Solo: A Star Wars Story (2018) Might Just Be The Best Spin-Off in the Galaxy So Far

Some movies just have really bad luck. One wouldn't think that this would be the case for Star Wars, but since its Disneyfied resurgence in 2015 the beloved phenomenon has had its ups and downs. The highs have been relatively good enough to give the movies a new life, while the lows of critically-panned sequels and spin-offs are enough to put a kink in the franchise's hype. Overshadowed by high expectations and franchise-overexposure, Solo: A Star Wars Story has the unfortunate disadvantage of landing right in the middle.

Set before the original Star Wars films, young Solo (Alden Ehrenreich) joins forces with a group of smugglers in order to make good on a deal that went sour. Along the way, he reconciles with a partner-in-crime he thought he'd lost for good, gains enemies, and makes new friends as he aims to become the best pilot in the galaxy.

Watch on Netflix: Bird Box (2018)

2018 has given us quite a few reasons to believe that women can do more in Hollywood than what they’ve been regulated to. Similar to films released earlier this year such as science-fiction flick Annihilation or romantic-comedy Crazy Rich Asians, the latest apocalyptic adaptation Bird Box is another example of an unexpected film telling a different story than the ones we’re always used to: female roles can be complex, actresses don’t have to stick a certain genre, and men can be more than  the only strong character.

Based on the book by Josh Mallerman, a mysterious virus triggers people into killing themselves sparking an international apocalypse. Mallory, an artistic hermit who's not prepared to give birth to her child let alone the end of the world, must fight to step outside of her shell in order to survive. Forced to live alongside fellow survivors – an Army vet Tom (Trevant Rhodes), a MAGA conspiratorial Douglas (John Malkovich), a young and naive pregnant woman Olympia (Danielle Macdonald) - she has to remain guarded enough to stay alive but also not lose hope in humanity.

Mary Poppins Returns (2019) Is Full of New and Familiar Tricks

Mary Poppins, the British superhero equipped with a talking umbrella and bewitched carpetbag, first debuted onto the big-screen nearly fifty-four years ago. Having become a childhood classic starring Julie Andrews and Dick Van Dyke in the hotly contested adaptation between author P.L. Traver and Walt Disney, the beloved nanny makes a comeback in a familiar and fresh "remake-quel" of the original.

Set twenty-five years after the 1964's story, Mary Poppins (Emily Blunt) returns to the Banks’s home where Michael (Ben Whishaw) and Jane (Emily Mortimer) are all grown-up and have fallen on hard times at the height of the Great Depression. Michael, in particular, is struggling to overcome his wife's passing when he learns that the Fidelity Fiduciary Bank is about to repossess his family's home. While Michael and Jane race against an impossible deadline, Mary and an exuberant lamplighter Jack (Lin-Manuel Miranda) take Michael's children with a series of bombastic and inspiring adventures.

Annihilation (2018) Is One Of The Years Underrated Sci-Fi Flicks

We need more sci-fi movies with women. I’ll point you to director Alex Garland’s Annihilation as one of the most recent reasons why. Despite having a familiar plot of an isolated team searching an almost alien-like treacherous land, the film hypnotizes you with its bizarre world and the mystery of unanswered questions. The movie's cast, cinematography, and world-building is satisfying enough on its own with what it gives to the story but also leaves you wanting more.

Based on the trilogy by Jeff VanderMeer, a mysterious translucent orb looms over Area X. No one knows how or why it came to fruition, just that its electromagnetic power slowly absorbs everything in its wake. Anything or anyone that crosses the Shimmer’s threshold is never to be seen or heard from again. That is until cellular-biology professor Lena (Natalie Portman) is inexplicably reunited with her husband (Oscar Isaac), a soldier who entered the Shimmer as part of a military operation and was the only survivor to come out alive but suffering ill effects from being inside. Curious to venture into the heart of the orb and find out what happens inside, Lena and four other women - psychologist Dr. Ventress (Jennifer Jason Leigh), paramedic Anya Thorensen (Gina Rodriguez), anthropologist Cass Shepphard (Tuva Novotny) and physicist Josie Radek (Tessa Thompson) - make one last dangerous trek searching for answers.

