THOROUGHBREDS (2018): Pure Without a Hint of Inbreeding

Thoroughbreds in horse breeding are known for their hot headedness. Crossbreeding between major specimens of horse that leads to high prowess, but also emotions that are thin and easy to upset. This matches at least one half of our two hander of a film here with Anya Taylor-Joy as Lily, a rich Connecticut high schooler who makes her money tutoring people like Amanda (Olivia Cooke), cold icy matter of fact young lady who borders on sociopathy. The pair used to be friends in their younger days, having shared many a horse ride together. So, Thoroughbreds as a name has a pretty clear one to one relation on a basic plot level, especially as rumors swirl about what Amanda did to her own thoroughbred horse as an act of mercy. It’s a connecting thread that tethers these two characters who seem so distant from each other despite years of prior friendship.


Though these young ladies are more than horse enthusiasts. Both have grown up in white Connecticut and show off a clear sense of apathy that one could find disturbing. The most overt indifference is seen in Olivia Cooke, who displays this lack of concern with a frank charm that would be hard to pull off in lesser hands. Cooke takes what could be a cold and detached role & makes it authentic. Gives personality to the inability to get a read on the character. Every move Amanda makes feels deliberate from someone who knows how people operate, but is learning to accept herself for the humorless apathetic creature that she is. All her moments show off Amanda thinks of life like the giant chess game she plays at one point; a game that offers brief distractions from the empty void of life. It’s both empowering and kinda creepy all at the same time.

Thoroughbred - Still 1

Yet, despite Amanda’s sociopathic apathy, the true monster in Thoroughbreds is Lily. She thinks highly of herself compared to Amanda because she can feel emotions, but her emotions are guided in such a fashion that makes her truly morally bankrupt. While Amanda’s actions are more neutral, Lily has blatant motives that she often fails to disguise. She is a creature of habit and unadulterated ego who thinks what she wants will benefit others. Her selfish tendencies are given more importance because she assumes her worldview is the correct one. One that can save her mother (Francie Swift) from her emotionally abusive step-dad (Paul Sparks) and give Amanda a sense of purpose all while fulfilling her desires. Sparks in particular has a tough role to play in a much as he has to give off creepy vibes within her perspective yet also come off as human when he dresses down Joy’s behavior in a harsh yet not entirely off base assessment. Joy wants everything and aggressively pushes for it in that Thoroughbreds fashion, to the point where it may impede Sparks’ safety.


Joy and Cooke portray so much of this relationship while juggling perceptions and the differences between blunt sincerity and simmering emotional anguish. The two find a line at which to meet between both with Thoroughbreds. Their friendship is fascinating to watch as the playful back and forth of writer/director Cory Finley evolves into a tragic look into unsupervised minors giving in to their base instincts. Their either highly emotional or inhumanly pragmatic and when those two meet it often results in horrific implications. The jostling personalities is perfectly illustrated through Finley’s camera. The long takes and elaborate moves from one room to the next could be seen as showy or distracting, but actually do a fantastic job of contributing to bubbling tension of these two plotting something awful. All while showcasing the vast empty halls of these large upper middle class Connecticut homes.


Of course, these two aren’t the only cast members to spotlight. Unfortunately, Thoroughbreds marks the final screen appearance of Anton Yelchin following his death in 2016. I don’t say this as a way of saying that Thoroughbreds is in any way a weak way for Yelchin’s sadly short career to end. Yelchin’s portrayal of a young college dropout with high aspirations and low work ethic is one that’s equal parts hysterical and pathetic. There’s a danger in his desperation that makes the comedy all the more hilarious when it pops up. He’s so hopeless that one minute he could shoot you in the face and in the next he could go down with a lamp to the head. He shows our two leads the otherside of the street in terms of how far gone their lives could go, but instead of taking his story as a warning they wish to exploit it. Yelchin plays the role with such a perfect mix of comedic idiocy and tragedy that he unveils one of the more hilarious comedic reaction shots in history.


Thoroughbreds is very much a film for its time, but isn’t at all inaccessible to audiences who are older than the young co-stars. Our titular leads take the idea of teens being left to their own devices and take it the most modern cynical place, but there’s still a sense of cyclical familiarity to their behavior. Despite the times, nothing is more universally uncomfortable than a young person without the ability to stop themselves from giving into their larger impulses. Cory Finley has developed a thriller that moves at a deliberate pace, but one that is constantly fascinating to see unravel. Despite mainly being a satirical black comedy, Thoroughbreds is also at its heart a tragedy about two former friends coming back together for reasons that neither want to be straight about. One secretly enjoys companionship yet doesn’t want to share it while the other is using this person for personal gain yet thinks she’s giving that person a goal. It’s a tangled web of intricate tragicomedy that may not be for everyone, but will secretly have a tinge of relatability to anyone. Even if you don’t want to admit it.

Rating: 4.5 out of 5 Broken Horse Legs


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The Strangers: Prey at Night (2018): More Slasher Than Sequel

2008’s The Strangers was not a slasher film. The slow burn tension of the original made it an effectively sleek and subtly creepy home invasion film had more in common with ur-texts of the slashers like Wait Until Dark or Black Christmas than Friday the 13th. It immersed the audience in the quiet atmosphere that sent chills down spines far more than the over the top gore one would usually get from the slasher genre. Director Bryan Bertino made one feel like they were stuck in a house that looked very familiar. One that you could have grown up in. And then plopped in these simple yet highly disturbing moments of tension by simply having some guy in a mask walk in the background. Especially in a situation where our leads were a couple that had their faith in trusting each other tested. Seriously, there’s a reason why the scene where Liv Tyler is drinking water while one of the masked murders lurks in the corner. There’s a deliberate pace and compelling emotional character dynamic going on that makes some of the jump scares and boring moments feel far more tactful in retrospect.


That all being said, the long long delayed sequel The Strangers: Prey at Night isn’t really that type of film. There are plenty points where director Johannes Roberts (47 Meters DownThe Other Side of the Door) tries to ape Bertino’s style of direction, mainly in the first half that tries to build up that same type of tension. Yet, there’s a real repetition there that doesn’t feel as impactful. I lost count of how many times Roberts uses the same type of close up action that Bertino doled out far more gracefully and purposefully with the original film. There seems to be more of an impatience to get to the horrific elements here, which betrays much of the spirit of what worked about the original in a disappointing fashion. It doesn’t help that composer Adrian Johnston also utilizes an incredibly repetitive score that also blatantly lifts from many a synthesized score of the 80s. There were several points where I wondered if Johnston was directly lifting from John Carpenter’s The Fog score.


The one thing that The Strangers: Prey at Night gets from the original is decently compelling characters. The family dynamic here is one wrought with an intriguing tension, which is mainly exploited by Bailee Madison as the trouble maker daughter and her parents Christina Hendricks and Martin Henderson. The three have a believable chemistry that fractures the family unit early on due to Bailee’s impending boarding school appointment because of her reckless behavior. She has a reasonable amount of angst that Hendricks and Henderson are fighting against but understandably feel guilty about. This even manages to fix the obvious issue of updating the characters in a modern world context by  solving the obvious ubiquitous iPhone problem in a swift yet effective manner. Lewis Pullman as the brother is a bit more of a mixed bag. On one hand, he and Madison have a few nice moments of brother/sister chemistry. Yet, Lewis goes back and forth between being a believable character in a horrific situation and a flat out slasher protagonist stereotype. One minute, he’s making believable mistakes & righteous moves. The next he’s blatantly doing things no one would for the sake of the scares, though the other characters aren’t totally immune to this.


