tag:hannahhoolihan.com,2005:/blogs/spielberg-review?p=1Reviews2020-09-30T12:58:22-04:00Hannah Hoolihanfalsetag:hannahhoolihan.com,2005:Post/64461552020-09-30T12:58:22-04:002020-09-30T15:04:58-04:00Scare Me<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/ff6b1218e5a439688215ff1ad02412b93de1067e/original/scare-me-still.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Tomorrow is October 1st, you know what that means? Halloween! All-day, every day! Go buy that 12ft tall skeleton from Home Depot and settle in with your own bag of Halloween candy because it’s officially Spooky Season. More importantly, this time of year wouldn’t be complete without a variety of appropriately-themed movies. The beauty of Halloween movies is there’s something for everyone, too. From family-friendly favorites like <strong>Hocus Pocus </strong>and <strong>Halloweentown</strong> to seasonal staples like <strong>Scream</strong> or (obviously) <strong>Halloween</strong>, everyone can get in on the celebration. For fans of the latter, Shudder is the perfect place to peruse a variety of thrilling horror movies. And what better way to kick off October than with their brand new release, <strong>Scare Me</strong>. Though it sometimes suffers from its 104-minute runtime, <strong>Scare Me</strong> is an incredibly fun and clever debut feature from actor-writer-director, Josh Ruben.</p><!-- more -->
<p>At the heart of this story is Fred (played by Ruben) an aspiring writer who jets off to a remote cabin in the Catskills to complete his thrilling screenplay about werewolves. While there, he runs into Fanny (Aya Cash), a best-selling author who’s overflowing with brilliant ideas. Although the two meet briefly on a jog one morning, they’re reconnected after a power outage. Fanny, bored, shows up on Fred’s doorstep with an idea: try and scare each other to stay up all night. </p>
<p>In the words of one of my favorite movies from last year, <strong>Scary Stories to Tell in the Dark</strong>,<em> “Stories heal. Stories hurt. If we repeat them often enough, they become real.”</em> Ruben’s film relishes in the power of words, but more importantly, the power of a good story. Though the film largely depends on its script and charismatic leads, it also reels in viewers with its incredible sound design. Whether it’s the low growl of a werewolf stalking up the stairs or a squeaking oxygen tank gliding slowly across the floor, each story is elevated by the subtle sounds around it. Physically, there’s nothing there, but Cash and Ruben are convincing enough that you often forget you’re only <em>hearing</em> people tell stories to each other. </p>
<p><strong>Scare Me</strong> shines a bright spotlight on its actors, allowing them to take full control of the narrative and bring their own captivating flair to their respective stories. Cash, in particular, is fantastic to watch. Her comedic timing is impeccable, but it’s her ability to transfix viewers with an enthralling story that’s damn impressive. Both actors play off each other’s energies in an exciting way, too, bringing <strong>Scare Me</strong> to new heights with each story. It’s clear that they’re both passionate about the genre and carry that enthusiasm into their roles as well. </p>
<p>And that’s the joy of it, right? So many films nowadays count on big, flashy set pieces or costumes to keep a viewer invested, whereas <strong>Scare Me</strong> relies heavily on its script and leads to get the job done. And, in the end, this absolutely works in its favor. However, at times, it does feel as if it bit off more than it could chew. During its runtime, there are a few moments where these stories start to drag on. But, thankfully, Ruben and Cash – along with a brief but hilarious appearance from <strong>SNL</strong>’s Chris Redd – are able to pick things back up again when the story starts to lull. </p>
<p>All in all, <strong>Scare Me</strong> is wildly inventive when it comes to unraveling its narrative. Not only that, but its layers stretch far beyond just telling scary stories. Cash and Ruben express the nuances of their characters in very subtle ways, giving the viewer a sneak peek into their lives well beyond the confines of this small fire-lit cabin in the woods. It adds depth to Ruben’s film and shows how creativity is truly limitless. <strong>Scare Me</strong> is proof that sometimes all you really need <em>is</em> a good story.</p>
<p><strong>Scare Me </strong>will be available on Shudder tomorrow, October 1st.</p>
<p style="text-align: center;"><span class="font_large"><strong>Rating: 8/10</strong></span></p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/64351462020-09-16T13:43:17-04:002020-09-16T15:03:44-04:00Enola Holmes<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/51bfce37e4e00e27a7d4d54b8a645e847f537bb2/original/enola-holmes-netflix.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />As a massive fan of <strong>Fleabag</strong> -- and everything involving Phoebe Waller-Bridge, to be completely honest -- I was very excited to see what Harry Bradbeer’s plans would be with Netflix’s latest outing, <strong>Enola Holmes</strong>. Not to mention, with <strong>Stranger Things</strong>' Millie Bobby Brown starring as the charismatic titular character, I had high hopes that this movie would be pure, joyous fun. Thankfully, it was exactly what I was hoping for. With a spunky Millie Bobby Brown leading the way, and with fantastic direction from Harry Bradbeer, <strong>Enola Holmes</strong> is an absolute delight. </p><!-- more -->