On the surface level, there isn’t a lot about Annihilation that’s unique from many other sci-fi counterparts. The story is something that we’ve seen before: a uniquely qualified group of individuals enter an unknown world and nothing can prepare for them for what they’re about to encounter. We’re left with various questions about what happened, and the suspense is left up to both the cast of characters and the environment (which becomes a character on its own) to tease us with what happened: Were the  previous military groups driven crazy and murdered each other? Did something else kill them - how? What? The longer Lena’s squadron spends in the orb, their doubts and terror about the environment start tipping the scale of how they struggle to trust each other and the deathly situation that they’re in.

What lies underneath the surface of the film is how the story and direction is gorgeously haunting. The Shimmer's overgrown forests and peaceful isolation feels like something out of a fairytale. But lurking behind the illusion of its dream-like atmosphere are changes that the team could never imagine: People become one with the landscape, animals transform into terrifying beasts, and the fact that nobody can really live within its translucent walls increases any sense of seeing civilization again. As Lena and her comrades follow its trail of breadcrumbs about the military units that came before them, their resolve starts to crumble – there really is no such thing as going back. The Shimmer is filled with tension and wonder about the unknown, a lingering suspicion about what will happen next; it has a foreboding peacefulness to it that’s matched by violence; life equals death; destruction breeds creation. The longer you spend with Lena and the group, the more you want to know answers too, and to see who might survive, die, or how the Shimmer changes them.

The film is very much an ensemble piece. Portman’s career over the past decade has truly flourished, churning out all kinds of complex performances from Black Swan to Jackie. As Lena, she offers a formidable leader to the group and someone to anchor the story to as she tries to navigate what’s going on around her – she’s vulnerable, smart, and resilient. The rest of the characters could come across as a little trope-ish compared to similar action / sci-fi movies, but they create a tight camaraderie between them that makes their tentative unity and division almost palpable. It’s not hard to fall in love with the film’s overall aesthetic, to be honest: Five women walking into the Shimmer ready to get answers and kick ass.

Written and directed by Alex Garland, Annihilation is only the first step in a trilogy, and unfortunately, he only had the intention of making the first one. When he started the project, the author's manuscript was just coming together, and Garland scraped the series' ideas together to form his own vision - ironically, just like The Shimmer. His film's world-building asks big questions, and the road to answering them is chilling and unexpected. Annihilation works well enough as a stand-alone, but knowing what happens next would’ve been interesting for the rest of the trilogy to be made and explore. There’s honestly nothing wrong with Garland's film, except the shame of wanting more and being forced to wait for another director to take the series on again. One can only hope that this breeds similar yet different sci-films in the future.

Rating: ★★★

Have you seen Annihilation? What did you think?

(Spoiler-Free) Fantastic Beasts: The Crimes of Grindelwald Review

Warner Bros Studios Pictures

The importance of family, power of love, good vs evil – the Harry Potter series was a master at being a universal phenomenon. No matter where you came from or how you found the story, author J.K. Rowling offered a doorway into storytelling as easy as flicking your wand and make-believing you were a witch or wizard on your way to exploring her wizarding world. Ten years after her first series ended, and the start of a new chapter has begun, it's a little clearer with the Fantastic Beasts series that the story we loved is not as accessible as it used to be - whether you’re a die-hard fan of the series already or just curious about the franchise's future.

Following Newt on his adventures, the second Fantastic Beasts film travels to the Paris wizarding world where Gellert Grindelwald (Johnny Depp) promises freedom for his growing, loyal band of followers who want to be liberated from the shadows of the No-Maj/Muggle world. In trying to stop his rise to power, Albus Dumbledore (Jude Law) requests the help of his former student Newt Scamander (Eddie Redmayne). Meeting in the middle are both foes and friends alike - Tina Goldstein (Katharine Waterston), Queenie Goldstein (Alison Sudol), Jacob Kowalski (Dan Fogler), Credence Barebone (Ezra Miller), Leta Lestrange (Ezra Miller), Nagini (Claudia Kim), and Theseus Scamander (Callum Turner) – who called to decide which side they are on.

To say the least, there’s a lot going on in Fantastic Beasts: The Crimes of Grindelwald. Where the previous film Fantastic Beasts and Where To Find Them was a mere appetizer, its follow-up is the meaty hook of what’s ahead. With three more installments on the way, Rowling as screenwriter employs all the world-building and story-development she has at her disposal– introducing new characters, uniting or pitting familiar faces against each other, and trying to connect her novels to this other set of adventures. Her revered imagination and ability to weave her ideas together is the film’s best and worst assets. 