This dycodemy really represents The Strangers: Prey at Night as the tug and pull follow up no one asked for and the filmmakers kind of gave up on doing. Yet, once the film honestly abandons being a sequel to The Strangers… it becomes a pretty damn satisfying slasher. This is a gradual progression that takes one off guard, but in a way that makes you compelled to see how this will turn out. The ridiculous set pieces that come about don’t fit in the world of the original film, but fit perfectly for an over the top slasher that ups the ante in terms of madness. Opening up the scale from one house to an entire trailer park also helps open up the possibilities to ludacris yet oddly entertaining proportions. The use of tunes like “Total Eclipse of the Heart” by Bonnie Taylor doesn’t quite fit with the more indie influence soundtrack of the original. Yet, the swimming pool clash the song is used for is a damn enthralling sequence that showcases some impressive editing and skillful hand to hand combat.


Now, this turn definitely betrays the iconic masked killers. The once tactful yet grounded murders have essentially become Terminators out to destroy our leads at any cost. This makes their more grounded moments early on largely fall flat and feel underwhelming. Yet, when they drop the shenanigans and become high octane slashers, The Strangers: Prey at Night kicks into a higher gear that surprises and entertains far more than one would expect. It does help that the characters who face off against these killers have gone through enough hell to make us want to see them succeed… and they succeed more than one would anticipate for a variety of reason.


In all honesty, The Strangers: Prey at Night would have worked far better if it wasn’t a sequel to the original The Strangers. Part of me wonders if this film originated as a separate slasher film on its own before being curtailed into a Strangers follow up. The farther is strays from failing to replicate the taut nuance of the original and turn into a goofier 80s slasher, the more The Strangers: Prey at Night succeeds. In that way, the film in and of itself is a microcosm on the evolution of the slasher genre. Poorly attempting to capture the grounded creepiness of the genre to bountiful siller slashers in order to spice up the formula. Thus, it is a film in conflict with its origin that works best when it steps out of it. Still, the one thing I wished The Strangers: Prey at Night kept from the original was a sudden It’s Always Sunny in Philadelphia cameo. Was really hoping Danny DeVito would come out in a mask at the end screaming “I’M THE AXE MAN!”

Rating: 2.5 out of 5 Well Used Golf Clubs


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Game Night (2018): Are You Game For This Night?

I’ve previously spoken to the issues with visual comedy in modern cinema and it’s unfortunately still a prevalent problem. Many comedies will tend to sub out well crafted visual jokes with stagnant improvised chemistry that rarely achieves top Judd Apatow highs they seek to. No matter how many end credits blooper laughs they try to squeeze in as the audience leaves. So, it’s ironic that an early graduate of the Judd Apatow style of comedy John Francis Daley would – along with his co-director Jonathan Goldstein – manage to craft one of the shining examples of a visually creative and consistently funny studio comedies of the last several years with Game Night.


The concept of Game Night plays very much like David Fincher’s The Game as a comedy on a mere premise level. Though instead of a regretful rich man, the premise revolves around a group of adult friends who love the thrill of competition with a realistic game of kidnapping that goes wrong. This couple – played with a realistic chemistry by Jason Bateman and Rachel McAdams – is dead set on winning in a way that wonderfully spreads throughout the couples on display. Writer Mark Perez crafts dynamics to make all three of the couples that serve as Game Night‘s protagonists squirm in worry that seems petty in the eyes of the situation, but produce a relatable grounding for a zany crime comedy of errors that keep all these characters investing. Bateman and McAdams meet over a super competitive trivia night that turns romantic, but spur a competitive spirit that makes Bateman worry about the masculinity of his brother (played with charming oppressive gusto by Kyle Chandler) which impedes his sperm reproduction. This gives us a major thread to tangle with as Game Night goes on. We’re giving a realistic struggle that spurs into a larger than life conflict as the couple worries about their ability to reproduce while the ability to stay alive hangs in the balance.


While McAdams & Bateman’s baby production drama and Lamorne Morris & Kylie Bunbury‘s debate of celebrity cheating result in mixed to positive results, the shining beacon of consistent hilarity is Billy Magnussen and Sharon Horgan as a couple on a first date sparring over the lacking equality in levels of intelligence. Considering Magnussen’s previous dates being bimbos, this subversion in status between him and Horgan is full of spectacularly giddy laughs. Still, all three couples trying to solve a mystery that ends up entangled in a brutal violent escapade that makes for highly entertaining comedy. Keep in mind that Bateman and McAdams’ next door neighbor Jesse Plemons incurs so many laughs as he blankly stares at our duo while giving off super creepy vibes. 


All of this mirrors the visual language of Game Night full stop. So much of the way John Francis Daley and Jonathan Goldstein capture the madcap energy of a competitive night of challenge with the brutal callousness of a criminal enterprise. Many times, the transitional moments between scenes show off the idea that these settings look like models that resemble the pawn-style board game pieces that reflect the idea that these characters are ultimately pawns. Whether they’re actual models or CG mock ups, the look of these transitions help to move along this madcap escapade. It gives off the idea that our main characters are overall pawns in a large game, which makes their antics all the more pathetic and hysterical at the same time. There’s even a rather lengthy one shot-moment that gives the impression of comradery, yet still shows off the idea that these characters are small potatoes in a world full of underground crime.


The twistiness of Game Night allows for plenty of laughs as things go awry. Initially, our characters feel like they can cheat the system better than their compatriots can. This hubris compared to a general inability to comprehend the situation that they are all in gives us just the right amount of hilarious contrast. There’s a one shot moment where our characters are working together that gives off the idea that comradery has built up to the point where each couple is working in sync with each other. Yet, there’s still plenty of opportunity for dangerous conflict. This builds to a head in a gory context that involves a perfectly healthy dog and Bateman. The whole crux of this comedic scene involves Bateman hiding the sinister underbelly behind the gag which leads to hilarious results. Admittedly, after this point, the twisty nature of this story reaches levels that unnecessarily extend Game Night beyond where it needs to be. Even to the point of making this three act structure story into a four act one. Yet, the laughs still manage to continue as Daley and Goldstein subvert our expectations at every turn.


Ultimately, Game Night is the type of twisted fun that makes the doldrums of domestic life seem grounded in their fun by comparison. The situations here build up to dangerous degrees that our characters aren’t initially aware of. Yet, the build up doesn’t take so long to the point where we don’t engage with our lead characters. After a certain point, our characters realize the terror of the situation that they’re in and it gives off so many brutal vibes that affect our characters. It’s a comedy that actually earns the fact that our characters go through so many horrific events. Where the complete bewilderment of our characters allows for comedic subversion that hits at every angle. While the jokes are entirely consistent and the pacing dwindles during the finale, Game Night ultimately serves as a comedy where the laughs help build the thriller mystery our characters are involved with to engage us just as much as our characters even if their initial interest is in a more petty comedic fashion. The overall results are pretty hilarious.

