Wonder Women: Lisa Freemont in Rear Window (1964)

When one thinks about the intriguing elements of Alfred Hitchcock's filmography, the abundance of "icy blondes" he utilized throughout his career is hard to ignore. He worked with a myriad of starlets like Tippi Hedren, Janet Leigh, and Kim Novak, establishing them as femme fatales and victims on-screen. In celebrating Halloween by watching Rear Window, Grace Kelly's role as Lisa Freemont felt like a great character to highlight for my Wonder Women series.

Elegant and tenacious Grace Kelly dazzles in the classic thriller about an injured photographer L.B "Jeff" Jeffries (played by James Stewart) who's cocooned in his apartment and starts spying on his neighbors. Getting caught up in their own imaginations and theories, they suspect a grizzly murdered took place just across the street and try to prove their accusations to the authorities.

Throughout his career Hitchcock examined the themes of a seemingly perfect crime, and the morals that came along with the act in question. Like similar suspenseful films Marnie, Vertigo and Dial M for Murder, he also dabbled in the complications of marriage, singlehood, and the sexual tension between men and women. More prominently Rear Window, a tale of voyeurism and murder, offers a switch of gender roles where its independent and undaunted leading lady becomes the hero.

Star Wars: The Last Jedi (2017) Trailer Reaction

Walt Disney Studios Motion Pictures

The time has finally arrived young Padawans! After months of the first teaser release, the Star Wars: The Last Jedi trailer dropped. As expected excitement for the eighth film, which will return to the Resistance's fight against the First Order, and Rey's ascent/descent with the force, was absolutely insane as we get a bigger idea of what's going to happen next.

Let's get straight into the new trailer! SPOILERS BEYOND THIS POINT

The Story of 90 Coins (2015) charmingly explores the promises of love

When we in fall in love, we tend to make a lot of promises. But what happens when love itself can't be kept? Director Michael Wong makes his directorial debut with The Story of 90 Coins, a beautifully composed short film exploring the complexity of falling in love - how it is a commitment, the fresh spark between two people, and the complications of regret.

Wang Yuyang (Han Dongjun) wants to be with Chen Wen (Zhuang Zhiqi), an aspiring fashion designer, for the rest of their lives. But she doesn't feel the same way. At first, he makes a promise to prove his love to her for 90 days. Every time they meet he gives her a coin. At the end of the deadline, if she still feels the same way they will merely use the coins to toast each other farewell. Otherwise, they'll eventually use their collection to get married. Along the way a relationship blossoms and the promise of the coins falls away. But Chen isn't fully committed in the relationship as he is; she's aiming to own a house in the city and take her fashion career to the next level, thus calling into question what happens when love needs to be more than a promise.

For a film that runs less than ten minutes, it's simple and straightforward as well as absolutely charming and sweet. While jumping into this world, the production design lusciously takes the frame of a theatrical motion picture. Han Dongjun and Zhuang Zhiqi are captivating leads as they explore their characters similarities and differences. It's easy to feel everything they do throughout the highs and lows their on-screen relationship.

It's difficult not to walk away from this story without harboring a lot of feelings to ruminate. The coins act as their "in" for falling in love and marking the wonderful memories they made. A promise of love is alluring and might lead to a grander experience, but relationships also require understanding and engagement from both sides. The parallel of Yuyang and Wen falling in love and growing apart tugs at heartstrings in all of the right places.

The film fills in a lot for nine and a half minutes, which works for and against the movie's favor. As simple and poetic as the simple piano score by Wei An is, at times it felt distracting and repetitive, taking me out of the journey portrayed by the actors. The other issue belongs slightly to the script which crops up a lot of questions about the couple without feeling like they're properly answered. The story itself could've used a bit of fine-tuning in terms of conflict or exploring more of the disconnect between Wang and Chen. Depending on where your heart lies on whether or not the couple should stay together, the ending can feel abrupt. But otherwise, there's so little significant downfalls to pick on.