To the sequel’s long-awaited credit, there’s no way that you can’t not feel like this film gives you your fill of exploring the wizarding world. From returning to Hogwarts to seeing new avenues of the French wizarding world, every stone feels unturned as the intricacies of the impending wizarding war connects to all of the characters’ journeys and motivations. Unlike any of the Harry Potter films he’s directed before, David Yates sheds the constricted nature of his previous installments from Order of the Phoenix and beyond to make this film as gorgeously grim as it can be. He and cinematographer Philippe Rousselot creates fresh and interesting angles of the world we love that we haven’t seen before. With every fresh installment of the phenomenon, the escapism gets better and better from James Newton Howard’s ominous score to the glorious production design by Stuart Craig. Every time you think you’ve seen what this series has to offer, there’s more around the corner - that reason alone is what keeps fans coming back for more.

Story-wise, the film also has a lot of intricate moving parts with the characters and doesn't shy away from making this the darkest entry in the Harry Potter and Fantastic Beasts franchise. Primarily, because of Grindelwald. Similar to Voldemort, he is a grave threat against the wizarding world, a master behind the curtain pulling all of the strings. The entire ensemble is in one way or another an outsider- they don’t fit in with their peers or society. Some are searching for their long-lost identity and validation (Credence, Leta, Nagini); others have weaknesses that can be exploited by Grindelwald or help them take a stronger stance against him (Newt, Tina, Queenie, Jacob, Theseus, Yusaf). And because of that, we truly get a  sense of how powerful he is by how he uses other characters as a pawn for his vision. As moviegoers, we're left to watch what Grindelwald is capable of, and root that our favorites don't fall into his cat-and-mouse schemes. As much as the film is darker in its tone and explores human nature more, there's also a lot of lightness to be adventurous, romantic, and charming. Unlike Fantastic Beasts and Where To Find Them, this installment has a better balance of flipping between both styles. 

Venom (2018) Makes Comic Book Movies Fun Again

Sony Pictures

Why so serious comic book genre? This is the big question that pops up in my mind over the intense division, even backlash, over Venom. Sony's latest attempt at their own comic book universe is an unexpected detour from the expected adaptations we've seen over the years, and reminds us of how the genre used to be: purely fun for fun's sakes. Venom's splash of action, sci-fi, and rom-com is not the most traditional story of its kind, and that works both for and against the film.

Humankind is depleting all of its natural resources. So much so that it's gonna need a better planet. Creator and inventor of the Life Foundation Carlton Drake (Riz Ahmed) uses his spaceships to bring back aliens known as symbiotes with the hopes of finding human hosts, but they’re deadlier and dangerous than even his multi-million dollar corporation ever planned for. Enter Eddie Brock (Tom Hardy), an investigative journalist who uncovers shady dealings with Drake’s corporation and inadvertently becomes the host of a violent symbiote called Venom. Forced to act as a hybrid, Eddie and Venom work together to take down the Life Foundation.

Venom is an absurd comic book movie that embraces how absurd it is, and honestly, the pure joy of the film comes out of its leading performance by Hardy. Already having a reputation for going all in for his characters, he makes no shift in changing his methods now, and here it really works – he’s not only playing Eddie but gives Venom his voice and comically, awkwardly, and believably acts like there’s an alien taking over his body - it's some of the best, and most importantly playful (and not method-esque performances) he’s ever given. As much as the film includes the typical CGI combat scenes between the two of them against Drake's cronies, there are a few set pieces of Eddie fighting his body's reaction to Venom's invasion and embracing Venom until they end up creating a weird bond of compromise and trust. Their arc from enemies to frenemies and friends is one of the best on-screen relationships to come along in a long time, especially in the "superhero" genre. It’s almost impossible to think that another actor could’ve carried the film as entertaining as he does.

Following behind Hardy is the supporting cast who aren’t “bad” in any sense of the word, but in comparison to Hardy don’t have as much to carry in terms of showy performances or transformations. Riz Ahmed as Drake is sort of your typical Marvel villain as a rich inventor who will stop at nothing to get what he wants, but Ahmed is charismatic and tries to rise above some of the cliche tropes his character has. More minor characters are filled in nicely: Jenny Slate as one of the few doctors who questions the lengths Drake is willing to go to; Celphas Jones as Eddie’s steely boss are fine the roles that they have; Reid Scott as a doctor who tries to help Eddie. The only casting that felt out-of-place was Michelle Williams as Eddie's girlfriend Anne; she's well-balanced as stuck between loving or leaving Eddie, but the chemistry between herself and Hardy didn’t quite gel - I had a hard time trying not to imagine someone else in the role.