<p>Adapted from the series of novels, titled "The Enola Holmes Mysteries" written by Nancy Springer, the movie opens with Enola on her way to meet her brothers, Sherlock (Henry Cavill) and Mycroft (Sam Claflin), at the train station. After discovering that her mother (Helena Bonham Carter) has mysteriously disappeared on the morning of her 16th birthday, she hopes that they will have all the answers as to where she went. Unfortunately, they assume that she left on her own, claiming she was probably <em>“mad or senile,”</em> but Enola believes something strange is afoot. </p>
<p>…and something strange there is, as Enola discovers a puzzle hidden within the birthday gift her mother gave her. Realizing that her mother actually left behind plenty of clues specifically for her, she decides to sneak out and tackle this mystery on her own, disguising herself to slip away undetected. From here, she embarks on quite the adventure that leads her from the countryside all the way to London, meeting plenty of new faces along the way. </p>
<p>Similar to <strong>Fleabag</strong>’s direction, Bradbeer has Brown breaking the fourth wall numerous times, and she does so without missing a beat. Not only are there plenty of moments for exposition, but also brief moments of eye rolls, side-eyes, and perfect facial expressions in reaction to dialogue happening between characters. Brown is incredibly charismatic and effortlessly fits these one-on-one moments between her and the viewer into the story. She truly shines in this role, embodying the free spirit and spontaneity of Enola with ease, and having her connect with the viewer in such a way adds another clever layer to the story as it unfolds. </p>
<p>However, there are many times when the film almost feels like it's holding itself back. For example, when it comes to the supporting cast, it often feels as if some are never used to their full potential. In particular, I would have loved to see more from Helena Bonham Carter as Enola’s mother. For being such a wild and exciting inspiration for young Enola, it’s a shame we don’t get to see more of her antics throughout the film. The same goes for Fiona Shaw’s Miss Harrison, the headmistress of the boarding school that Mycroft is hell-bent on sending Enola to. On the other hand, though, Cavill’s Sherlock and Claflin’s Mycroft savor every moment spent on screen, with the former as charming as ever and the latter being almost over-the-top uptight. </p>
<p>There are also moments when the story feels too drawn out. At 123 minutes, there’s <em>a lot</em> of time to fill, but Bradbeer does his best to keep the audience enthralled with interesting puzzles and plenty of twists and turns. Mainly, this film is largely carried by Brown, who relishes in this wonderfully feminist story while blazing a trail for what’s sure to be Netflix’s new YA hit (franchise? Probably). It’s by no means perfect, but it’s still a ridiculously fun adventure.</p>
<p><strong>Enola Holmes</strong> is rated PG-13 and will be available on Netflix on September 23rd.</p>
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<p style="text-align: center;"><span class="font_large"><strong>Rating: 7/10</strong></span></p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/64193962020-08-28T12:09:56-04:002020-09-03T02:21:56-04:00Bill & Ted Face the Music<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/86bc5d01258b264612f98d7bf4f6021662ab1dce/original/screen-shot-2020-08-28-at-10-48-55-am.png/!!/b:W10=.png" class="size_l justify_center border_" />I have a soft spot in my heart for <strong>Bill & Ted’s Excellent Adventure</strong>. It’s a movie that’s so joyously absurd, you can’t help but feel pure happiness while watching it. And, honestly, in this already very chaotic period of time, a little joyful absurdity feels much-needed. The third film is one that’s been in the works for a while, with the second installment of this time-traveling trilogy being released back in 1991. Now, the long-awaited third film is finally out, and the timing couldn’t be more perfect. With <strong>Galaxy Quest</strong> Director Dean Parisot at the helm and the previous two film’s screenwriters, Ed Solomon and Chris Matheson, returning, <strong>Bill & Ted Face the Music</strong> is a most excellent send-off for the Wyld Stallyns. Led by charismatic performances and a script that relishes in the goofy humor that made the first film such a hit, <strong>Face the Music</strong> is the wholesome dose of pure joy we need right now. </p><!-- more -->
<p>The movie kicks off with our two, now middle-aged, time-traveling heroes (Alex Winter and Keanu Reeves) as they grapple with a number of life-changing situations. They haven’t been able to find <em>the</em> song that will unite the universe, the band’s success was fleeting, and their marriages are on the rocks. Regardless of these struggles, though, they’ve still managed to keep hope alive, and are strongly supported by their daughters, Billie (Brigette Lundy-Paine) and Thea (Samara Weaving). However, it’s not just their lives that are facing some challenges. One day, Bill and Ted are visited by a young woman from the future named Kelly (Kristen Schaal), the daughter of Rufus, who tells them that their time to write the universe-uniting song is running out. If they aren’t able to write it in roughly 75 minutes, life as we know it will crumble. </p>