Rating: 4 out of 5 Game Pieces


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BLACK PANTHER (2018): Proud Panther

As the Marvel Cinematic Universe edges ever closer to its ten year anniversary, it’s a great time to see growth. Growth in terms of storytelling, thematic depth and representation of the heroes involved. Admittedly, we’ve had prominent side characters of color in the MCU before. Hell, Black Panther himself Prince T’Challa (Chadwick Boseman) was one of them in Captain America: Civil War. Along with Tom Holland’s take on Spider-Man, Boseman stole the spotlight with oddly the least wisecracking character of the main MCU characters so far. A proud prince of a technologically advanced African nation who quickly had to step up his responsibilities after his father T’Chaka (John Kani) is assassinated. Black Panther continues T’Challa’s steps forward as king of the hidden African nation Wakanda, inheriting all of the baggage that comes with it. Whether it be the precious mineral of Vibranium that made the country so advanced or the lingering secrets that will seed the potential tumbling of that government, Black Panther is very much a film about succession and the cost of carrying on legacy, especially in a power vacuum.

black-pantherThese complicated themes allow for Black Panther to exist both as a rousing crowd pleaser and an intelligent look at the conflicting ideals one is raised with vs. how we adopt how we were raised to a modern context. When Wakanda is introduced, many would immediately ask why this African super power doesn’t spread the wealth a bit more evenly and help out struggling black people on both a micro and macro level. This is a key question that keeps the various different tribes of Wakanda at odds with each other. Black Panther divides this country in traditional ways between war mongers and diplomatics in ways that feel universal, but keep in mind the ever changing landscape of globalism. W’Kabi (Daniel Kaluuya) – the leader of security for the Border Tribe that is the first line of defense for Wakanda – notes that the ways of diplomacy have worked in the past for Wakanda, but the world is evolving and taking charge of defense. It’s a position that seems barbaric & quick, yet isn’t without merit. The ways of the past initially guide T’Challa during his frustrating time, but even he must question how his father lead his people. All of it is firmly steeped in the chaos of our modern world that’s reflected even in this Marvel/Disney sanitized version of our reality.


They – along with the immaculate costume and production design – help make Wakanda feel like a vibrant world. One we still only see the mere surface of yet feel like we’ve lived in for so long. All of the different tribes of Wakanda give off the vastness and centuries lasting culture that provides a unique look for Black Panther for both the MCU and modern blockbusters in general. The contrast between the regal technologically advanced visages of Queen Ramonda (Angela Bassett) and the mountainous Jabari as lead by M’Baku (Winston Duke) alone show that the varying climates both socio political and literal within the atmosphere of this nation. Even the herb keeper Zuri (Forest Whitaker) has his place that is shown to be of vital importance to the world of Wakanda, but is treated as a necessary function than something to be over explained. One gets the sense that all of them have been functioning alongside each other with respect yet clear underlining animosity that breathes authenticity in this society and structure that feels lived in.


However, there are further factions that add dimension and complex emotions to the decisions characters make. Both spy Nakia (Lupita Nyong’o) and leader of the all female special forces for Wakanda Okoye (Danai Gurira) butt heads over how to continue under traditional Wakandan rules despite extremely dire circumstances. Both are character’s we’ve grown to side with thanks to their quick wit and loyalty in wonderful action moments, such as a particularly James Bond-esque casino sequence. Both show off their superior combat skills, espionage capabilities and general chemistry as spiritual sisters who seek to protect their homeland. Thus, when they’re divided by the conflicting loyalties of the situation, it truly hurts to see the two of them argue. Co-writer/director Ryan Coogler balances these conflicts with remarkable mastery over a massive cast. Even a character like Shuri (Letitia Wright), who could easily be a watered down Q giving T’Challa tech has so much personality, intelligence and life in her that gives her sibling back and forth charm with Boseman authenticity in a way that raises the stakes when she joins in for the third act stand off.


However, Black Panther gives its night sky individual glow off brightest with the best character of the entire piece and perhaps the best example of a villain in the entire Marvel Cinematic Universe; Killmonger as played by Michael B. Jordan. Now, MCU baddie isn’t a high bar to skirt over. That’s well explored territory. Yet, Killmonger succeeds where others fail in that his motives aren’t shallow “take over/destroy the world” one dimensional goals. No, the heart of his quest is one that seeks to even the scales by brutal force. He’s a young man who grew up alone and angry in crime riddled streets of California. A boy who grew into manhood in a world that looked down on his kind and expected little of him beyond what one would viciously expect of a poor black youth. So, he grooms himself into a killing machine capable of destroying and weaving himself into the criminal underworld alongside Klaw (Andy Serkis) for more sinister purposes that directly affect Wakanda.


Without spoiling much further, Killmonger is simply the most compelling MCU villain to date… because his motives are completely understandable and even ones that our hero as well as the audience can be sympathetic to. He seeks to fight oppression in the only way he was raised to believe would work; by force. He was shaped by the system that failed him and he only seeks to destroy that system by turning its methods against them. This conundrum of logic that tugs at varying emotional quandaries is incredibly fascinating to see unfold. Particularly as Michael B. Jordan handles them. There’s a nonchalant matter of fact nature to the way Jordan plays the character. With the type of confidence any young man could access, but with a dark twist that gives off both tragedy and terror. He’s charismatic and even convincing at points, but shows off enough brutal rage that gives off worry as he challenges our lead and ultimately changes his perspective.


Even with all these heavy themes, Coogler never forgets to keep his eye on making Black Panther inventive and entertaining. All the action sequences in Black Panther – with the possible exception of a dodgy rough start following the cold open – immerse the audience in the world and its characters while kicking all sorts of ass. The same type of breathtaking beauty and spine tingling chills constantly bombard the senses. Yet, the main goal of keeping T’Challa’s internal character struggle alive while incredible action takes place. The South Korea chase is an incredible example of this, as even when wonderful character comedy and visually eye catching visuals are dazzling on a superficial level, T’Challa’s quest to capture the man who killed his friend’s father and stole his people’s resource is never out of purview for anyone watching.


In those ways, Black Panther is the best distillation of a solo movie within the Marvel spectrum.There are points where the Marvel formula is simply framing together the muscle for an action romp in the same way the Vibranium magnets keep the trains of Wakanda moving along. Yet, unlike a few other less than stellar Marvel solo outings that mildly elevate themselves above the track with a few quirky beats and decently likable characters, Black Panther breathes far more life and energy that feels grounded in a specific perspective of black culture both ancestral and modern. From an overreaching pop culture perspective, it’s nice to see such a perspective reach a worldwide audience and show a strong black figure that can be allowed to breathe life into a blockbuster on equal footing with Captain America and Thor. At the same time, from a completely selfish base entertainment level, it’s just simply refreshing to see this different fresh stamp on a cold formula that could easily get tired. Either way, it’s a win-win scenario that can hopefully spark the seed of inspiration for young men and women of color to aspire to. Even if it is fictional, Wakanda and the characters that populate it can give hope to the future scientist and social leaders who seek to make it a reality in the same way scientists grew up admiring Star Trek. Only… ya know… this one has more than just a few token minorities. What’s the harm in that?

