that, she embraces the book’s roots in Harry Potter and turns them on their head. Rowell is able to create a plot and characters that are so distinct that any comparisons fade away by the end of the book. It is truly one-of-a-kind.

In the end, the most refreshing thing about Carry On is that it didn’t concern itself with making a series. I feel as if every single YA author thinks they need to churn out a trilogy no matter what. So, they write their first novel with a trilogy planned and that chip on their shoulder is always noticeable. Carry On doesn’t have that chip. Instead, Rowell starts and ends the story in the perfect places. If the book came as a series it would be the last one, and I’m happy about that. I’d like to think that Rowell did it on purpose to poke fun at the seemingly never ending series that has plagued the genre recently.

7.5/10

Get Carry On on paperback, hardcover, or e-book on Amazon!
October 12, 2016
Will the Third Time Be the Charm for Viola Davis at the Oscars?

While it’s too early to be making concrete predictions, we can certainly start to conjecture who the contenders are for the 2017 Oscars. Best Actress is looking to be one of the most competitive acting categories this year.

Right now, at the top of the list, we have two-time nominee Viola Davis (Fences) who should have won for her role in The Help in 2012. Instead, she was passed over for Meryl Streep’s 3rd win. The ridiculous thing here is that the narrative behind Streep’s win had to do with the fact that she hadn’t won in 30 years. On the other hand, every one of her competitors hadn’t yet won an Oscar. Poor Glenn Close was on her sixth nomination. However, the majority of pundits thought it was a race between Streep and Davis.

Now, with her role in the Denzel Washington directed movie, which she won a Tony for in the play version, she is going to have some of the most Oscar-baity material of any actor in the last couple years. The question now is whether or not she will be submitted into lead. She won for lead when the play was revived in 2010, but Mary Alice (who played the role in the original production) won for the Tony equivalent for supporting. No matter the category, she is the one to beat.

However, she is going to have to contend (yet again) with Meryl Streep (Florence Foster Jenkins). Streep should be good for a nomination here. She has been nominated for worst. However, there definitely isn’t a path for a win. The movie isn’t going to be a major Oscar player and unlike her Iron Lady win she doesn’t have the narrative.

Davis’ real competition is going to come from Emma Stone (La La Land). After her first nomination for Birdman, she is coming back to play an easier role for the Academy to swallow. Not only that, she sings, she dances, and she plays a character that is going to be embraced by the Hollywood audience. What she doesn’t have is a strong narrative like Davis. While she has been around for a long time in relation to her age, she hasn’t had as many impactful dramatic performances, perhaps her closest time to Oscar being with The Help (which she ironically co-starred with Davis in).

Another strong contender is going to be Ruth Ann Negga (Loving). Her quiet performance in the Jeff Nichols’ drama about the couple whose Supreme Court case made interracial marriage legal has been lauded consistently since it premiered at Cannes. However, it isn’t a typical Oscar performance. She doesn’t scream or cry or yell, she is restrained. That’s going to be her biggest hurdle. However, Loving is set to be a major contender across categories, which will give her some much-needed momentum.

Natalie Portman (Jackie) is a role that seems tailor-made for the Oscars. She’s playing a real-life person that deals with nearly every emotion imaginable with her role as Jackie Kennedy. She has the advantage of having the film be solely focused on her. However, the film at this point isn’t going to be a contender in any other categories, which will severely limit its reach. However, her reviews have been so strong and consistent across that board that I can’t see her missing.

Then we have a tight cluster of actresses vying for a spot. There’s Amy Adams who has two movies she’s contending for, but the more likely Oscar vehicle is Arrival. After its premiere at Venice, the movie was launched into the Oscar conversation after months of speculation. The question was whether or not the short story, “Story of Your Life,” could be expanded successfully into a feature. The answer was a resounding yes with praise in tow for Adams. In any other year, she would have finally gotten her Oscar, but this year is so competitive that she’s not even assured a nomination. However, if she does get in, she has a pretty strong “it’s time” narrative on her side.