<p>Panicked and frantically trying to figure out what exactly this spectacular tune is, the two come up with a grand idea to travel into the future to steal the idea from their older selves, setting them off on another time-traveling adventure that reveals more to them about their lives than expected. This is a mission they can’t do alone, though, so Billie and Thea also decide to head out on their own time-traveling adventure - helping them out by gathering some of the greatest musicians in history to put together a life-altering ensemble for their dads. It’s during these time-hopping points that some fantastic cameos make their way into the film as well. </p>
<p>What makes <strong>Face the Music</strong> so great is its ability to roll with the punches. Solomon and Matheson stayed true to the wonderfully ridiculous characters they initially created in 1989 while still finding little ways to show how they’ve developed over the years (or maybe still need to). Both Winter and Reeves still flourish in these roles as well. It’s evident that they still have an abundance of love for these characters, perfectly embodying their goofy personalities with a friendship that feels like a natural continuation from the previous films. </p>
<p>Although Reeves and Winter remain the story’s titular pillars, the biggest standouts of the film for me were Weaving and Lundy-Paine as Thea and Billie, respectively. The latter of whom delivers an incredible performance that feels like a carbon-copy of young Reeves. Even Weaving effortlessly fills the shoes of this new character, which is truly no surprise as she continues to dominate roles in nearly every movie or show that she’s in (<strong>Ready or Not</strong>, <strong>Hollywood</strong>, <strong>Three Billboards</strong>, etc.). Billie and Thea are characters that are extremely likable from the get-go, bringing their own personality traits to the table while still remaining grounded in the very simple, hilarious, and bubbly personas that Bill and Ted captured audiences with in the first place. To me, there is truly no one else who could have portrayed these characters, and I would happily see a Billie & Thea movie in a heartbeat. </p>
<p>Traveling-through-time-to-save-the-universe plotline aside, Face the Music also sees Bill and Ted maturing in a number of ways - embracing adulthood while maintaining that joyful lack of cynicism they’ve had since being teenagers. These are two guys who have carried, quite literally, the weight of the universe on their shoulders, and not only does this film bring that quest to a perfect close, but it does so with a more emotional and grounded tone than the two previous films. <strong>Face the Music</strong> shows how Bill and Ted have grown up in <em>their</em> own way. They’re still goofy and a little co-dependent with one another but can recognize where there’s still personal work to be done. It all feels natural for these characters and the world within Bill & Ted. This is all due to Parisot’s fantastic direction, which gives brief glimpses into these moments while still maintaining lighthearted energy. It also allows the story to glide seamlessly from one riotous plot point to another, keeping a steady pace and maintaining viewer interest up until its final moments. </p>
<p>All around, there’s a sweetness to this journey that Bill and Ted share. It’s one that’s very rarely seen in movies nowadays and feels desperately needed. <strong>Face the Music</strong> is a cheerful palette cleanser that shines a much-needed light in this very dark period of time. Although uniting the universe feels like a monumental task now, watching the Wyld Stallyns do so in their own little world feels like a breath of fresh air. So, be safe and enjoy this wonderful trilogy-ender. And remember: be excellent to each other.</p>
<p><strong>Bill & Ted Face the Music</strong> is rated PG-13 and is available to watch TODAY on demand and in select theaters.</p>
<p style="text-align: center;"><strong><span class="font_large">Rating: 8/10</span></strong></p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/63921352020-07-24T13:56:01-04:002020-07-24T13:59:44-04:00Yes, God, Yes<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/ea7b35bf1689218f463cf513eb9ee7034f62fb79/original/yesgodyes.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>2020 has been... <em>something</em>. I can't find the right word for it, actually. It's been a year filled to the brim with life-changing events, and for me, I've occasionally found myself frantically searching for some form of stability. Sometimes, that moment of calm comes in the form of a long walk outside with my dogs or reading a book, but mostly it comes in the form of entertainment. If there's one thing that's kept my mind busy during quarantine, it's a delightful combination of television, video games, and movies. And even though movie theaters remain shut down for the latter (with no reopening date yet in sight... and probably not for a while), I'm unbelievably happy that a number of new releases have found homes and delighted audiences anyway. This is something that I hope continues with Karen Maine's debut feature, <strong>Yes, God, Yes</strong>, which provided me with a wholesome dose of genuine, funny storytelling. Spearheaded by an exceptionally nuanced performance from Natalia Dyer, Maine's debut feature film is authentic storytelling at its best, capturing an important and complex coming-of-age milestone with hilarity and sincerity. </p><!-- more -->