Rating: 4.5 out of 5 Vibranium Fibers


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Top 20 Films of 2017

2017 came and went. A year that had its many ups and downs. Mostly downs. But I’ve come to realize that writing an extensive Worst Of list isn’t something of interest any further. After a year as filled with horror & mean spirited bickering in real life, listing out bad films in elaborate detail isn’t something I care to spend much time on… though for the record, The Mummy had the most hot garbage packed into a feature film possible this past year. Now that the year has passed and we’re well into 2018 with at least a sliver of hope and a fighting chance, it’s time to finally do a Top 20 list after doing some final catch up. Before we do that…

Honorable Mentions:



Christopher Nolan’s war epic that put the event first over the backgrounds of the characters around it, while giving us enough in event drama to get invested. The drama doesn’t come from Titanic-style backstories around the event, but the soldiers & civilians existing within that event from varying perspectives. Nolan sucks us into these perspectives and allows the drama to unfold with heart wrenching action that gets us truly immersed in the horror of a situation like the battle of Dunkirk. Also, that One Direction kid can actually act quite well.



Massive surprise on every level. The winning ensemble, genuine heart & consistent laughs make Girls Trip stretch beyond the stereotypical broad comedy it could have been and become something worth investing in between the big laughs. Tiffany Haddish needs to become the next big comedy star, becoming a breathless comedy machine that rarely stops to let you breathe. Still, the emotional grounding of Regina Hall and Queen Latifah is what really made this surprisingly emotional, as two women try to find their place in a world dominated by men who give them little individual opportunity.



Good Time is a near brilliant addition to the “one crazy night” genre. Robert Pattinson delivers a nuanced performance that shows desperation at its most authentic. One can tell from his John Cazale-level amounts of sweat on his forehead that he’s only thinking far enough ahead to get him a few steps ahead. And even then, those steps could easily lead him to a far bigger problem. The Safdie Brothers show off true visual panache that transcends crime cliches as directors, writers and even musicians. Seriously, Benny Safdie’s music may be the best original soundtrack album of the year. I do wish he was a better actor, though.



Perhaps the kinkest of the Best Picture nominees. Obviously gorgeous costumes aside, the true intrigue comes with the back & forth between Daniel Day-Lewis & Vicky Krieps who are on far more equal footing as things progress than one might fear. Phantom Thread could have been yet another “love an abusive genius” story. It’s far deeper than that. The power dynamics that shift in increasingly engrossing fashion (pun maybe-not-so-but-totally-intended). By the end, there’s no one to really side with. One must take this strange couple as a whole, to the point where it walks the line between adorable and parasitic.



The film that gave the modern DC films hope. Gal Gadot really lead the charge for an origin story movie that advanced far beyond the gloom and doom of the previous films in universe. Her empathy mattered just as much as her prowess and she wasn’t going to sit idly by and mope when her people were in trouble. Truly, the hero we need in a weary world.

And without further ado, the list:



The most controversial Star Wars film of late is still far better than sterile familiarity. Aside from issues with the Canto Bite subplot & Finn’s lack of a solid arc, this is the best Disney produced Star Wars film so far. The subversive twists on Star Wars aren’t there simply because. They are there to bring characters to intriguing new places. The ways director/writer Rian Johnson plays with elements of The Force and where people like Luke can be after so many decades breathes life & conflict into a galaxy that seemed in danger of growing stale. Hope to see this spirit continues into Episode XI.



Call Me By Your Name is slow burn to a fault at moments. The first 45 minutes or so definitely keeps the listless attitude of an 80s summer in Italy that ranges from charming to slightly insufferable. However, Call Me By Your Name transcends meandering as Timothee Chalamet & Armie Hammer make a potentially questionable age gap romance tender & heartbreaking. Their gradual building chemistry and Chalamet’s budding sexual exploration serves for a quiet yet engrossing look into someone finding themselves in a third act for the ages. Michael Stuhlbarg – a major player throughout 2017 – also rings out plenty of tears as the new standard for cinematic father figures.



Blade Runner is a great piece of science fiction filmmaking on a world building level. Blade Runner 2049 took that world and spun a more enthralling slowburn neo noir story than the original. Mainly in terms of having a lead character with far more compelling motivations and a subversive bent on the traditional chosen one narrative. Roger Deakins’ luminescent cinematography and Denis Villeneuve’s large scale shot composition give this world a realistic coldness, especially for a world as compartmentalized and impersonal as this one.

17. CREEP 2


With the original Creep, the main issue really was writer/director Patrick Brice as the lead audience surrogate. He was such a scipher that never engaged us nearly as much as Mark Duplass’ incredibly charismatic yet off putting character. Creep takes the concepts of the original & adds a far more engaging protagonist into the mix with Desiree Akhaven. The duo of her and Duplass allows for a far more engaging dynamic based in gender roles and a murky sense of revelation for who is telling the truth or not. Duplass is chilling yet believably sad in ways that make watching him consistently mesmerizing while Desiree serves as a strong rock that knows things are going downhill.



The Void is the type of waking unending nightmare that made 2017 a great year for horror. The monsters on display are like something out of a an endless hellscape that even John Carpenter wouldn’t want to see come to life. It’s the type of recurring undying horror that makes dark corridors awful to walk down from fear of falling into a black abyss. The characters are broad, but only in the sense that they are ones we can connect to as some tether to the endless cosmic frights on display.



The Girl With All The Gifts is a film about accepting the future. Treating zombification as more of an evolutionary step that those in power can’t accept. Young Sennia Nanuna goes toe to toe with great actors like Paddy Considine & Glenn Close in ways that display fierce passion and righteous rebellion with a violent animalistic edge. All of which is harshly relevant during the political discourse we’ve had over the last 12 months. Also, if anyone is still trying to make a Last of Us movie… just stop. We have a winner. Shut ‘er down, boys.



Spoilers: The title is very accurate. Super Dark Times is a brutal and intense look into erosive power of toxic male insecurity. Charlie Tahan and Owen Campbell deliver incredibly grounded performances that are as chilling as they are painfully relatable. They capture the complete lack of supervision that can slowly breaks impressionable young men into ruining their futures through dumb decisions meant to impress others. Director Kevin Phillips gives this a moody  look that results in one of the best lit films of the year. Super Dark Times is the brutal inverse of a Stranger Things, taking away the sci-fi and showing the horrific growing dread of youthful abandon.



The Devil’s Candy is an underrated gem screaming to unleash itself from horrific painting depicting cries of pain. The ensembl here is spectacular, including Ethan Embry as a family man desperately grasping for reality, Pruitt Taylor Vince as a deranged killer trying to quell his own mind and Shiri Appleby is just an honest to goodness young lady trying to keep her tether to her father. While boasting one of the most metal moments in cinematic history during the climax, the use of metal doesn’t feel inauthentic to the horror or devalue the drama. If anything, it strengthens both by binding a family while also trying to break them into pieces.