As a directorial debut, The Story of 90 Coins is an impressive short film. Wong and the cast have earned top prizes at prestigious festivals around the world since it premiered in 2015. Having previously been an art and creative director in advertisement, there are influences of that industry throughout, but the short still manages to be remarkably well-rounded. Speaking to the complications and joys of falling in love, the story is truly touching with two talented leads and gorgeous production design. To watch The Story of 90 Coins, it's available on Vimeo.

Rating: ★★☆
Have you watched The Story of 90 Coins?

What did you think?

Kong: Skull Island (2017) manages to break free from Reboot Island

Warner Bros. Pictures

We all know a cat supposedly has nine lives, but how many does an oversized ape have? It's a question Hollywood keeps asking whether movie goers want the answer (as much money as the studios can pummel out...) or not. So far there's been nineteen versions of the behemoth known as King Kong, and the latest edition Kong: Skull Island lands right in the middle as an amusing, but not entirely original flick.

This version is set in the 1970s with a government organization called Monarch investigating ancient myths and entities. Its leader William Randa (John Goodman) recruits a team of scientists and military men on a expedition to an exotic island where he believes evidence of prehistoric animals exist. The group abruptly encounters Kong among other beings that are not too happy about mankind disturbing the peace.

Among the otherKong movies, the action is where this one really stands out. Kong makes his introduction as massive silhouette enveloping a fiery sunset playing tennis with the crew's helicopters. The first several minutes he's on-screen is a completely wild ride, and his presence never wanes from there on. He doesn't dominate the movie by himself as an unpredictable mix of giant spiders and lizard-beings hint that there's much bigger forces at play in how this island operates. Even though the creatures might be CGI, the epic choreography and cinematography in subsequent fight scenes are visually awesome and offer some gorgeous set-ups, something that is often missing in similar movies.

While Skull Island's monsters are more than flat effects, its actual humans lack depth. The ensemble has a typical variety of tough guys, wanna-be feminists, nerds, and "red shirts" who are at least a little engaging, but they also fall a little too easy into tropes. The leads with Tom Hiddleston, Brie Larson, and Samuel L. Jackson occupies most of the screentime, but nothing really comes out of them except their sympathetic or vengeful attachment to Kong. Hiddleston and Larson are subtle heroes/adventurers, but don't have a lot of oomph compared to other stars in this genre. The guns-a-blazing schtick is mostly left to Jackson, whose arc drags on a little too much. They aren't entirely lovable or hateable, but just there to watch.

For any type of performance one might expect to stand out, John C. Reilly as a long-lost World War II pilot living among the island's native tribes easily wins all of the attention. He's so out of the loop on the changing times and desperately trying to get back to the real world, managing to be funny and endearing. Even smaller characters like Houston Brooks (Corey Hawkins) and San Lin (Jing Tian) as geologist/biologist hang out in the background for the most part, but I still really enjoyed them. If a sequel were ever to be made, it'd be interesting if they can be and do more than what they're offered here.

Outside of the action, Skull Island also remodels itself by not focusing on a big, not-so-bad ape running wild on New York City streets, and letting him reign supreme on an isolated paradise. Kong is a mere protector for other exotic creatures from underground monsters called Skullcrawlers - there's a hierarchy in this environment, one that our scouting crew ultimately disrupts. The allegory of humans overestimating that we own everything we set our sights on, or think that things out of our realm are naturally dangerous, is very subtle. There's even vacant nods and connections to the highly criticized U.S. involvement in the Vietnam war that offer a little depth that some characters lack. The use of beasties are special-effects driven, but it's fun to see what's churned out, and watch Kong acting more than a circus animal or destructive monster on display in his "previous roles".

Hollywood is made up of so many remakes these days, it's hard to keep them straight. Kong alone has twenty movies under his massive belt, but Skull Island isn't the worst of its kind or the worst that this ongoing franchise has come up with. Director Jordan Vogt-Roberts manages to make an adventure that's not in your face nor entirely forgettable. The cast and script could've been a little bit more polished, but there's some entertaining elements at bay that helps it escape from Reboot Island.

Rating: ★★½☆

Have you seen Kong: Skull Island? What did you think?