<p>Loosely based on Maine's own experience, and previously made into a short film back in 2017, <strong>Yes, God, Yes</strong> centers on Alice (Dyer), a Catholic 16-year-old from a very devout family whose wildest moments with friends are mainly movie trivia games on AOL (which, to be honest... sounds really fun) or games of Snake on her very bright yellow mobile phone. However, one day, a racy AOL chat from an unknown user pops up out of the blue, and Alice begins to feel things that she's unsure how to address. As the chat escalates, Alice finds herself curious about these feelings and, in the process, discovers masturbation. She promptly shuts off her computer and begins to feel an immense amount of guilt about her new discovery, which only spirals once she heads back to school. </p>
<p>Couple these newfound urges with a nasty rumor and you get a very unpleasant shame-and-blame cocktail. Even so, Alice is hopeful that a weekend-long retreat can help fix these many unpleasantries that are being hurled her way. But despite seemingly cheerful campfire sing-a-longs and emotional story circles, Alice can't seem to escape these feelings or the adverse reputation that's been bestowed upon her by her classmates. However, not everything is as it seems, as Alice soon discovers that she isn't the only one harboring secrets. Even some of the retreat's most dedicated individuals are hiding similar secrets of their own, showing that not everyone practices what they preach. </p>
<p>At a brisk 78 minutes, <strong>Yes, God, Yes</strong> is a very quick watch, and that works out in its favor. Though brief, there's a heart and genuineness to Maine's story that pushes it along at a perfect pace. As a viewer, you long to see Alice find a safe, non-judgmental outlet to explore her wants and needs as she matures, and the payoff is incredibly worth it. These many complex emotions Alice experiences are further elevated by Dyer's performance, which is subtle but compelling nonetheless. There's a curiosity to Alice that can't be squelched, and Dyer maintains that throughout the film's runtime, even as things around her begin to escalate. Maine doesn't hide the aura of shame that lingers over Alice almost constantly, either, but rather, she highlights how Alice creates space for herself to grow and learn about what she wants without suffocating under the pressure of what others expect from her. </p>
<p>Coming-of-age stories are a dime a dozen, but there's something incredibly special about the ones that focus on a very particular person's life experience. Maine's style of filmmaking simultaneously gives Dyer plenty of space to bring Alice's personality to life while still leaning into specific moments that feel important to her personally. There's a delicate balance here between humor and drama as well, which Maine treads with ease, slipping between every emotion with effortless confidence. <strong>Yes, God, Yes</strong> solidifies Maine as an exceptional storyteller with a genuine touch for crafting heartfelt, original stories. Not only is her storytelling worth experiencing, but Dyer's natural knack for comedy will be an instant hit with every viewer.</p>
<p><strong>Yes, God, Yes </strong>is rated R and releases today in Virtual Cinemas and select drive-ins, along with Digital and VOD on July 28.</p>
<p> </p>
<p style="text-align: center;"><span class="font_large">Rating</span>:<span class="font_large"> 8/10</span></p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56819902019-03-17T12:37:31-04:002019-03-17T13:03:16-04:00How To Be Alone (SXSW) - #52FilmsByWomen<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/8b33ac7de9d3d5d41897dba9156df5829f25379d/original/screen-shot-2019-03-15-at-4-17-34-pm.png/!!/b:W10=.png" class="size_l justify_center border_" />There are so many things that I love about going to SXSW. The panels, interactive activities, movies (obviously), food trucks… man, I really love food trucks. It’s a festival that’s filled with so many new and different things to explore. You could spend all day roaming through the convention center and up and down Sixth Street and never get bored. In comparison to Sundance, I’ve found the festival to be more laid back, which I actually really enjoy. I love being able to go from a major premiere, like <a contents="Us" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=hNCmb-4oXJA&t=30s"><strong>Us</strong></a> this year, to a smaller independent film and feel lively and infectious energy that radiates in each one. </p><!-- more -->
<p>So, this week’s movie is one that debuted at SXSW in its Midnight section and is a tad different from my usual picks… it’s a short film! <a contents="Stranger Things" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=UlpmMRrt-s8"><strong>Stranger Things</strong></a> writer Kate Trefry decided to step behind the camera to create this wildly inventive short. It stars Maika Monroe, whom you may recognize from <a contents="It Follows" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=HkZYbOH0ujw&t=35s"><strong>It Follows</strong></a>, and Joe Keery, AKA Dad Steve from <strong>Stranger Things</strong>. Maika’s character, Lucy, struggles to survive a night on her own after her husband leaves for the night shift at the hospital. She follows a simple three-step process but is constantly plagued by her deepest fears, which she believes are contained in a kitchen cabinet. As the night ticks on, she fights to regain control of her mind after the phobias begin to take bizarre physical forms and come after her. Sound like a wild ride? It most definitely is, and worth every second. </p>