The new Apes trilogy cements itself as the modern blockbuster trilogy most worth celebrating. With rebooting a classic franchise, it’s hard to find the same type of ability to inject into the zeitgeist the same way. Luckily, Apes perfectly feeds into the type of socially relevant pessimistic edge, though War finds a bit of hope at the end of the tunnel… yet not really for humanity. This franchise is so damn good it makes us root against our own kind. It’s a summer blockbuster where the spectacle really comes from the subtle, quiet & heartbreaking character interaction between motion captured apes. There’s a few moments of action, but they’re reserved and compliment how the characters are built up by Andy Serkis & his fellow motion capture actors, along with director Matt Reeves’ intimate introspective gazes into those interactions.

11. COCO


Pixar’s knack for building up joy and crushing your soul into tear soaked ash is a skill surprisingly on the backburner at times. With Cars 3 and Finding Dory level mediocrities, one can forget the true power of their animated crafts. Luckily, Coco manages to bring that back in full force with a vibrant environment in the Land of the Dead that carries the charm of a culturally grounded human realm with it. There’s massive amounts of respect lobbied toward Mexican culture here, while also juggling incredibly relevant statements of celebrity worship and respect for one’s heritage. Helps to have a few songs that lift the spirit and turn one into a whimpering ninny.



The intense divisive nature of mother! doesn’t just have to do with its deceptive marketing campaign. Many have made the fair argument that it is Darren Aronofsky at his most self indulgent and blunt. The man has never been much for subtlety, but what translates from this is a roller coaster of fear, tension & surreal imagery that challenges perceptions of both Biblical times and our modern world all at once. It’s basically a Halloween Horror Nights maze of humanity’s atrocities. One that I couldn’t stop finding new details in with every corner I passed by.



This one has grown on me since the original review. Maybe it’s my own Florida upbringing, Brooklynn Prince’s mesmerizing performance or Willem Dafoe shooing away birds. But it’s such an intimate portrait of white trash that’s both horrible and oddly fascinating. These kids living this life of freedom and lacking parental supervision shows off their potential being squandered by a lack of nurture. It’s tragic, but compelling to see as this girl escapes an environment where she’s loved but not taken care of. Making the ending a big mixed bag of emotions, right down to the divisive final shot that signals the world around this young girl losing the last lingering tether to her old life.



On its face, the down to earth yet highly enthralling coming of age tale Ladybird is a film that can’t be spoiled. Every beat is familiar to anyone who has grown from high school to college. Yet, it’s a worthy reminder to those who are familiar with that awkward strange that it isn’t as simple as we perceived. Looking back at all the horrible behavior and realizing later how much one can take a constructive environment for granted. Laurie Metcalf & Saoirse Ronan are top tier here, portraying all the on-the-dime changes that make their interplay hilarious yet completely truthful.



While not Edgar Wright’s best work, Baby Driver is still an energetic thrill ride that’s still better that 99% of the action films released this year or in recent years. Each action scene is orchestrated like a beautiful musical number. The kinetic energy has a wonderful choreography to it that makes every tire screech feel like a tap dance to the beat, full of obscure hits that are familiar to those who remember the songs that sample them. The characters can be broad, but all the actors, particularly with Ansel Elgort’s silent yet charismatic main turn and Jon Hamm’s surprisingly intense villainous turn. Glad to see this made as much money as it did, giving hope for small scale yet handsomely crafted genre efforts can win over generic schlock during the summer.



Last year’s La La Land was a celebrated tribute to Old Hollywood that charmed the awards crowd quite a bit. Yet, The Shape of Water is far more of a tribute to Hollywood on a wide scale level. There’s a bit of that La La Land song and dance. However, there’s also a romance of star crossed lovers. A film noir spy plot that looms in the background. Monsters who end up being tragic heroes to admire. Guillermo Del Toro loves all these aspects of older cinema, but channels it into a beautiful story that speaks to modern concerns about the disenfranchised minorities in America trying to find their way. Whether they be disabled, black, Russian… or a fish man.



Logan is both an end as well as a new beginning for superhero films. The old ways seem to be dying out as the evolution continues past the very spotty X-Men franchise that ushered in this craze at the start of the new millenium. Hugh Jackman and Patrick Stewart deliver beautifully tragic performances that showcase men far past their prime learning how to pass things on. Writer/director James Mangold creates a not-too-distant-future dystopia that uses superpowers for character driven pathos and allows newcomers like Dafne Keen to go toe to toe with experience vets in a brutal yet powerful way that sticks with you far more than most the numerous superhero films that also came out this year.



Toxic masculinity comes in many forms. It could be the Nice Guy™ who thinks he deserves more simply because he has outward decency. Or it could be a giant weapon of mass destruction controlled by a wreckless asshole. Either way, these varying forms are presented by Colossal, with a creative spin on the kaiju concept that blurs lines between comedy, drama, sci-fi and even horror to incredible effect. This is Anne Hathaway’s most dimensional turn and gives Jason Sudeikis the chance to unveil the darker sides of his usually affable performance. In a year full of exposing the horrendous actions of many famous men, Colossal is truly the most relevant monster film of its time.



Hilarious and emotionally honest romantic comedies that comes from the heart are rare in these days. Luckily, star/co-writer Kumail Nanjiani and his co-writer/wife Emily V. Gordon gave The Big Sick the type of genuine moments that made this transcend the genre. And not just moments of romantic joy. Real fights and awkward moments that make a relationship a struggle at times help flesh this out into something beautiful, along with cultural clashes that only make the midway turn for the medical drama that much more engaging. Nanjiani and Emily V. Gordon shine on screen, but Ray Romano and Helen Hunt are the MVPs. Their long lasting relationship breathes with natural conflict and heart that gives Kumail something to strive for and consider in continuing his relationship. Making this story that’s very personal incredibly universal.



The social relevance of horror is always something brought up when people dismiss the genre. In a year when we lost George A. Romero and have a country in such divisive territory, a film like Get Out can and did flourish. Even considering the fact that writer/director Jordan Peele put this together during the “post-racial” Obama administration, the declaration of lacking racism while an underlining fetishization of their culture fits our modern racial climate in a very brutally honest way. Of all the very strong horror films from the past few years, Get Out seems the most poised to stand the test of time as the most crucially relevant piece of horror cinema for the next few decades.


a ghost story room

The horror genre can often rest on old laurels. Often times, it takes recontextualizing the tropes to appreciate how inventive he genre can be. With A Ghost Story, the typical elements of the haunted house genre are told from the perspective of the ghost doomed to haunt the house they once loved in life. David Lowery paints the afterlife not as a hell full of torture, but an endless staring contest with the living that can’t be won. You’ll just look as they progress past your presence and move on as you dwell on the past. A Ghost Story asks the question “Are we meaningless in the vast vacuum of existence?” and answers with “Maybe… but just try to enjoy your life instead of living past it” in a touching an quiet fashion.

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PADDINGTON 2 (2018): Charming As a Marmalade Sandwich

Paddington is the personification of British charm. The polite though clumsy bear (voiced by Ben Whishaw) has always been a bastion of empathy and kindness, something so desperately needed in our divided world. While Paddington has been a staple of international children’s literature since author Michael Bond first published the character sixty years ago, the character saw a resurgence in 2014 after the initial Paddington film became one of the highest grossing independent films in British box office history. Now, we have Paddington 2, in which our titular bear is framed for a crime he didn’t commit and must journey to prison where he makes a few friends while his family seeks to clear his name.