Old Vs New: 4 TV show Remakes Compared with the Originals

The landscape of television is always changing, and sometimes that prompts networks to bring back some old favorites to revamp. Welcoming in my first guest post writer, Katie takes a look at a few old vs new tv shows, and shares her thoughts on the contemporaries and originals. Take it away fellow Katie!

Sometimes network execs should let sleeping dogs lie. Like those holiday destinations we loved as a child and drag our own children around now; we should never return. The town looks old and forgotten and they’re serving microwave pizza and month-old chips rather than freshly fried churros and candy-floss as big as our heads.

The remake is a many faceted beast. It can find new heights and try something new and fresh and it speaks to a whole new generation. Or, like Frankenstein’s monster, it wakes up and we suddenly wish it hadn’t. Perhaps they hadn’t thought this through.

But amongst so many car-crashes, there are some returns that are worthy of the memory. What are you favorite or least favorite tv show reboots? Let us know in the comments below!

Their Finest (2017) reminds us of the power of cinema during the worst of times

Lionsgate

In cinema and television, the war genre often showcases men departing for the home front, while their mothers and girlfriends waited for them to come home, and not much else. Historically, as their loved ones left for the battlefield, predominantly women, children, and the elderly were left behind to keep the economy going and their spirits up, and fill in empty spaces left behind in the factories, military bases, sports fields, and entertainment industry. Outside of a few different movies and tv shows that come to mind like Land Girls or A League of Their Own, it was a delightful, refreshing surprise to find Their Finest.

During the Blitz in London, a young talented copywriter Catrin Cole (Gemma Arterton) is hired by the Ministry of Information to turn "slop" - the women's angle in film - into uplifting and informative morale boosters for home and abroad. Working alongside a fellow screenwriter Tom Buckley (Sam Claflin), she is inspired to weave a tale out of the battle of Dunkirk with a troupe of misfit actors.

Based on the novel Their Finest Hour and a Half by Lissa Evans, the fictionalized heroine here was inspired by real women behind-the-scenes. Often uncredited for their contributions on-and-off-screen, Their Finest shines a light on important, forgotten figures behind the scenes who were tasked with bringing entertainment to the masses during World War II.

When the world seems to be at its most bleak, it's tough to consider living as normally as possible. As a small-town girl carving a career for herself and becoming an influential voice driving England's propaganda machine, Gemma Arterton leads the movie with a lot of grace, steely grit, and determination. Cole is talented, hard-working, curious, independent, and yes, falls in love, all while bombs are in striking distance and air raids are conducted nearly every night. As she develops her skills as a writer, and learning about love and life through the creative process, her talent gives way for a loving, supporting cast to also find their role in the war - an aging thespian (Billy Nighy), all-American soldier (Jake Lacy), headstrong agent (Helen McCrory), among others. Evans as the original author, and Gaby Chiappe as the screenwriter, creates a refreshing ingenue in the war genre, and it's impressive how the film celebrates a variety of female voices and manages to be an ensemble.

Cinemas were closed briefly at the beginning of the war as there was a fear they'd be dangerous, but they opened them again because people wanted to go."
- Gaby Chiappe

Popularly known from her Oscar-nominated movie An Education, director Lone Scherfig charmingly creates another splendid period drama of a young woman trying to find her place in the world. She's also incredibly inclusive to the grim realities everyone was facing at the time without romanticizing this set of characters and what they were striving to create. Alice Normington's production design, Charlotte Water's beautiful costumes, and  Rachel Portman's score bring a quaint quality, it's refreshing from the violence this genre often depicts.

Sometimes directors and studios get caught up in making these films bloodier and action-packed, believing the conflict will have a bigger emotional impact. But sometimes they miss out on offering other points-of-views of these eras that can reinstate that the human spirit to live and create is also valuable. From cramped offices, sparce tenements and open countrysides, a spark of life and community is trying to muddle through as best as possible. In watching Cole's first project get underway from beginning to end, it's wonderful to see a movie about making a movie celebrating why we still go to the movies: to escape and be entertained, to see another side of humanity, to find order when life seems out of control.