<p>This short is roughly twelve minutes long, and Trefry soaks up every second – pushing each beat to its full potential. It ebbs and flows between horror and comedy, only dipping its toes into one or the other for a moment so as not to overdo it. The writing, also by Trefry, helps make this balance of genres flow so effortlessly. Monroe's performance is sharp and convincing – further elevating the writing and investing the viewer so deeply into it that time flies by and, by the time it's wrapped up, you want to watch it again. Or, if you're like me, you're longing to see it as a full-length feature. I'd watch the hell out of it. It's a film that explores the dark and bizarre fears that come to our minds in a solitary moment, and how powerful our minds can be when it comes to fighting back those phobias. Trefry created a dark and whip-smart short that proves that the mind is a powerful thing in many ways, but in the end, it'll always have your back.</p>
<p>As someone who’s a big fan of horror-comedies and psychological thrillers, I can’t WAIT to see what Kate Trefry creates next. The trailer will give you a peek into this wild ride, but you can watch the full short over on <a contents="Indiewire" data-link-label="" data-link-type="url" href="https://www.indiewire.com/2019/03/how-to-be-alone-maika-monroe-short-film-sxsw-1202051081/"><em><span style="color:null;"><strong>Indiewire</strong></span></em></a>! </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="wQuKAaPdNYM" data-video-thumb-url="https://img.youtube.com/vi/wQuKAaPdNYM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/wQuKAaPdNYM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="240" width="520" allowfullscreen="true"></iframe></p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56754172019-03-10T13:38:58-04:002019-03-10T19:54:57-04:00Us - SXSW 2019<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/a9bb861606d0ff5d154d080f25de68dd4d846533/original/us-156128.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />Writer-Director-Producer Jordan Peele proved to the world in 2017 that he has the rare and magnificent ability to tackle genres on opposite ends of the spectrum. He ditched his sketch comedy past with <a contents="Key and Peele" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=gODZzSOelss"><strong>Key and Peele</strong></a> and dipped his toes into the horror genre. His debut feature, <a contents="Get Out" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=DzfpyUB60YY"><strong>Get Out</strong></a>, was so highly praised that it went on to win an Academy Award for Peele’s original script. He also managed to accomplish something that I’ve rarely seen happen in the film community – people from all over the world were collectively excited for his next feature. I can’t remember the last time I’ve seen a group of people, discounting the Marvel, DC, and Star Wars fan bases, buzzing about what he could possibly be cooking up next. He brings movie lovers of all kinds together, and It’s a miraculous thing to watch unfold. </p><!-- more -->
<p>Peele’s sophomore feature, <a contents="Us" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=hNCmb-4oXJA&t=29s"><strong>Us</strong></a>, puts an American family at odds with monsters that I’m sure many people have also found fear in confronting – themselves. The film starts off with a title card explaining that there are slews of abandoned tunnels hidden underneath the United States, then transitions into a “Hands Across America” commercial from 1986 which, if you’re unfamiliar, was a Reagan-era fundraiser where six million people formed a "chain" across America to help raise money for the homeless. Once the commercial cheerfully plays through, we flip to our next scene with a young Adelaide (Madison Curry) playing games with her father at a carnival off of the beach in Santa Cruz. She roams around aimlessly in an over-sized Thriller t-shirt and finds herself roaming a little<em> too</em> far off. She winds up in an abandoned hall of mirrors on the beach and begins making her way through the reflective and desolate halls. Peele builds tension with a precise perfection that keeps the audience on their toes. When the lights go out, Adelaide attempts to find the exit but is stopped in her tracks by someone who looks exactly like her, but it’s no reflection. </p>
<p>From here, the movie cuts to the present day. Adelaide is now married to fun-loving and goofy Gabe (an instantly lovable Winston Duke) with whom she has two children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex). The family dynamic is extremely enjoyable – it’s difficult <em>not</em> to love the Wilson’s. Especially when Gabe gets overly-excited about his new boat, screaming “CRAWDADDY” as he laughs and cruises in circles. Little moments like these are filled with genuine hilarity, helping to further absorb you into these peoples’ lives and the world around them. The atmosphere quickly shifts gears when Gabe suggests going to the beach in Santa Cruz, coincidentally the same beach with the hall of mirrors that Adelaide wandered into all of those years ago. We see a look in her eyes that screams terror, but the family goes anyway. It’s here that we meet their neighbors Josh (Tim Heidecker), and Kitty (Elisabeth Moss), a couple with a vastly different dynamic from Adelaide and Gabe. Between the two of them, Elisabeth Moss’ Kitty oozes charisma and steals every scene she’s in with her razor-sharp wit and take-no-shit personality. She’ll almost always have you keeled over laughing, and that’s the true beauty of this film; it expertly balances humor and tension to keep its viewer engaged and excited. </p>