Therein lies a small crux to Venom: it entirely rests on Hardy’s beefy shoulders. If his performance works for you, it’s guaranteed to be a good time; if it doesn’t, well, the whole film falls apart.

First Man (2018) Shoots for the Moon But Misses

Universal Pictures

Most are probably familiar with Neil Armstrong and the Apollo 11 mission: the space race between the U.S. and Soviet Union, the "one small step for a man, one giant leap for mankind" quote, the iconic photo of Neil's footprints on the moon. Here for First Man, director Damien Chazelle explores a deeper, not widely known story, behind one of humankind’s biggest achievements.

Following the death of their toddler Karen, Neil (Ryan Gosling) and his family gradually set a course for him through trial and error to chart the famous Apollo 11 mission. While working his way up as a pilot and surviving the Gemini missions to landing on the moon, Armstrong’s eyes are so strongly set on the stars to deal with his grief, his relationship with wife Janet (Claire Foy) and their two sons starts falling apart at the seams.

One can’t have a biopic about Neil Armstrong without the Apollo 11, and vice versa. To tackle such an elusive figure with monumental events, it’s a real balancing act for any director to want to tell both stories. There's no question that Chazelle wanted to explore Armstrong's side of the events. However in focusing the film almost entirely from his perspective, the overall journey to the moon leaves a lot to be desired. 

Fourth's Time The Charm for A Star Is Born (2018)

Warner Bros Pictures

Every twenty years Hollywood has reinvented A Star Is Born, a seemingly timeless story where a veteran star’s fame declines as he falls in love with a newcomer who rises to the top. From earning standing ovations at film festivals around the world to epic word-of-mouth on social media, director Bradley Cooper and his co-star Lady Gaga has earned acclaim for his directorial debut with the reboot of a tragic Hollywood fairytale. With so much hype surrounding the musical-drama-romance, the fourth A Star Is Born remake not only lives up to the hype but worth all its weight in gold and then some.

I don't consider this review full of spoilers, but if you're not familiar with the full A Star Is Born plot, it might be spoilerish. 

Crazy Rich Asians (2018) Puts A Feminist Twist on Rom-Com Fairytale

Warner Bros. Pictures

Anyone who’s anyone has probably heard of Crazy Rich Asians, Kevin Kwan's international bestselling book that's taken the literary world by storm since 2013. If you haven't, chances are you'll know its name now with the critically acclaimed adaptation closely following its lead. And for good reason: director Jon M Chu charms with a story about love, sacrifice and identity that'll sweep you off your feet.

An economics professor Rachel Chu (Constance Wu) is invited by her boyfriend Nick Young (Henry Golding) to attend a family wedding. Making a good first impression to your possible-in-laws is naturally intimidating, but Chu’s meet-and-greet brings a shocking revelation: Young is the prized son to one of the richest families in Singapore and the approval of his mother Eleanor (Michelle Yeoh) is extraordinarily difficult to earn; so much so, it might end up tearing them apart.

At first glance, Crazy Rich Asians is a lighthearted, endearing movie that's pretty much like every other romantic comedy: pretty people falling head over heels for each other in wonderful locations set to an addictive soundtrack. But sometimes the best rom-coms have substance as well as style, and this film has both in spades; especially the latter starring women (and men) struggling to sacrifice or uphold a part of their identity and traditions to appease the people they love.

Mission: Impossible Fallout (2018) Is The Best Franchise That Keeps Getting Better

On the very rare occasion that Tom Cruise doesn’t deliver on his promise to thrill moviegoers, almost every summer we count on the renown star to bring on the excitement as the daring spy Ethan Hunt. Waiting for another installment has become an event in itself for fans anticipating where Cruise will take his passion for this sage next. Every Mission: Impossible installment seems outdo the last tone. Coming back for the sixth time, Mission: Impossible Fallout again proves to be the best entry in a franchise that just keeps getting better.

After failing to recover three plutonium nuclear cores, IMF Agent Ethan Hunt is forced to team up with the CIA’s top assassin August Walker (Henry Cavill) to prevent the weapons from falling into the hands of a religious anarchist group known as the Apostles. While dealing with the aftermath of capturing one of its dangerous associates Solomon Lane (Sean Harris), Hunt’s past comes back to haunt him, and question how he can save the world just one more time.

