“Happy Death Day”

Hey guys, sorry for the late review on this one. I didn’t get the chance to see Happy Death Day last weekend due to prior engagements, but better late than never! After hearing what my friends had to say, I agree that Happy Death Day is a fun seasonal movie.

Hey guys, sorry for the late review on this one. I didn’t get the chance to see Happy Death Day last weekend due to prior engagements, but…. Hehe didn’t expect a time loop in my review, did you?

Sorority girl Tree (Jessica Rothe) wakes up on her birthday in a nerdy classmate Carter’s (Israel Broussard) dorm room. We learn immediately that Tree is popular despite being nasty to everyone. She coldly tosses her roommate’s birthday cupcake on the floor in front of her, shamelessly sleeps with a married teacher, and blows off her dad. Then someone kills her!

Sorority girl Tree (Jessica Rothe) wakes up on her birthday again and now she’s in a time loop. Who wants to kill her, though? Even Tree acknowledges it could be anyone since she’s pissed off everyone.

What I loved the most about Happy Death Day is that it doesn’t take itself seriously at all. From the opening Universal logo, we know right away this will be a fun, mindless slasher movie. Except it’s not always mindless. It’s kind of brainy.

Happy Death Day isn’t just a 90-minute slasher movie where we watch a girl violently die repeatedly. In fact, it’s not bloody due to the PG-13 rating. Rather than try to get away with lazy PG-13 kills, the filmmakers utilize their rating to focus on satirizing campus life and poke fun at the slasher genre.

There’s a montage set to Demi Lovato’s “Confident” where Tree confronts all her suspects while dying each time. It’s done with no gore and each death more absurd and funny than the previous one. I have to credit director Christopher B. Landon for acknowledging the movie’s absurdity. Also, props to the writers for delivering a well-written protagonist.

Rothe shows range and talent as Tree. While Tree starts out as a typical mean girl, she becomes more sympathetic and we eventually understand why she’s cruel to everyone on her birthday. She even grows spunkier and more fierce each day.

This October’s lineup consists of several horror films. Happy Death Day is still number one after a week and if you have to choose between this and the dull The Snowman, choose Happy Death Day.

Grade: B+

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“The Snowman”

After seeing that Tomas Alfredson’s murder mystery The Snowman has a 9% approval on Rotten Tomatoes and Alfredson admitted to not shooting the entire script, I had to see the film to find out how terrible it is. The Snowman isn’t terrible, it’s just bad.

The Sherlock Holmes-like detective Harry Hole (Michael Fassbender) receives a letter at his desk taunting him before being assigned to a homicide case. Another woman is murdered and a snowman is found in her house. With the body count and snowmen rising, can Harry solve a 10-year-old case? He’ll have better chances if he gets a driver’s license and stops drinking!

The biggest strengths in The Snowman are its occasionally haunting cinematography and Fassbender’s committed performance. Part from that, this is a trashy and often confusing thriller. Regardless, I was entertained, so I’ll give The Snowman credit there.

Fassbender’s Harry is a convincing portrayal of both obsessive and addictive personalities. We see Harry’s relationship with Rakel (Charlotte Gainsbourg) failed due to his obsession with work and his alcoholism. It’s a sad subplot, but it would be more emotionally investing if we got Harry’s backstory. On top of that, how does he have a badge if he doesn’t drive and always passes out in public places?

If Alfredson and his three-person team of screenwriters weren’t so focused on a subplot involving a sleazy engineer (JK Simmons sporting a terrible accent) or flashbacks with a washed-up detective (Val Kilmer in his first theatrical film since MacGruber), we might care more about Harry. Harry Hole is an iconic character in Norwegian literature, so why focus on dull supporting characters?

I figured The Snowman would have a sexist character since it’s about a killer with severe mommy issues killing single mothers. That’s fine, but not when the entire script is sexist! Why is every female character depicted as pathetic, helpless, unfaithful, a sex object, and only focused on men? The writers clearly didn’t take George RR Martin’s advice on treating female characters as people.

The trailer for The Snowman had me hopeful that it would be another Prisoners or The Girl with the Dragon Tattoo. This was a harsh lesson for me to not have high expectations.