<p>That night, four people adorned in red jumpsuits holding golden scissors show up in the Wilsons' driveway. The tone shifts to a home-invasion thriller as the strangers scatter and find various ways to get into the house, making their way to the living room where each family member can now see their faces. “It’s us,” Jason exclaims as the others, who are called “The Tethered”, stare back at them with fear-inducing eyes. </p>
<p>Each actor relishes in the role of their opposite, but no one more so than Lupita Nyong’o. She took her other half, named Red, and ran the extra mile… and then some. Red is physically, emotionally, and <em>vocally</em> different from Adelaide. It’s a feat that will go down in history as one of the all-time greatest female performances in a horror movie, and you can quote me on that. From here, the story slowly expands from home-invasion thriller to something far greater than many could imagine. </p>
<p>To say I loved this movie is an understatement. Sophomore Slump be damned, Peele brought something bigger and bolder to the table. The buildup of tension is astounding, not only through expertly framed shots from cinematographer Mike Gioulakis but with its haunting score by Michael Abels that’ll have you reeling for days after your first viewing. In a Q&A post-movie, Peele stated that “the movie is about this country […] I was stricken by the fact that we are in a time where we fear the other. Maybe the monster has our face, maybe the evil is us.” It’s a statement that can resonate with everyone, especially with the current state of our country. The film is so richly layered that every viewing is bound to uncover something new and exciting. </p>
<p>Jordan Peele has firmly cemented himself as a masterful filmmaker, not just in the horror genre, but in the industry as a whole. We’re witnessing this generation’s Alfred Hitchcock unfold before our very eyes, and he’s definitely found a life-long fan in me.</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56664672019-03-02T13:24:44-05:002019-03-02T15:54:44-05:00You Were Never Really Here - #52FilmsByWomen<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/4269b9e8e5af990c6aec4b6be0ad73753e905e0f/original/1-5cr9f29xwaipp-os5y14-q.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />As many in the film community (especially Film Twitter) have already stated, the Oscars were <em>weird</em> this year. It all started with their addition of the Popular Film category which was immediately scrapped after intense public backlash, then making the decision to go host-less, and then deciding to show VERY important awards on commercial breaks which, once again, was faced with negativity from the public AND Academy members, prompting them to quickly put them back in the show. The whole award season felt exhausting, and that’s coming from someone who absolutely adores award shows. The show itself felt underwhelming, with plenty of awards being given to movies that many felt didn’t deserve them. BUT, amidst the sea of confusion, there was a faint glimmer of light. This year had shown a record-breaking 15 wins for women in film! From Hannah Beachler being the first African-American woman to win for her production design on <a contents="Black Panther" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=xjDjIWPwcPU"><strong>Black Panther</strong></a> to Domee Shi and Becky Neiman-Cobb winning for their work on the adorable Pixar animated short <a contents="Bao" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=iwi7y4KizWo"><strong>Bao</strong></a>, the Oscars are slowly making progress. Emphasis on: <em>slowly</em>. These records are exciting to see, but we still have a long way to go. For example, 2018 saw many female directors releasing films that were well-deserving of Oscar nominations. But, unfortunately, in the Oscars' 91 years, still only 5 women have ever been nominated for Best Director. So, this week’s 52 Film’s by Women entry is for a woman who I would have loved to see in the Best Director category this year: Lynne Ramsay and her film <a contents="You Were Never Really Here" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=R8oYYg75Qvg"><strong>You Were Never Really Here</strong></a>. </p><!-- more -->
<p>This film stars Joaquin Phoenix as a man named Joe – a gun-for-hire who focuses on rescuing young trafficked girls. He doesn’t handle the situations lightly – brutally bludgeoning the girls’ captors, showing absolutely no mercy. He lives with his elderly mother in his childhood home but is troubled by his dark past in the military and the abuse that he and his mother faced from his father, leading to plaguing suicidal thoughts. One day, he’s given a job from a New York State Senator who states that his daughter, Nina, has been abducted. The only hint he has at where she is is an address sent anonymously via text. He hunts down the location and savagely makes his way through the brothel – battering his way through wealthy males that are taking advantage of multiple young girls in a series of shots from security cameras that can only be described as one of the most incredible sequences in cinema from 2018. </p>