Every Mission: Impossible has been naturally different in their own way as the films have changed hands between directors, writers, and supporting casts. Despite definitive stylistic transitions between movies, the series has never lost the core of what it’s always striven to be: an action-packed escape with fun characters. Though the franchise as a whole and individually are far from bad (the earliest ones are certainly dated but not the worst), Fallout is not just a physical rollercoaster ride but an emotional symphony in humanizing its hero.

Watch On Netflix: Set It Up (2018)

For the past several years, romantic comedies haven't flourished like they used to. Gone are the days where one quirky love story after another swept us off our feet and dominated the box office. While The Big Sick and Love, Simon have recently become beloved favorites, regular hits seem few and far between. After significant word-of-mouth through social media, there might be some hope left for the ol' harmless genre with Netflix's Set It Up

Two hardworking assistants Harper and Charlie (Zoey Deutch and Glenn Powell, respectively) are anxious to live a normal life outside of the office and enjoy more free time to themselves. To get a much-needed break and reconnect with neglected aspirations/relationships, they decide to secretly set up their bosses Kristen (Lucy Liu) and Rick (Taye Diggs) for a quick hook-up that might just become the real deal.

Fascinatingly, Set It Up is not entirely different than most 'chick flicks' you'd find on the Hallmark channel - which isn't an insult to Netflix's surprise hit at all. Like all rom-coms, the story is a bit of a fairy-tale and more happy-go-lucky than real life fails to be; there's cutesy montages, sappy quotes about what it means to fall in love, a dance-party-Spotify-worthy songlist. Drawing on elements of what's worked in the past for the genre - heartwarming characters, the right cast, and a joyful setting - director Claire Scanlon and writer by Katie Silberman revive the rom-com wheel to create a funny and light-hearted movie night and a big hit online.

Where the movie truly shines is the leads. Zoey Deutch charms the hell out of her role as Harper, an awkward, dorky 'insert foot into mouth' aspiring writer who's become too comfortable filling out her boss's requests in order to take a leap of faith and combine her love of words and sports into a different career. (Something I relate with all too well, fyi). Glen Powell is the perfect counterpart as Charlie, a likeable guy-next-door who puts up with his hotshot boss in order to be promoted and live the high-life, but in getting everything he wants, he might inadvertently fall down the same loveless path Rick's on. As a pair they truly steal the show, wonderfully alienating each other until they fall in love as we fall in love with them.

As for Harper and Charlies' bosses, the script for both Kristen and Rick isn't horrible but could be a bit stronger. There's simply more to love about Lucy Liu's performance and wardrobe than Taye Diggs's. The former's boss-from-hell is fierce, independent, and demanding yet as down-to-earth-as possible, while the latter's quite one-sided and doesn't put his charisma to good use. Though Diggs is typically wonderful in everything he does, his character is less of a perfectionist womanizer with a heart of gold underneath, and more of a spoiled tantrum-thrower with shades of decency thrown in. While the rest of the cast has a sense of humor tailored to them (Harper's sarcastic/clever, Charlie's dry, Kristen's sharp), Rick's one-liners are so random they'll require a double-take. Additionally, Kristen/Rick's initial run-in can only be described as awkward, in comparison to the rest of the movie that's quite subtle and wholesome. While Rick's faults goes to the writing more than the actor, everyone blends together quite smoothly; Liu has a lot more to work with here (she might even get her own sequel), but with Diggs, they manage to exude 'will-they-or-won't-they' chemistry as well as Deutch and Powell.

The most refreshing aspect about Set It Up might be how it avoids falling into tropes with its characters, especially its heroine. The script, and Deutch, have a great time with Harper as a hard-working and dorky-to-the-max protagonist, and also showing that she hasn't had a lot of romantic partners but that doesn't necessarily define. Charlie, who thinks he's quite the ladies man, doesn't try to change her personality or looks to improve her life. Their relationship starts out as strangers who want the same things, which develops into a relateable friendship and something more. There's no man-boys forcing women to be something they're not (looking at you Judd Apatow) or a girl being forced to choose between work and love (looking at you...every other rom-com ever); all of the characters are on equal playing fields. As Netflix churns out feel-good flicks left and right, this one's reminiscent of traditional romantic movies that are thoroughly missed.

Set It Up might not be the most original romantic comedy, but sometimes that's the best kind of escape; girl and boy meet; for the most part get along and wear their 'friendship blinders' until they discover what they've been missing: each other. The movie has a lot to love just the way it is. With a great cast and delightful setting, it's genuinely worth a watch or two.

Have you seen Set It Up? What did you think?