Grade: C-

 

“Blade Runner: 2049”

I’ve now seen Denis Villeneuve’s highly anticipated film, Blade Runner: 2049 twice. That alone should tell you how I feel about the film.

Thirty years after Deckard (Harrison Ford) fled with Rachael (Sean Young), we’re introduced to a new blade runner named K (Ryan Gosling). K’s tasked uncovers a certain secret that’s connected to him and Deckard, and threatens what remains of order. That’s all you need to know.

Blade Runner: 2049 was my most anticipated film of 2017 and it lives up to the hype. This is a mesmerizing film that maintains its predecessor’s tone and aesthetics while acting as a stand alone film. It’s currently my favorite film of 2017.

A lot has changed between 2019 and 2049 in the Blade Runner universe. Replicants have evolved, computers have evolved, and the world is now overpopulated and decayed. LA isn’t just rainy; it’s snowy, foggy, and smoggy. There isn’t a single shot of sunshine, yet the film is still stunning.

From start to finish, Blade Runner: 2049 is eye candy. I was mesmerized between the aerial shots of K driving through the neon skyscrapers and the shots of him walking through dark hallways and smoggy landscapes. Cinematographer Roger Deakins (Skyfall, The Shawshank Redemption, Prisoners, No Country for Old Men, Fargo) once again proves he’s the master of cinematography.

This isn’t a style over substance film by any means. Much like Ridley Scott’s masterful predecessor, Villeneuve’s sequel maintains the philosophical themes and ambiguous questions about life, death, and humanity. It also raises new ones about memory, miracles, evolution, and survival. 2049 isn’t at all a rehash of the first film.

2049 is 2 hours and 43 minutes long (roughly 44 minutes longer than the original) and is an epic in scale and tone. If you saw Villeneuve’s previous works Sicario and Prisoners, you know he has a knack for violent quick bursts of action. 2049 has enough to satisfy action lovers.

Everyone in the cast is perfect. Gosling delivers another cool, expressionistic performance as a troubled antihero. Ford portrays Deckard as a traumatized battle-torn veteran with grace. Robin Wright adds some humanity to her cold character Detective Joshi; she’s K’s superior and acts as a caring maternal figure. Even Jared Leto has a few golden moments as a god complex-ridden replicant manufacturer, Niander Wallace. Of all the performances, Sylvia Hoeks shines as Luv, Wallace’s replicant enforcer who wants to prove she’s the superior replicant.

Blade Runner was an acquired taste and 2049 isn’t any different. If you want an artistic epic that’s restrained in action but grandiose in themes, 2049 is for you. Villeneuve once again proves he’s one of the best working filmmakers to date.

Grade: A+

“Battle of the Sexes”

I’ve heard claims that Battle of the Sexes is an analogy for last year’s Trump-Clinton election. That’s not the case at all, though I can see both Emma Stone and Steve Carell playing Clinton and Trump in a future satire.

Women’s tennis champion Billie Jean King (Stone) is fed up with the gender wage gap and misogyny in the ATP. Washed up tennis player-turned-hustler Bobby Riggs (Carell) sees King’s crusade as a prophet for him and proposes a match dubbed “Battle of the Sexes.” King gladly accepts since Riggs continuously mocks women’s tennis.

Battle of the Sexes is a better-than-average biopic thanks to Jonathan Dayton and Valerie Faris’s (Little Miss Sunshine) direction and Stone and Carell’s performances. The film is filled with glossy 70’s visuals and some beautiful, expressive shots. Don’t worry, there’s plenty of witty dialogue and banter thanks to the terrific Simon Beaufoy’s (Slumdog Millionaire, 127 Hours) script.

Battle of the Sexes’s best aspect is its complex characters. This isn’t a black-and-white depiction of King versus Riggs, but quite the opposite. King plays for a cause, but has some flaws of her own in her love life. Riggs plays for attention and is clearly putting on a show to recapture his lost glory. Both Stone and Carell excel in capturing the emotions and complexity of their respective characters.