I think these are the most likely contenders at this point. Of course, there are many other actresses that are in the conversation. There’s Annette Bening (20th Century Women) who is looking to finally get her Oscar after three nominations for Best Actress and one for Best Supporting Actress, Isabelle Huppert (Elle) in a role that few actresses could pull off, Emily Blunt (The Girl on the Train) who is looking for her first nomination, and perennial nominee Jennifer Lawrence (Passengers).

The incredible thing is that I can keep going and name more actresses. That’s how competitive this year is. All we know at this point is that this is the category to watch.

October 4, 2016
Weiner Movie Review — The fall and fall of Anthony Weiner

Weiner is one of the most satisfying and hilarious political films ever made, which makes the fact that it’s a fly-on-the-wall documentary all the more impressive

Where most documentaries often rely on style to tell a story, fly-on-the-wall documentaries have to rely on the subject. Thankfully for Weiner, the subject is a narcissistic politician that can’t seem to keep his mouth shut (no, I am not talking about Donald Trump). Though it started as a film about his comeback, Josh Kriegman (a former aide to Weiner) discovered that the film was going to be a very different story.

For those of you that don’t know, Anthony Weiner was a Democratic congressman on the rise. His passion when it comes to talking about policy and the issues he cares about is palpable in clips shown early in the film. However, after a sexting scandal is revealed by Weiner himself — he accidentally posted a lewd picture to his Twitter account — he resigns in 2011.

Two years later at the behest of his wife he decides to run for mayor of New York City. The movie is filmed by a former aide of Weiner who fully intended to document his comeback into the political arena, and that’s what is committed to film for the first part of the movie.

There are no theatrics (save for one moment late in the movie involving a McDonald’s), which not only adds to the realism, but to the fact that this isn’t a movie one event. Yes, Anthony Weiner’s sex scandal started this entire ordeal. But this film is more concerned with the players involved. It is about his self-destruction and his arrogance.

However, the real brilliance of Weiner as a film is its editing. I don’t think I’ve watched a documentary that made me laugh. One of my favorite comedic beats is when Weiner, jumping around at several parades including, but no limited to, Columbian Heritage, Caribbean Heritage, Pride, Jewish, and many more, is interrupted in a beautifully orchestrated smash cut to his rival Bill DeBlasio in a nearly unattended and silent parade as he smiles and waves.

And although he is a ridiculous politician with a ridiculous name who was involved in a ridiculous scandal, the movie doesn’t let us forget that there is a victim here: his wife, Huma. The filmmakers make it a point to show Huma’s reaction during the hard points. Her face is so expressive as she watches her husband’s campaign implode and eventually, she subtly lays the groundwork for her marriage imploding. It’s such perceptive filmmaking to the point that you’d think it was staged.

If Weiner was a scripted film it wouldn’t be nearly as impressive, but the fact that the filmmakers were able to perfectly translate Weiner’s doomed campaign to film makes it impressive. But what make it a great film — and one of my favorites of the year — is that underneath the ridiculousness the film truly focuses on the people involved and paints detailed portraits the emotional ride they go on. Weiner is a human film told in a human way.

8/10

Weiner is available on DVD, Blu-Ray, and digital on Amazon!

September 29, 2016
Dark Matter Book Review — A tense, well-plotted thriller

A quick and efficient page turner, Dark Matter doesn’t bring anything too new to the genre, but it is certainly entertaining enough to keep you reading

If you read the premise of Dark Matter, you don’t immediately see anything terribly original or grout-breaking. A man doesn’t know it but the entire world he knows is about to be ripped away from him. It sounds like the premise for nearly any crime thriller made and the book starts that way. Jason Dessen has the perfect wife, the perfect son, and the perfect life. At least in his eyes. We meet Jason as he and his family are in the middle of family night. Who legitimately has a family night? However, when he mentions to his wife that he was invited out to a bar by a friend, she doesn’t hesitate to tell him to go. What significant other would say that without resistance? It’s too perfect and too polished.

As the book goes on, more and more of these typical scenarios play out. He meets up with an old college roommate who has become a prize-winning scientist in the field of astrophysics that Jason is no just an undergrad professor in. Naturally, Jason feels jealousy and regret since he made the decision 15 years ago to have his son Charlie with his wife Daniela, effectively killing his career in science.