Paddington 2 carries over the adorable charm of the unflappably kind bear journeying through a storybook depiction of modern London, spearheaded once again by co-writer/director Paul King. King’s work in British television gives way to a series of cartoonish yet grounded sight gags that show off our bear’s determination, right from the start as he tries several odd jobs to save up for his Aunt Lucy’s (voiced by Imelda Staunton) birthday present to mixed results. King’s knack for childhood imagination visuals gives us a window into the optimistic lavish world Paddington sees on a daily basis, one where people and places are able to give off warmth and color even in the starkest of places. Probably the best example is how Paddington restructures the gloomy Victorian era style prison he ends up in into a warm bustling place of good behavior, with diverse scary looking convicts frolicking to the easy listening calypso tunes of Tobago and d’Lime, who return to provide more endearing songs from the original film.


Paddington‘s prison buddies show off just a small slice of the incredibly endearing supporting cast surrounding our main bear character who – despite being CG – interacts without any seams showing with his various familiar British co-stars. Brendan Gleeson‘s “Nuckles” is a hardened bitter criminal whose heart melts as Paddington shows him the charms of marmalade sandwiches and helping others, which translates over to his prison buddies Noah Taylor and Aaron Neil. The entire prion sequence is a great example of showing how extensive the adorable bear’s reach is, as his boldness in facing the much fear Nuckles or accidental discoloring of the laundry by putting a red sock with the white uniform leads the initially peeved prisoners to wearing pink uniforms and harmoniously be rehabilitated over one hell of a charming montage.


Paddington‘s family is also clearly warmed over by his generosity as they search to clear his name, with Sally Hawkins and Hugh Bonneville as the patriarchs taking it upon themselves to find out the mysterious culprit who framed the poor bear alongside their children Samuel Joslin and Madeleine Harris & family friend Julie Walters. Each has their own hang up established near the beginning of wanting to escape the doldrums of suburban London life but are either too afraid to admit their desire or haven’t quite gotten the chance to grab at it until the elaborate if overlong climax gives them an opportunity. Even most of the neighbors can’t help but be invested in the bear clearing his name… well, except for the angry self instate neighborhood watch guard Mr. Curry (Peter Capaldi) who keeps the neighborhood as safe as he can from the bear he hates just because he’s a bit klutzy and different.


Actually, there’s another new neighbor in town whose outward warmth towards our furry friend is hiding a distant apathy. Hugh Grant plays Phoenix Buchanan, a self obsessed actor who serves as our villain, donning disguises while following clues from an antique pop-up book he stole and framed Paddington for the theft. Grant’s portrayal of an actor so unable to work with others he only desires a one man show is devious in an aloof insane way. His thespian roots lead him to have conversations with his costumes in character, carrying on with Hamlet and MacBeth in his attic while hatching schemes that shows Grant’s incredible comedic timing and hilarious commitment to his various disguises. Truly, he’s a step up from the admirable if forgettable turn from Nicole Kidman as the taxidermist in the first film, who had more of a threat yet less of a wit amongst the cast. Here, Grant’s threat is in his indifference to the needs of others, which contrasts wonderfully with the type of empathy Paddington constantly strives for.


With both live action films, Paddington has really managed to create the rare type of live action children’s films that never hit false notes or talk down to their target audience. Even the worst children’s films out there have toilet humor for children and passing pop culture references for adults. Yet, Paddington 2 and its predecessor set themselves apart by never being crass or bottom of the barrel with their observations of how exhilarating kindness can be. Something that Paddington 2 manages to advance further with more elaborate scenarios and comedic delights. There’s a laid back sensibility here that makes them adorable comfort food, but with a simple message that honestly needs repeating in our modern climate. To quote Aunt Lucy herself, “if we’re kind and polite the world will be right.”

Rating: 4 out of 5 Marmalade Sandwiches


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INSIDIOUS: THE LAST KEY (2018): Opening Doors No One Cared to Open

The Insidious franchise works as a slightly higher end carnival spook house. The charm of the first film was in its limited yet effective scares. James Wan took the lack of resources and used it to his advantage, filling rooms with singular light sources and fog machines until they can pull out their lone elaborate ghost to jump scare us. All familiar trappings of a low budget haunted house. Simple, elegant and spooky, if not as memorable as Wan’s more character driven work in The Conjuring series. The second chapter in the Insidious franchise chose to go more elaborate with the scares, but in the process convolute everything with backstory and time travel that dilutes things to nonsense. The third Insidious got closer, but ultimately repetitive and forgettable, though we wisely focus more on medium/psychic Elise Rainier, played by the series’ most consistent lucky charm Lin Shaye.


Now, with Insidious: The Last Key one can see that this series has run its course. One can only go back to the same haunted house so many times before they predict the jump scare moments and see the wires holding things up. This is no fault of Shaye, who remains as committed as ever to this part. The struggle she goes through to accept the horrors of her past are far better portrayed on through Lin Shaye’s visual flourishes of PTSD and precious few moments of nostalgic relief on her face. Especially when thinking back on her poor mother and what happened to her. As she wanders the house she grew up terrified in, the moments of the past brings light & horror to her eyes in ways that give this very typical ghost story a bit of emotional grounding it may not honestly deserve. Thus, we feel far more invested in her pursuit of tracking down the paranormal and stopping it from spreading evil into our world. Clearly, she is the glue holding the film together.


One only wished that those around Elise carried as much weight. Primarily the estranged family members of her distant brother Christian (Bruce Davison), her nieces Imogen (Caitlin Gerard) & Melissa (Spencer Locke) or her abusive father in flashbacks Gerald (Josh Stewart). All of them start with potential to either clash or feed off of Elise’s struggles with her past, but end up either as pawns casted off to the side or plot reveals. Sometimes both at the same time. Hell, the most developed of her family members is her mother (Tessa Ferrer)… and she dies during the prologue. They all could have slowly unraveled the most intriguing lock worth inserting a lost key into; Elise’s mixed emotions on her past. Instead – similarly to Chapter 2 – Insidious The Last Key gives us backstory & previous film connections assuming that’s enough.


Director Adam Robitel works within the ultimately restrictive confines of the typical Insidious franchise and gives it some breath of life with a few creative sequences. Some of the best ones since the initial entry, particularly with the blandly designed yet incredibly well shot KeyFace (Javier Botet). So, his contributions have less to do with the issues inherent to The Last Key as much as those of co-star/producer/writer Leigh Whannell. Whannell is not an untalented screenwriter, but there’s constant examples of Whannell’s dialogue not trusting the audience. We see clear visual indicators of what’s going on, but Whannell has to have someone explain this because they don’t trust those watching can catch up. For example, Imogen has to go into The Further and sees a red door. One we’ve seen Elise talk about in previous films & earlier in The Last Key… but Whannell’s Specs blatantly states in horrendous ADR “The Red Door. That must be the one Elise was talking about.” Whannell needs to underline, italicize and embolden every bit of important exposition because he assumes the very simple visual shorthand can’t do any of this.