Love, Simon (2018) Is More Than A Coming-Of-Age Story

Everyone deserves a love story, but cinema has been slow in letting everyone share their affection for others. Based on the best-selling book Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is one of the most refreshing romantic dramedies in a long time.

Simon is gay. But nobody knows it yet. One evening, the gossip site for his high school tips off the community that someone is secretly gay but hasn't revealed their sexual identity yet. In a bid to ward off any attention, he anonymously shares his story of fears and worries about coming out, and begins a penpal relationship with "Blue" - another kid at school who's in the same position he is. When a nosy theatre nerd finds out Simon's secret and promises it'll stay so if he's hooked up with one of Simon's friends, Simon does everything he can to help him while sorting out his feelings.

Though I haven't read the best-selling book yet, the adaptation proves to be a hit on its own. Given how many young adult franchises just don't capture the attention like they used, and films representing the gay youth experience are becoming more seen than ever, Love, Simon is an enjoyable, important coming out of age movie.

Ant-Man and the Wasp (2018) Makes Superhero Movies Feel Good Again

Since Avengers: Infinity War left us in an exhausted heap of feels, Marvel offered their least suspected characters to cleanse our palate after everything changed with a snap of Thanos's figures. Surprisingly, against the odds that one of the Avengers' smallest heroes could fill in the summer gap, that's exactly what Ant-Man and the Wasp does: pick up the pieces from Infinity War's devastating wake and gear us up for the next leg in the Avengers' recovery with Captain Marvel in 2019.

Starting where we left off in Ant-Man, Hank Pym (Michael Douglas) and his daughter Hope Van Dyne (Evangeline Lily) have rekindled their relationship and are determined to return to the quantum realm to find their long-lost matriarch Janet (Michelle Pfieffer). However, in the two years since Scott Lang (Paul Rudd) sided with Captain America in Captain America: Civil War to fight Iron Man over the Accords, he made a plea deal and was put on house-arrest to avoid going to jail. Brought in to help Hank and Hope on their quest, they're on the run from the FBI, and together, they must race against time and a new form of Ant-Man called the Ghost (Hannah John-Kamen) who is hellbent on stealing their new quantum technology.

The Greatest Showman (2018) Sings A Surprisingly Different Tune

Musicals inspire us to set aside reality as characters break out into song and dance when life’s knocked them down or they're making their dreams come true. With the setting of a grand circus and a showman making his performers dreams come true, The Greatest Showman surprisingly struggles with creating magic outside of its wondrous score and dazzling production.

Hugh Jackman takes on real-life circus mogul P.T. Barnum from his downtrodden childhood to marrying the woman (Michelle Williams) of his dreams and creating an eccentric show starring outcasts – bearded lady, a giant, a dwarf, trapeze artists, siamese twins - to name a few. As his exhibition of "freaks" bring a different kind of success than he anticipated, Barnum's forced to face what his dreams are truly made of.

Ocean's Eight (2018) Plays It A Little Too Cool

Photo Credit: Warner Bros. Pictures

Since Ocean's 8 started stitching its cast list together in 2017, the reboot to Steven Soderbergh's Ocean's franchise took on huge expectations and a need to prove assumptions wrong before it ever hit theaters. Despite how epic the cast is or big the anticipation (or sleek the trailers are), sometimes the power to make a good movie isn't with those on the poster; it's with the actual powers-that-be. And unfortunately, this director plays it way too cool and practically topples the film like a house of cards.

Debbie Ocean (Sandra Bullock), estranged sister to Danny Ocean (George Clooney), spent five years, eight months, and twelve days in jail with one thing on her mind: pulling off her next con. Reunited with her team of grifters - Lou (Cate Blanchett), Amita (Mindy Kaling), Tammy (Sarah Paulson), Constance (Awkwafina), Nine Ball (Rihanna), Rose (Helena Bonham Carter), they make Hollywood's biggest star Daphne Kluger (Anne Hathaway) and jewelry powerhouse Cartier their next target. But Ocean's jewel heist isn't just any jewel heist: all she aims to do is break inside the Met Gala and walk out with $150,000,000. Easy.

Quick Reviews: Deadpool (2016) and Deadpool 2 (2018)

20th Century Fox

Diagnosed with stage four cancer after falling head over heels with the love of his life Vanessa (Morena Baccarin), Wade Wilson's conned into becoming something he never wanted: a superhero. Duped by a mysterious recruiter Francis (Ed Skrein) who promises an experimental cure for cancer, Wilson (Ryan Reynolds) is taken prisoner and his body is tortured into awakening mutant genes that cures his illness but leaves his body disfigured. And Francis isn't done yet: he also kidnaps Vanessa. There's only one thing left on Wade's mind: to do whatever it takes to save his girlfriend.