You can pretty much call everything that happens in the first third of the book. You can even call what happens when a mysterious masked figure kidnaps Jason at gunpoint and leads him to an abandoned factory in a run-down part of Chicago. When Jason wakes up after being stuck with a needle he is surrounded by people in hazmat suits who seem to know him.

However, that’s where the predictability stops. From there, I had no idea where the book would go and when I thought I did it would quickly veer away. His keeps the plot tight and lean, which makes it a page-turner from start to end. However, there are places that I wish he would expand and made me want to pull my hair out wondering what will happen next. At a certain point I could be confident that in the next couple pages my questions will be answered.

And because of the leanness of the book, you’re left with shallow characters that you only care about because you’re told to. The only intriguing characters are ones that you get limited time with, which again makes you want to know more about them and their motivations. This book could easily have been twice as long and still be as entertaining and thrilling.

That being said, I thoroughly enjoyed my time reading this book. It’s smart, sometimes too much for its own good, and masterfully laid out. As Jason falls more deeply entangled in this deranged plot, he begins to have questions about his own sanity and meaning. I can’t talk more about it without spoiling the plot, but Dark Matter brings up some interesting questions about the decisions that we make and how they affect our lives and the world around us.

I don’t think Dark Matter brings anything terribly new to the table, but Blake Crouch knows how to tell an engrossing story. Despite a rocky start, he pulls the book together into a genuinely interesting and human thriller. Even if his characters feel contrived and the plot to some extent feel familiar, Crouch has written a page turner from beginning to end.

7/10

Get Dark Matter in paperback, hardcover, or e-book on Amazon!

September 22, 2016
Eye in the Sky Movie Review — A Taut Political Thriller and One of the Best Films of the Year

A pitch-perfect cast, screenplay, and story make Eye in the Sky one of the best — if not the best — movie of the year

There are thrillers, and then there are thrillers like Eye in the Sky. What kind of thriller? It’s one that’s not just a treat for the eye but for the brain. It’s one that understands that less is more. It’s one that doesn’t compromise story for dramatics. It’s one that is so effective that not only did it keep me on the edge of my seat, it kept Brian and I in a morality debate after the movie that mirrored the debacle that the characters themselves were having.

Told in what is essentially real time, Eye in the Sky follows the multiple people involved in making the decision to launch a drone strike on a compound containing numbers two, four, and five on the British most wanted list in Africa. However, to complicate matters, a little girl is standing within the blast zone. Even worse, the occupants of the compound are preparing for a suicide bombing. From the government to military to the drone pilot himself, everyone has a hand in deciding whether or not to risk the life of one to save the life of many. It’s a classic morality tale, but it’s told in a way that will even make you question your judgment.

In all, the large ensemble can be split up into two camps: the military and the government. On the military side, Colonel Katherine Powell (Helen Mirren) is in charge of an intelligence division that is tracking two British citizens and one American citizen who have become radicalized Islamic extremists in Kenya and members of Al-Shabaab. With the help of American 2nd Lieutenant Steve Watts (Aaron Paul), who is piloting an unmanned drone, she tracks them down to a safe house where they are preparing for a suicide bombing.

Originally a capture only mission, Powell realizes the only way to prevent a suicide bombing and stop the these terrorists is to elevate the mission to a kill order. However, like any drone strike, there is a long chain of higher-ups that have to have a say in deciding. This brings in the other half of the ensemble, which is led by Lieutenant General Frank Benson (Alan Rickman in one of his last performances). Along with members of COBRA (England’s equivalent of our war room), he must determine whether the collateral damage is legal and politically maneuverable — will they be able to control the propaganda war?

The decision seems clear. That is until a little girl makes her way into the blast zone.

This little girl’s name is Alia. Throughout the movie, we watch her and her family go throughout their daily lives. Obviously, it was a smart move to humanize Alia and her family without treating her as actual collateral damage. What Eye in the Sky does so intelligently is contextualize her in the world she’s living in. Any filmmaker would have humanized her. Not every filmmaker would show that she is affected by the war in a way that we couldn’t even imagine.