Truthfully, the most perplexing part about Scherfig's film is figuring out what genre it really belongs in. Critics are quick to sell it as a romantic comedy, but I believe it's much more of a typical war-drama. Its aesthetics might be lighter than what we're used to, but the central story focuses on the creative nature of storytelling with World War II primarily used as an important backdrop. Cole's romantic relationships aren't exactly torrid love affairs, nor is the mishaps of filmmaking packed with lol-worthy moments. And the movie isn't a downer in terms of violence or conflict. (Unfortunately, though, for many, loving or hating the movie hinders on one shocking death that's hard to talk about without spoiling. I fell into the former category.) In all, I felt Scherfig strikes a balance between the realistic conflicts of World War II and a light-hearted, tenderness from her cast.

In truly harrowing times, people find a way to come together as communities, uplifting each other's spirits and creating something new that might last longer than they will. It's splendid to be a reminder that despite everything going on around us, we have and can always still use a little cinema magic. Their Finest steps out of the box from what we normally see in the war genre, and with a splendid cast, delivers a swell story displaying no matter what, the show can still go on.

Rating: ★★★

Have you seen Their Finest? What did you think?

Favorite Movies from 2017 (So Far)

Can you believe we're more than halfway through 2017 already? This nugget of a realization made me think of the movies I've seen so far. Plenty of good, enjoyable movies have come out already, and a lot more promising ones are on the way. I'm hoping the next few months expands this list since it's pretty short right now, but here are my favorite movies from the past several months. What movies stick out in your mind this year? Feel free to let me know in the comments!

Stars I Love: Chris Pine

Dujour / Photographed by Blair Getz Mezibov

It's a truth universally acknowledged that Hollywood is full of Chrises, but there's only one crooning action hero who goes by the name of Chris Pine. Taking Hollywood by storm with his blue-eyes, he's become quite the chameleon to break out of the pack of similar-looking heartthrobs. In celebrating his birthday today, I'm just going down a few reasons why he's so easy to love.

Though Chris Hemsworth, Chris Evans, and Chris Pratt have been tethered, in not so many words, to their comic book franchises, Pine has managed to accomplish a lot outside of helming blockbusters. In the early 2000s, Pine was the first of the group to claim young fangirl's hearts with romcoms like Princess Diaries: A Royal Engagement, Just My Luck, and Blind Dating. In the midst of consistently playing a charmer, he's been able to finesse his heroic romantic lead in a variety of roles.

Baby Driver (2017) skips a few beats

TriStar Pictures

Through the social media grapevines and tv spots, Baby Driver rode a 100% approval rating on RottenTomatoes to become of the most anticipated movies of the year. Though the headlining cast and being familiar of director Edgar Wright's filmography made the action-"musical" sound interesting, there was a slight hesitation to jump and go see it. That was until the first six minutes were released by Sony on YouTube, of which I become easily obsessed with.

Essentially, the movie opens with Baby (Ansel Elgort) having successfully driven a heist crew out of danger from the police. His accomplishment gets him one step closer to working off a debt from a mob boss (Kevin Spacey). The final few jobs Baby has to deal with get more chaotic and unpredictable, ultimately putting his own getaway skills to the test to protect his family and new girlfriend.

In so little time, so much unfolds. First, the bombastic song that hits as Baby sits in his car, as the robbery gets more chaotic. And, then the pow of unbelievably smooth editing and cinematography as the cast tears up the streets. Wright's ability to wrap such a fast-paced action scene in tension hits all of the right notes. It's hella awesome, implanting an unforgettable adrenaline rush and raising the bar for what's to follow.

As great as the movie opens with this chase, it feels like a misplaced scene compared to the rest of the movie. Wright essentially kicks the movie off with a 0 to 60 sequence, and then strives to go back to the starting line to set up the characters. Somewhere along the way, and I have trouble putting my finger exactly where, the movie winds down pretty-average roads for an action flick, not really reaching for the originality its hailed for.

Essentially, in the first job, a complete synchronicity works not just with the production, but also the characters. The crew is all on the same page, so they can get the job done - get in, ruffle some feathers, and get out to snatch the big dough. They might not all like or know each other, have their suspicions about each other's personalities, but nothing's a big deal to put a hitch in the plans. Never working with the same crew twice, Baby must later contend with wild cards like Buddy (Jamie Foxx), whose unpredictable nature entertains at first, and then wears out its welcome. The further we follow the tragic reasons Baby's always listening to music and how the heists land him in hot water, the less engaging it is. The music selection and action scenes remain incredible, but the conflict drags on and on.