Deadpool is very much like the titular character: it's not like any superhero we've seen before. Unapologetic in its wisecracks and sarcasm, Ryan Reynolds's performance breaks the fourth wall and favors the deadpan humor he's developed throughout his career in Hollywood. The film is easily tailored to his comedic sweet spots, which isn't surprising because he was extraordinarily passionate about bringing this character to the big screen (especially after he was mutilated in Wolverine: Origins).

Avengers: Infinity War (2018) Throws Down the Gauntlet (spoiler free)

It all comes down to this. From Star Wars to Harry Potter, even Twilight, one film of several sequels inevitably ends up being responsible for "the beginning of the end". For Marvel, eighteen movies left a trail of breadcrumbs for its biggest cinematic villain over the past ten years, Avengers: Infinity War (and its sequel to-be-released next year) throws down the gauntlet like never before.

Loki's alien invasion, Ultron ripping apart Sokovia, and disagreements over the Accords were a walk in the park for the Avengers. Nothing has prepared Earth's Mightest Heros for Thanos (Josh Brolin), a dark lord who's been wreaking havoc across the universe determined to collect the Infinity Stones - gems that represent Time, Mind, Soul, Reality, Space, and Power. Once he possesses all six stones, he can wield their power with the snap of his fingers, and he has some deadly plans in mind once he succeeds. Spread out across Earth and space, our favorite superheros unite to put an end to his limitless power.

A Quiet Place (2018) rings in another exciting wave of terror

Platinum Dunes / Sunday Night

For the past few years nailbiting and bloodcurdling movies like The Witch, It, and Get Out have reinvigorated the horror genre. Though it's never been a favorite of mine, the latest suspenseful flick A Quiet Place's continues to make you think twice about where the genre will take us next.

This review contains spoilers - please read at your own risk.

Phantom Thread (2017) Combines Beauty with the Bizarre

Photo Credit: Focus Features

A period film is rarely going to be anything else than what you expect. They carry with them a certain routine charm and elegance, and often breathtaking costumes and scenery to draw us into another time. Unless it's an old-fashioned mystery, biopics of twentieth century figures or unrequited love stories in the seventeenth century, aren't pegged to have some massive twist that leaves you feel like you've left a suspenseful thriller. Phantom Thread has all those things you'd expect of a typical period film, but surprisingly, not everything is what it seems.

Hiding twisted secrets underneath its beautiful facade, something hypnotic and unsettling lingers within the gorgeous visuals of director Paul Thomas Anderson's latest feature. A waitress Alma Elson (Vicky Krieps) falls head over heels with fashion designer Reynolds Woodcock (Daniel Day Lewis). Being in love with Woodcock is to be caught in a beautiful web. With Woodcock's decadent creations comes his elusive charisma and moodiness, a perfectionist attention to detail, and his equally mercurial sister Cyril (Lesley Manville). Will their romance last and how is the question we're not beckoned to ask, but it's one that we find out the answer to in stunning, unimaginable ways.

On the surface, the film is a love story. Alma, Reynolds, and Cyril love his clothes; designing, refining, and bestowing them on women worthy of wearing them. There's such a love of them there's seemingly nothing that can outdo their significance or steal away their attention, except for each one's love of control over their lives and each other.

Just like the canvases he makes with his clothes, there's a pattern to Reynolds's relationships: fall in love with a muse, ,the honeymoon phases out, and he ultimately cheats on his significant other with his work. But unlike Reynolds's past muses, Alma refuses to wear out her welcome. She challenges Reynolds and Cyril wanting more and more, becoming a pawn in their game and also in a step ahead of their moves. They've all found their match in each other, preying on weaknesses to gain the upperhand. Their relationships become less of a tragic romance and more of a Hitchcock mystery, wondering who is going to be the first to submit, what will make them crack: Reynolds's  perfectionism, Cyril's control of their business, or Alma's refusal to be a doormat.

Director and writer Paul Thomas Anderson created a film that has all the ingredients of what you expect of period films we've seen before, from gorgeous costumes and production design to a romance that seems doom to ever work. And yet a bizarre obsession in its characters and story sets itself apart.