Of course, brief exposition isn’t necessarily bad at every instance, but when Insidious: The Last Key uses it to spell out what’s clearly there, it shows a total distrust that people watching understand the basics. And when the bar is that low, it turns the characters into far less engaging people. Case in point, Specs and Tucker (Angus Sampson). While never quite a highlight in any of these films, the chemistry they form with Elise during their origins in Chapter 3 and some of their hijinks early on in The Last Key result in a nice chemistry. Yet, as things go along, the two become obviously perverse unsettling characters that prey on Elise’ nieces, making any attempted character payoffs unearned and even creepy by the film’s end. If they were characters whose idiotic attempted romances were looked down upon consistently and not rewarded, it would make them funny yet challenging sidekicks. Instead… it’s treated as cute adorkable behavior to evidently be endeared to.


This stagnation in the writing also hurts a general suspension of disbelief throughout. There’s a twist involving Elise’s father that immediately dips any attempt at grounding Insidious The Last Key in any sort of reality from which the ghastly horrors can become spooky. The surefire element that made the first film work – and what Wan doubled down on for The Conjuring films – was the believable family dynamic. Those were characters we somewhat cared about. Instead, we have Lin Shaye trying her best to make things tolerable and a director working as well as he can within the creatively looping series. All other characters waver between plot device and squandered potential. It may seem like Insidious The Last Key is a terrible film, but it isn’t quite that. It avoids being Insidious Chapter 2 on the pure strength of a few engaging scares and Shaye. Ultimately, this fourth entry ties more directly into the original to give us a sense of closure. So, hopefully that door is closed and keep it locked for good. Or at least until it’s rebooted like everything else.

Rating: 2 out of 5 Key Fingers


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Two Year Anniversary!

Hard to believe, but it’s already been two years since I started this blog! I want to thank all of you who have been reading since I started. If you’ve been following since the start, your loyalty is important and I’m incredibly grateful for all of your kind words. If this is somehow your first post you’ve seen here, welcome! Take a look at the back catalogue. Hopefully, I’ll remain consistent in 2018, with more retrospective reviews, lists and essay format articles to break up the regular reviews on here. In any event, you’ll still be able to catch me via Horror News Radio and Gruesome Magazine when I’m not writing here.

In the coming weeks, expect my big Top 20 list for 2017 and a few final reviews from the year. In terms of looking back, I’ll say the review that I’m most proud of from this past year would definitely be the mother! review, which you can read here.


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THE SHAPE OF WATER (2017): Bursts Through Language Barriers

Guillermo Del Toro likes to meld genres. The Devil’s Backbone is more of a period drama than it even is a horror movie. Pan’s Labyrinth has shades of horror and period drama mixed into its overall fantasy tone. Now, with The Shape of Water, there’s a lot of genres being mixed up here. The general conceit is sci-fi, the brutal gore that would show off in a horror film and several references to this being a fantasy story. I’m not sure what could possibly be so fantastical about a mute woman named Elisa (Sally Hawkins) falling for a scaly fishman (Doug Jones), but suspension of disbelief varies I suppose. After all, we’re a little over 30 years removed from Tom Hanks falling for a mermaid in Splash. Then again, our fishman is less humanized than Darryl Hannah in Splash, which would naturally leave people to ponder if Elisa is projecting something onto a non-human.


Luckily, co-writer/director Del Toro avoids potential claims of beastality by taking full stock into something we as humans could use a better grasp of: communication. Given Elisa’s mute nature, the thematic drive of communication is vital to The Shape of Water. Del Toro does such an impressive job of bringing life to such a romance. The two communicate real feelings of loneliness, disappointment and passionate connection without ever seeming manipulative or false. Del Toro knows when to reveal subtitles and when not to. When he does, it’s intentionally meant to show off Elisa’s progressing assertiveness. When not, it’s meant to show other characters like her painter friend Giles (Richard Jenkins) acknowledging her as more of an individual. It’s a stylistic choice done merely through text or lack thereof that gives us development for the character. This translates beautifully to the bigger more bombastic elements of shadowy lighting, cold mechanical set design and flourishes of color (or lack thereof) that contrast our passionate leads with the unfeeling environment around them.


Sally Hawkins is mesmerizing, giving Eliza a meek quiet demeanor initially that kicks off a visually gorgeous performance of heartfelt passion and emotionally resonating faces the speak volumes. On a similar level, Doug Jones gives our fishman a consistent creature behavior that still shows off a progression of awareness that feeds off of Eliza without being manipulative. These two are outcasted souls in lesser situations that find a kinship that’s believable. While few people out there can literally relate to being a fishman kidnapped from South America, one can find relatability in the form of a living being far from home and finding someone who shares their lack of connection with the world around them. Which endears us to this untraditional leading man and lady. Even when the element of physical love comes into the equation, it’s more an inquisitive trifle by comparison to the emotional connection that means far more. So many chills go down the spine as these two crazy kids strive to find a place they can be together. Though the kids descriptor doesn’t give enough credit to the fact that these two are adults of their own specieses and – more importantly – to each other.


Del Toro doesn’t just focus his efforts on unveiling the charm of this couple for The Shape of Water though. His talents are also utilized to slowly unveil the matter-of-fact cruelty of Strickland (Michael Shannon). His coldness is equalled by his sense of duty, which seems to be the only reason he strives to continue on. He seeks the type of approval of his superiors for a sense of accomplishment that makes him feel positive rather than any true personal feelings. Everything from his nuclear family to his brand new Cadillac to his failed attempts at keeping his fingers that were bitten off attached shows he only has one mind set as to what success is and anything outside of that means failure & death. Shannon is a master at being the type of coldly unfeeling characters seen here. His blinking massive eyes give off the feeling of a bug striving for perceived survival instincts rather than a caring individual willing to make concessions in life.


The rest of the supporting characters in The Shape of Water breath life into what could dangerously turn toward stereotypes. Richard Jenkins gives depth to an artist hoping and failing to find love in a world out against his creativity and sexuality. Octavia Spencer gives the Zelda character more of a personal determination than just a sassy sidekick who’s slowly growing to have her own individual determination against her lazy husband Michael Stuhlbarg takes the least engaging subplot of a scientist with a secret motivation and gives it the depth of a man fighting against his station in a fashion that gives him far more emotional resonance. All of them have individual quirks that Del Toro reveals in action and connection that’s refreshing. All set against a 1960s backdrop that breathes disenfranchisement that’s still sadly relevant.


As The Shape of Water dictates, love isn’t an easy equation. It’s messy, brutal and harsh in ways that are as complicated as the time period this film is set in. The shifting genres may turn people off wanting to simply find an unconventional love story. Yet, they don’t diservice what’s going on here. If anything, they compliment such actions. Fighting for what we love can often result in brutality coming towards us. We fight against our usual nature if it means giving what we love a chance to survive and grow. It’s hard and often means sacrificing what we deem to be successful in the society we live in. All of these themes resonate just as much now as they did during the era in which The Shape of Water takes place. While the gore and make up may make this a bit less engaging to those wanting a love story in the more traditional sense that endears people to the holiday season, Guillermo Del Toro succeeds in giving us a story that transcends traditional genre or language we’re all accustomed to. Even with some questionable elements to the ending or certain subplots, nothing here is disingenuous. Which is quite refreshing in a dreary world.