The cast holds up well with Ansel Elgort bringing a different kind of heart-throbbery from The Fault in Our Stars, alongside the ever-impressive chameleon Lily James and CJ Jones as Baby's deaf foster father. Baby's closest relationships are what makes him interesting, while his foes nicely played by Kevin Spacey, Jamie Foxx, Jon Hamm, and breakout star Eiza González don't give bad performances. They just happen to be in the back half of the story that's the weakest. Everyone is able to sing in their own way, despite the story stalling to reach the finishing line.

Undoubtedly, Baby Driver starts out on a high and never takes its foot off the gas  The cast hold up in places, but the story isn't perhaps worth the hype it received. Without question, Wright lays a lot out on the table. Knowing his filmography from the zombie-tastic Shaun of the Dead to the comic book indie Scott Pilgrim vs the World, his passion project is a smooth infusion on the technical side. The movie never settles as a pure action flick, mixing in elements of comedy, romance, and even sometimes coming across as a noir-on-crack. Baby can make a heart skip a few beats, in good ways and bad.

Rating: ★★☆

Have you seen Baby Driver? What did you think?

Let's Go To There: The Great Movie Ride at Hollywood Studios

It's not something I fangirl about a lot, but if I could, I'd give anything to go back to the golden age of Hollywood, just to walk the sets and see all of cinema's greatest stars up close and personal. Second best to fulfill that wish was Hollywood Studios. As one of five theme parks in Walt Disney World in Orlando, Florida, every vibe of that golden age comes alive there. The main streets are lined decked out in vintage decor and restaurants pay homage to legendary hang-outs like The Brown Derby. You feel like you're walking around the studio lots venturing from one shooting location to another.

As Disney revamps the site for larger Star Wars and Toy Story lands, those retro vibes are slowly changing. The most recent attraction going for a complete overhaul The Great Movie Ride. Built as a replication of Grauman's Chinese Theater in Hollywood, California, the ride takes guests literally into the movies.

5 Outbursts I've (Accidentally) Made at The Movies

Sometimes a movie is so good or bad, everyone gets a little caught up in what's going on. Especially if we're seeing something for the first time at the theater, we get frustrated, scared, or excited about what's going on. While I'm usually pretty respectful not to cause any kind of disturbance, there's actually been a few times where I went into Eliza Doolittle mood. Here are five times I've made outbursts at the movies. (Sorry!) Maybe I'm not the only who's done the same? Have you ever been so excited or angry you've made a big reaction? Feel free to share in the comments.

Dunkirk's (2017) heart speaks louder than its action

Warner Bros Pictures

Director Christopher Nolan has made a stunning career of delving heavily into themes and into the minds of his characters. Frequently, he often centers his stories on time, manipulating its synchronicity and complexity to amplify the drama. Unlike his previous movies languidly exploring his protagonists' psyche, Dunkirk dives right into the heart of a historical event with a surprising, different approach, letting the action do all of the talking.

In May 1940, during the early years of World War II, the Nazis swept through Europe pushing thousands of British, French, and Belgium soldiers to the beaches of Northern France. To avoid being completely wiped out by the Germans, the Brits led an evacuation from the seaside city of Dunkirk. Military vessels were struck down by bombs and torpedoes at every turn, making it far from an easy feat to turn over thousands of fighters to the next battlefield.

To cover the event unfolding on land, in the sea, and up in the air, Nolan splits the story into three points of views. A young soldier Tommy (Fionn Whitehead) joins his comrades on the shore trying to escape on rescue boats. As they dodge attacks from every side, a civilian boatsman Mr. Dawson (Mark Rylance) races to shore to rescue whoever they can, and a Royal Air Force pilot Farrier (Tom Hardy) surveys and shoots down enemy bombers from above. Peril permeates over the course of a week, a day, an hour, as hope remains a distant dream on the horizon.