Though Daniel Day Lewis earned rightful acclaim for what might be his last film performance ever, Phantom Thread has plenty of stars equally worthy of praise. Vicky Krieps is a force to be reckon with as Alma, a character whose an unshakable force coming up against immovable objects. You never know what's up her sleeve, or if she's ever going to be in on the game that her lover and his sister play. The other is Leslie Manville, stepping out of a career of smaller roles into one that is fiercely resolute, whose steely gaze will make you surrender in an instant. While Lewis definitely gives a good performance worthy of his career's curtain call, the three of them, Anderson's direction make a great team.

To say the least, this is not the romantic film one might anticipate. The whirlwind dalliance you think you're embarking on at the beginning is not exactly the one that unfolds, and that's truly a marvel. Anderson's writing is an example of how a script could've only been produced by its director; his attention to detail is on everything from the quaint English style of Woodcock's workplace and home that's charming but claustrophobic, to the impeccable costume design by Mark Bridges. He manages to make you feel like you've been transported into a beautiful, yet bizarre world of his own design. It's best to go into this with as little knowledge as possible because a big surprise in the characters' relationships can have a gasp-worthy effect (it did for me). As strange and unpredictable as the story evolves, it leaves one wondering so many questions, and with a feeling of having been hypnotized and bewildered.

Rating: ★★★

Have you seen Phantom Thread?

What did you think?

Cloverfield Paradox (2018) Is One Sequel Too Many for the Apocalyptic Franchise

Photo Credit: Netflix

Ten years ago Cloverfield thrust movie goers into NYC with terrifying found-footage of a monster invasion. It was an original film with a massive organic marketing machine that became a cult hit. Fast forward eight years, after a long string of will-they-ever-make-it hype, 10 Cloverfield Lane was an ambitious, successful follow-up with a different take on the-end-of-the-world. Even though the series's third installment, Cloverfield Paradox, follows in their footsteps, it's missing all of the same qualities that made the first two films so darn good.

Dropping on Netflix after the 2018 Super Bowl without any previous hype, the latest version of events leaves Earth behind to cover the apocalypse from space. As countries go to war at home over energy crises, an international space crew aboard the Cloverfield space station tries to utilize Shepard particle accelerator to create a renewable energy source. The downside is that executing the particle can create alternative realities. The crew's gamble poses numerous threats and questions: what will their actions do for those at home? is the sacrifice to leave their families behind worth it if they never return? did their vortex transplant monsters on Earth?

The one thing the Cloverfield franchise had going for it was its thrills. Not only its ability to release a new movie out of nowhere and let fans rush to see it, but also its ability to be scary. Cloverfield dropped movie goers into a first-person perspective as a group of friends try to survive a Godzilla-like attack. 10 Cloverfield Lane kept its suspense claustrophobic with a young woman taken in by a conspiratorial survivalist and making us question if he was crazy or telling the truth. Paradox starts off with a cool enough premise as the particle accelerator hurls chaos on the Cloverfield station. Along with the crew as they one from one crisis to another, you're supposed to feel like you don't know what's going to happen next. But unfortunately, the film's inspiring horror elements become too commonplace. After the first thrilling curveball, the script recycles "wouldn't it be scary if this happened" ideas every ten minutes; most of the intended scares of dimensions colliding are gimmicky. This isn't necessarily bad if you just want to enjoy a popcorn flick, but if you want more than the same tactics to make you scared it's unexciting.

If there's one thing the movie has going for it is the impressive cast, which includes but not limited to
David Oyelowo, Daniel Brühl, John Ortiz, Chris O'Dowd, Aksel Hennie, Zhang Ziyi. Gugu-Mbgraw and Elizbeth Delecki are the only refreshing entries with each having their own reasons for wanting to manipulate the alternative reality they've fallen into, but even their agency boils down to a simple process of elimination instead of anything deliberate. Unfortunately, the abundance of talent can't save the film from the fact that their characters are the most basic tropes: each one representing their home country and bringing their international conflicts (and stereotypes) from home on board.

Similar to its sister sequel, Paradox wasn't originally connected to the Cloverfield universe. The script was written with the idea of it being released into theaters as its own solo flick. Unlike 10 Cloverfield Lane which found its place in the apocalypse universe, Paradox might've worked better on its own. Despite the decent reputation of Netflix making its own content and intentionally trying to be a great sci-fi flick, Cloverfield Paradox makes for a great SYFY flick on the level of Sharknado. With the Cloverfield name attached to it, it could've been a lot better.

Rating: ★☆☆
Have you seen Cloverfield Paradox? What did you think?