We are treated to an incredible and lengthy decision-making process that affects everyone involved in different ways. Heart, brain, morals, ethics — all are considered. Colonel Powell is an interesting character, in particular, because she has the attitude of shoot first, ask questions later. For her, there isn’t a question of the risk. She sees her target, one that has affected her personally, and will do anything in her power to stop it. On a side note, it’s refreshing because her gender doesn’t come into play here. The part could have easily been played by a man and still worked just the same. It’s gender-blind casting at its best.

Then, there is Lieutenant Watts and his US Air Force colleague Carrie Gershon come from the place of the heart. They are the trigger. However, they are almost powerless to the decision that comes from the brain, COBRA. They come from more political motivations, but morality comes into play as well. It’s an intricate puzzle of characters that create one of the greatest discussions ever committed to film.

The screenplay, which is by BAFTA winner Guy Hibbert, is an exercise in efficient storytelling. He doesn’t bog down the story with unnecessary personal details — except for one involving Rickman’s character which greatly affects your perception of his character. The dialogue is fast and smart, and the characters are explored so deeply, despite spending little time with each. We know their motivations, and we know why they are making the decisions they are making. The cast, in particular, Mirren, Paul, Rickman, and Fox, does much of the heavy lifting on that part. And director Gavin Hood does a beautiful job capturing the moments in the film that truly matter and stitching together the narrative (that involves footage from the drone and surveillance cameras) in a way that makes it move a mile a minute.

Nevertheless, what makes Eye in the Sky so brilliant is not the tight screenplay or the ambitious narrative or the phenomenal performances across the board; it’s the careful study of this one decision from multiple points of view that makes it one of the best — if not the best — movie of the year. A lesser director or screenwriter might have fumbled their opportunity to make this plot meaningful without being condescending. Instead, the team behind Eye in the Sky adeptly blur the line between good and evil and what constitutes a necessary evil.

It’s unfortunate that this movie didn’t get in front of the audience it deserved. If it did, I’d imagine that it’d be a shoo-in for a Best Picture nomination and several others. However, it does please me to know that this level of filmmaking still exists, and that this type of storytelling is one that hasn’t been quite abandoned. It’s entertaining as both a political and war drama. But it’s the movie’s balancing of both that elevates it to a level that few movies are able to achieve. In the end, the movie leaves the question with you: how far do you go when it comes to war.

9/10

Eye in the Sky is available on DVD, Blu-Ray, and digital on Amazon!

September 20, 2016
The Neon Demon Movie Review — Pretentious Garbage with A Little Bit of Style

Obsessed with style over substance, Nicholas Winding Refn’s The Neon Demon is a narrative mess that pretends it’s a movie by adding strobe lights and slow motion

I rarely write reviews for movies that I dislike. They’re just difficult for me to write unless I dislike one passionately. Well, The Neon Demon is one of those movies. I don’t think I’ve ever watched a film so repulsively bad that I felt like I wasted my time and energy watching it.

The Neon Demon tells the “story” of Jesse (Elle Fanning), a small-town girl who came to LA with big dreams. I know, original. She pursues a job in modeling to pay the bills because her parents died. Even better. Of course, there’s something about her beauty that drives everyone in this movie universe wild. In one laughable scene during a runway audition, the designer who didn’t even give the other models the time of day looks up at her and is instantly enraptured in her beauty. Cue the eye roll.

As Jesse finds success in the town, she becomes narcissistic and self-absorbed. However, this happens out of nowhere. There’s no development. One second she’s a meek girl who thinks plastic surgery is bad and can barely contain a smile when people call her beautiful, and then in an instant becomes an arrogant and stereotypical supermodel. Refn confuses character development with these strobe light sequences that take the place of actual plot.

Some of the women in particular who feel this animosity towards Jesse are two other models, Gigi (Bella Heathcote) and Sarah (Abbey Lee), and a make-up artist, Ruby (Jena Malone) who give it their best in the film. Elle Fanning, on the other hand, feels wooden and emotionless and makes you want to see her downfall.

For a movie that seems so stylistically modern and advanced, the plot is one so simple and contrived. While it could make for an interesting critique of the modeling industry and the pressure to be more beautiful than the next girl. However, in a classic style over substance debacle, instead we see a mess of a plot. Even in moments when we’re supposed to be scared or thrilled, particularly in the tacky third act, you laugh at the absurdity.