The film suffers from trying too hard at being Oscar bait on occasion. It’s quite obvious with Alan Cumming’s character’s closing line that the filmmakers are campaigning for the upcoming awards season. Also, like most biopics, we get closing captions in the end. It would be nice to see a biopic that defies this convention.

Still, I recommend Battle of the Sexes. It has spirit, humor, panache, and complexity.

Grade: A-

“American Made”

I love Tom Cruise and I love when Cruise gets a good script. American Made certainly makes up for last June’s The Mummy.

Based on a true story, American Made focuses on Barry Seal (Cruise). Seal was an airline pilot who began taking surveillance photos for the CIA until the Medellín Cartel took notice. Seal then smuggled hundreds of kilos of cocaine weekly for the cartel while simultaneously transporting weapons and soldiers for the CIA.

Seal says in a video camera at one point, “You can stop here if you want because shit gets crazy.” Seal is right. American Made is a funny, fascinating, and occasionally insane biopic. Director Doug Liman (Edge of TomorrowThe Bourne Identity) could have taken a formulaic approach and mimic Scorsese’s biographical style with nonlinear narratives, extreme violence, and classic rock (as other directors have). Props to Liman for directing the film in a minimalist, docudrama style; it makes American Made’s crazier and extravagant moments feel more believable.

Cruise delivers one of his best roles as Barry Seal. Cruise is the cool guy as usual, but Seal isn’t an action hero. Seal is an adrenaline junkie who knows he’s in over his head; he just doesn’t want to stop since the money and thrills are too good. It’s a life-imitating-art case since Cruise often performs his own stunts for the sheer thrill.

American Made isn’t a perfect biopic since it’s formulaic. Much like Goodfellas, The Wolf of Wall Street, War Dogs, Pain & Gain, 21, and the other rags-to-riches crime films, we know there’s a downfall and the final act is slower like the other films. Liman doesn’t rely too heavily on formula as mentioned, so that’s a plus.

Grade: B+

“Gerald’s Game”

What a year for Stephen King, huh? He’s rolling in royalties from It and The Dark Tower (maybe not so much the latter. Now his controversial novel Gerald’s Game has been adapted for Netflix.

The estranged Gerald (Bruce Greenwood) and Jessie Burlingame (Carla Gugino) take a vacation to spice up their love life. Things take a horrific turn when Gerald suffers a heart attack and leaves Jessie handcuffed to her bed. There’s no neighbors, housekeepers, or travelers nearby. When Jessie has some surreal hallucinations and a starving dog makes its way inside, how will Jessie escape? Can she even?

Writer/director Mike Flanagan (Oculus, Hush) once again delivers a nail-biting genre film that utilizes editing to its full potential. Gerald’s Game isn’t a film you can look away from (and you’ll want to at one particular point), but you must watch; like Oculus, Flanagan splices the film in a way that tricks its viewers.

I want to be abundantly clear that Gerald’s Game is NOT a horror film. Yes, there’s a survival situation, creepy visions, and some grisly moments, but it’s a film about toxic relationships, trauma, and catharsis.

Jessie spends most of her time shackled to the bed recounting her marriage to Gerald. We learn that Gerald was misogynistic, unfaithful, manipulative, and condescending towards Jessie. Jessie also finds catharsis in the situation as she uses this and flashbacks of her traumatic childhood to motivate her.

The underrated Carla Gugino delivers a demanding-yet-graceful performance as Jessie. We don’t just watch her panic, but we also see her interact with an imagined dominant version of herself. These sequences add the right dose of humor. Hopefully, the Academy isn’t too snobby over horror or Netflix and consider Gugino for Best Actress.

Bruce Greenwood (also underrated) is convincing as Gerald. He’s a despicable human in the opening act, but as Jessie imagines their confrontations throughout the film, he becomes more complex.

The final act is a slight copout; It’s a pet peeve of mine when films end in a exposition-fueled narrative explaining what happened in the aftermath. Gerald’s Game disappointingly does this via written letter. Given Flanagan’s unconventional narrative techniques, I would have expected something less straightforward.

Still, Gerald’s Game is a terrific thriller and a great kickoff for the Halloween season.

Grade: A-