Rating: 4.5 out of 5 Boiled Eggs


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Star Wars: The Last Jedi (2017): Let The Past Die

There are mild spoilers Star Wars: The Last Jedi in this review. If you’re one of the five people who haven’t seen it yet, proceed with caution.

Star Wars: The Last Jedi is a pretty bold sequel. That’s pretty unexpected, considering Star Wars is made by a multi-billion dollar corporation like Disney and the previous two Star Wars films. One would expect The Last Jedi to be a far more traditional mega blockbuster that pulled punches and relied heavily on the type of fan service that made The Force Awakens one of the most successful films of all time. Admittedly, there are a fair amount of callbacks and allusions to the previous films in the canon. Only makes sense, especially as Luke Skywalker (Mark Hamill) takes a far larger role than his cameo at the finale of The Force Awakens as he’s confronted by young Rey (Daisy Ridley) about the concept of the Jedi. There’s allusions to Empire Strikes Back and Return of the Jedi ladened throughout, but The Last Jedi separates itself from The Force Awakens by setting those familiar tropes up and subverting their original context.


Kylo Ren (Adam Driver) at one point states “Let the past die” in reference to those who stand to hold him back. Yet, what The Last Jedi aims for is to say that dwelling on the past can hurt you, but forgetting about the past leads to repetition of their mistakes rather than learning from them. These mistakes are central to Star Wars: The Last Jedi. Constantly, characters are getting themselves into situations that lead to catastrophic consequences. Rey assumes things about Kylo Ren that lead her into brutal binds she needs to get out of. Poe Dameron (Oscar Isaac) makes cocksure sudden decisions about destroying ships that lead to The Resistance being hunted down by The First Order. Finn (John Boyega) gives into his most base impulses in ways that lead him and newcomer Rose (Kelly Marie Tran) into trouble. Learning from failure in The Last Jedi isn’t as concrete as “Don’t do A and get B result.” It’s a long game of finessing situations and finding where balance truly lies. Much in the same way director/writer Rian Johnson treats The Force of this universe. There’s lightness and darkness, but there’s a murky middle ground within there to both guide and confuse our people along the way.


The Last Jedi is perhaps the most morally ambiguous leap forward in the franchise, addressing the wage gap of this galaxy far far away head on during the Canto Bight subplot. We see the frivolous excess of arms dealers who sell weapons literally throw money everywhere, all while the smugglers and thieves like Han Solo or DJ (Benicio Del Toro) just try to make a quick buck. Still, DJ is an engaging character to watch thanks to Del Toro’s usual spark for quirky performances and his skills around tech that make him a surprise at every turn. Admittedly, these sequences on this casino style planet are the weaker moments of The Last Jedi overall, showcasing the tonal whiplash that makes the experience awkward. Yet, these thematic drives and the lovable chemistry between Boyega & Tran is incredibly endearing. Finn continues to try and protect his friends while Tran comes into her own from a meager maintenance worker to a larger part of The Resistance. I’d just hope both of them are involved in a storyline with more direct connections to the overall plot next time.


This is especially the case when their goal centers around a major ticking clock as Poe, General Leia Organa (Carrie Fisher) and Admiral Holdo (Laura Dern) try to escape the grasp of General Hux (Domhnall Gleeson) and The First Order in space. This entire subplot has some of the most inventive visual elements that showcase Rian Johnson’s capabilities with both action and character interaction. The space sequence that opens Star Wars: The Last Jedi is honestly the most visually inventive the series has had. X-Wings and TIE Fighters do things here no one has done before, creating visually stimulating space battles that are perfectly edited alongside our folks in the ships. Of course, Star Wars has made plenty of sequences like this, something The Last Jedi is clearly aware of. Humorous jabs at these confrontations and subversive moments during moments of massive damage give these space battles so much more emotional investment and surprise at every turn. All with spectacular digital & practical effects, elegant production design and shining cinematography from Johnson’s crew. Hux and Poe are also allowed to have far more character than they were in The Force Awakens, particularly as one is the butt of the joke for another. Even Holdo and Leia build a believable chemistry that makes one truly believe they’ve known each other for years. Right down to their mutual conflicts with Poe’s recklessness. Of course, this being Carrie Fisher’s final film makes many moments with Leia hit home in ways not totally intended, but that meta layer doesn’t distract from Leia’s own struggles and comedic moments that make her an integral supporting character for this story.


Rian Johnson is clearly a fan of the series, but really wants to take the themes introduced and makes them murky in fascinating ways. After all, Luke tells Rey at one point that “This isn’t going to go the way you think.” Which it honestly describes The Last Jedi to a tee. Particularly in the trifecta of Luke, Rey and Kylo, where The Force is explored in ways the franchise has never gone to. The connection and lines of dark & light sides blur far more here, allowing more mysterious connections to take hold between Rey and Kylo. Something that Luke finds intimidating given his own past with Kylo. These unconventional connections between these three is leads to certain revelations that people are already incredibly divided on.


Without saying too much, these revelations are refreshing. Giving larger nets from which the pool of The Force can come from and Luke a continuation that feels natural. His more bitter tone fits a young farm boy who had his only legal guardians burned alive, finally found his father in the form of the galaxy’s greatest villain who chops his hand off and losing his own nephew to The Dark Side while trying to train him. Thus, the optimism of Rey clashes with Luke’s cynicism in ways that are bold, human and chilling all at once. This fight over The Force clearly mirrors our own modern divisive world, fighting the desire to be cynically passive and righteously angry. All done with a not-so-subtle yet powerful brush by Johnson to fit this franchise and not distract.


There’s plenty of narrative and tonal issues to be found in Star Wars: The Last Jedi. It is the longest Star Wars entry and one can feel that dragging moments. The Force Awakens is an inarguably better paced and streamlined film that captivated audiences with good reason. Yet, the dragging bits in The Last Jedi don’t come from overly convoluted plots as much as it does the sheer amount of ideas being shoved in by Johnson. This really is the most ambitious entry in this franchise in quite some time. And while not as consistent as the Original Trilogy could often be, the ambition and unbridled gall of The Last Jedi truly makes it a bolder film that The Force Awakens is. Which in my book can go a long way. The risks on display in The Last Jedi are already dividing many fans, with revelations and consequences that could easily disappoint so many. That being said, none of the hindrances really hurt the characters or drive of this saga as much as slightly hurt The Last Jedi as an individual film. What’s important and makes this one of the better films in the Star Wars franchise really is what it does for this galaxy far far away overall. Keeping the past in mind, but not letting it lead the course for the future. That’s up to the newbies to do. Luckily, they’ve got better non-robotic hands to steer us in the right direction. Then again, JJ Abrams will probably bring back Jabba the Hutt and Ewoks for Episode IX and render all this null and void. But for now, the spark of hope continues to set this saga aflame as a guiding light.

Rating: 4 out of 5 Roasted Porg Carcassases


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