In so many words, nothing happens for 90 minutes, then everything happens. And well, that everything involves necrophilia, cannibalism, and literal bloodbaths. However, to best summarize the movie, I’m going to let Brian say it:

“I love a movie with a lot of style. I love a movie that is unconventional. I love a movie that has layers. I do not love a movie that is 99% diluted style with 1% barely existent storyline. This movie has great elements. It was well-shot. It had great actresses and actors. It has a compelling style (in some scenes). But I was completely lost by how bedraggled and messy it all seemed to get. There is really no cohesive story. Sure, I get the metaphors for the vapid way we treat women with blatant misogyny in the fashion industry. I get all of what this movie is supposed to represent. I got it all because it was barely a metaphor. It was more slapped across your face the whole movie without a modicum of subtlety. I wanted to like this movie; I really did, but all it has to offer is dramatic shots that lead nowhere, little well-written dialogue, a ridiculous Keanu Reeves, and crass scenes that just end up repulsive and not intriguing. Polished garbage is still garbage.”

1/10

September 11, 2016
‘The Blair Witch Project Movie’ review — The divisive horror masterpiece

Though it’s nearly two decades old, The Blair Witch Project still holds up as a modern classic

With the second installment (second because let’s just forget about that horrid Book Of Bleh) of The Blair Witch Project coming out in a few weeks, aptly titled Blair Witch, I thought it would be appropriate to review the original.

I first watched the movie when I was at the oldest 7 or 8 in my cousins’ basement. At that point, the virality of the movie had just calmed down, but it was still widely known as one of the most horrifying movies of all time. This is proven by the fact that I nearly broke down crying when the main menu came up. The second time I watched it I was in high school and still nearly broke down crying (or did).

However, now that I’m at a point in my life that I am confident in my abilities a fan and studier of cinema I am seeing The Blair Witch Project as a landmark cinematic experience. While I think a lot of the early acclaim was because of the viral marketing and debate behind its authenticity, looking at it through the lens of a film proves that it is a modern classic.

If you somehow have been lost in the woods in Maryland for two decades, The Blair Witch Project tells the story three amateur filmmakers — Josh, Heather, and Mike — who embark into Burkittsville, Maryland to create a documentary on the legend of the Blair Witch. Much of what we learn about the legend and experiences of the town folk are through interviews with actual citizens of townspeople who recount the terrifying tale of a witch that lurks in the woods.

The trio venture into the forest searching for the legendary witch only to find that the legend may not be so mythical after all.

As the “documentary” unfolds, one thing is strikingly clear. The filmmaking style and performance still feel so real that I found myself at some points still being tricked into thinking this was actual found footage. Of course, this lends itself to the way it was filmed. But you have to appreciate the vision that the directors had to have had before beginning production and incredible talent that these actors possess for improvisation.

Now, here’s the thing. There are very few movies that I have become emotional during. However, there are parts of this movie that I became physically unnerved for the characters and frankly saddened for them. At some point, the movie because less about the witch and more about the fragility of the human psyche. What are you thinking? Who do you blame? The scenario unfolds with so much real and raw emotion that it feels claustrophobic. You feel trapped in the forest with them.

While the concept may feel outdated or overdone you have to remember that this is the first time a movie like this ever existed. Yes, mockumentaries predated The Blair Witch Project, but no movie has come close to even committing this type of immersive experience to film. The viral marketing and cultural phenomenon aside, the movie still holds up as a masterclass in tension, atmosphere, and horror.

While the style has been copied countless times from degrees of success — the first Paranormal Activity, Cloverfield, Chronicle — to questionable — The Chernobyl Diaries, all the other Paranormal Activity movies — it has never been replicated and probably never will be.

The Blair Witch Project isn’t going to hold up as well for everyone. We’ve come to the point in horror that our senses need to be assaulted for us to feel anything. Turn off all the lights, close the blinds, turn off your phone and tell me that the experience of watching it isn’t terrifying. I dare you.

Where to stream The Blair Witch Project: Available to stream on Showtime. Also available to rent or buy on Prime Video or

September 7, 2016