<p>Joe finds Nina and takes her out of the house and to a hotel room where they wait to meet her father. As Nina turns on the news, the two see that her father has committed suicide. Not long after, police officers storm into the room and take Nina. From here, the story unravels into a <a contents="Taxi Driver" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=sLpMx8_TYOo"><strong>Taxi Driver</strong></a>-esque thriller that has you white-knuckling your seat all the way up until the final moments. </p>
<p>Joaquin Phoenix delivers a groundbreaking performance in this film. He’s an actor that gives 110%, no matter the role he’s given. His connection with Ekaterina Samsonov’s Nina is gentle and hopeful. She’s the motivation for him to stay alive and keep fighting for what’s right. This emotional connection flips like a switch when he confronts the abusers of young girls with a merciless intensity – forever keeping you on your toes. And it’s not just Phoenix’s show-stopping performance, Ramsay’s direction and unapologetic blood-spattering scenes heighten the tension, along with Jonny Greenwood’s unsettling score, making for a thriller that’ll smack you right in the gut with its final blow. </p>
<p>Even though this film didn’t receive a lot of awards acknowledgment, discounting the Indie Spirit Awards, the best way for it to gain traction is word-of-mouth. And the beauty of this film is that you can watch it on Amazon Prime. It’s right at your finger-tips, so go check it out!</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56354452019-02-09T16:53:31-05:002019-02-09T16:56:14-05:00Blockers - #52FilmsByWomen<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/e924fd486cf46fce88b23594d0acf1e1068ecfa0/original/blockers3-0.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /> I was in definite need of a pick-me-up after these last couple of weeks. As someone that struggles with seasonal depression, the constant buildup of snow and ice combined with intense negative temperatures really started to bring me down. It’s difficult to want to do anything when you’re stuck in weather like that, so I found myself curling up and perusing through streaming services. There’s always a wide array of things to choose from, but when I’m feeling down I always find myself re-watching personal favorites that I can rely on. One movie in particular that I ADORE and always manages to lift my spirits is Kay Cannon’s <strong><a contents="Blockers" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=RfFcaV5O7SU&t=10s">Blockers</a>, </strong>which you can watch right now on HBO! It warmed my heart right up when it was -50 degrees outside, and I’m SURE it’ll have the same effect on you. </p><!-- more -->
<p><strong>Blockers</strong> tells the story of three high school girls who collectively make a pact to lose their virginity on prom night. Their parents, played to hilarious perfection by Leslie Mann, John Cena, and Ike Barinholtz find out about the girls’ plan via Mann’s daughter’s opened laptop -- in an exchange of emoji’s on iMessage that’ll crack you up -- and become determined to stop them before they can do the deed. Though the plot is in the same vein as some ’90s and early 2000’s teen rom-com's, <strong>Blockers</strong> takes a step into an untouched territory to bring us a fresh, empowering, and downright uproarious story. </p>
<p>For starters, the girls Julie, Kayla, and Sam, played by Kathryn Newton, Geraldine Viswanathan, and Gideon Adlon respectively, have an undeniably genuine friendship. It’s the kind that’s heartfelt and realistic. There’s no cattiness or a need for one to outshine the other, they’re loving, supportive, and kind. It reminded me of the female friendships that I’ve cultivated over the years – the ones that make you feel happy and whole because they’re there to bolster you and bring joy into your life. Not only that, but there’s never an aura of pressure in the air. The exploration of their sexuality is one that they all decide to do on their own. The girls have this sort of wild freedom in the way that they act and speak with one another -- something that’s often seen with young men in similar genre films -- that has them speaking what’s on their mind and not being held back by bias or judgments. It's exciting to see the exchanges between them on-screen because it feels different. It’s a major step up for a genre that’s all-too-often kept young women behind a safe line. </p>
<p>The other half of the narrative follows the girls’ parents and the personal journeys they endure while on this crazy escapade. For Julie’s mom, Lisa, it’s understanding the fear she has for her daughter that she may make the same mistakes she did at her age. For Kayla’s dad, Mitchell, it’s the fear of his sporty, tom-boy daughter maturing and blossoming into a young woman, and not knowing how to handle the next stage. And for Hunter, Sam’s dad, it’s the realization that his daughter is unsure of her sexuality and could end up sleeping with someone that she doesn’t even like. Each parent is battling a need to control their child and fear of them growing up, but watching the three of them evolve is what makes this movie so delightful and helps bring everything full-circle in the end. </p>
<p>Kay Cannon directed an incredible comedy that’s heartwarming, filled with important messages for viewers of all ages and delivers a whole bunch of laugh-out-loud moments that will have you beaming all the way to the end. Not only that, but it’ll probably have you blasting Hailee Steinfeld’s “Love Myself” for the rest of your day. No? Just me? Fine then!</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56103832019-01-24T12:41:21-05:002019-01-24T12:41:21-05:00Destroyer - #52FilmsByWomen<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/de74533542ea3472443d175aae5edbb023582d68/original/destroyer-20180809-240-709-20180806-211.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Nicole Kidman has been, and always will be, one of my favorite actors. She’s constantly testing her limits and defying audience expectations by showing just how far she’s willing to go when it comes to a role. In <strong> </strong><a contents="Destroyer" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=9g-j4wuEOPo"><strong>Destroyer</strong></a>, she plays a reckless, angry, alcoholic detective with a callous attitude alike to that of a male in a similar role – which is what makes this film stand out. In an interview with <a contents="The Verge" data-link-label="" data-link-type="url" href="https://www.theverge.com/2019/1/17/18187017/destroyer-director-interview-karyn-kusama-nicole-kidman-behind-scenes-women-hollywood-oscar"><strong>The Verge</strong></a>, director Karyn Kusama stated, “to me, the story came alive not because she’s a woman in a man’s role, but because she’s a woman in a very unusual woman’s role. It excites me that she gets under people’s skin, that she rankles people, because we need that.” I couldn’t agree more. </p><!-- more -->
<p>Karyn Kusama is a director who’s unafraid to push boundaries and refuses to let anything, or anyone, stand in her way. She’s widely known for her 2009 flick <a contents="Jennifer’s Body" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=C8azftM5puI"><strong>Jennifer’s Body</strong></a> – a movie that’s vastly underrated and was WAY ahead of its time – which didn’t fare well at the box office but gained a massive cult following over time. Though her film’s in the past didn’t gain enough traction right out the gate, <strong>Destroyer</strong> immediately picked up Oscar buzz after premiering at the Telluride Film Festival in August and later received a Golden Globe nomination for Kidman’s transformative performance. </p>
<p>The movie opens with Kidman’s character, Erin Bell, approaching a crime scene – withered and exhausted. She’s gritty, unkempt, and an apparent inconvenience to her peers as she approaches cops on the scene who greet her with groans and tells them, “what if I told you I know who did it?” before walking away with a middle finger in the air. She’s immediately unlikeable yet intriguing at the same time – you’re eager to learn more about her. The story sporadically flashes back to a younger Erin in her 20’s working as an undercover cop for the FBI attempting to oust a drug ring alongside another cop named Chris (Sebastian Stan). These flashbacks ease themselves into the present narrative and make for a nice ebb and flow that hardly ever breaks stride. 20-something Nicole Kidman fits perfectly into a younger role as well without being overdone with makeup. To be honest, the effortlessness of these transitions is astonishing to watch. </p>
<p>As the story unravels, we see glimpses into Erin’s backstory and what made her into the hardened human being that she is today. They highlight the complexities of her character, but not in a bold way to make a statement. She’s always carrying an aura of shame and sadness, but her character arc is fascinating due to Kusama’s direction – allowing us to see a more vulnerable side to Erin as the story ticks along. She guides us into her life with caution and gives us the opportunity to scrape the very surface of her personality – just enough to pique our interest. It’s a movie that isn’t stepping out to say “this is what a woman looks like in a male’s role,” but rather takes a moment to show what anger and shame can do to <em>any</em> human being over time. It's carried out like any other crime thriller that would have a male at the forefront. </p>
<p><strong>Destroyer </strong>is available in select theaters right NOW. Fingers crossed that it expands soon!</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/56035442019-01-19T15:54:24-05:002019-01-19T16:21:01-05:00The Kindergarten Teacher - #52FilmsByWomen<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/005a99cb8463fd7a004f3255720e6e0e86021e6c/original/kindergarten-teacher1.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>I thought about a lot of things while watching <a contents="The Kindergarten Teacher" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=8n1NP6w5lXs&t=30s"><strong>The Kindergarten Teacher</strong></a>. One being; “wow… I can't believe I actually feel <em>sympathy</em> towards this woman,” and the second being; “how in the WORLD has Maggie Gyllenhaal never won an Oscar?” The latter is something I could rattle on for hours about in regards to both of the Gyllenhaal siblings (IT’S CRIMINAL, RIGHT?), but I’ll save that rant for another day. </p><!-- more -->
<p><a contents="The Kindergarten Teacher" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=8n1NP6w5lXs&t=30s"><strong>The Kindergarten Teacher</strong></a> is the sophomore feature from director Sara Colangelo. It’s an American remake of Nadav Lapid’s Israeli film of the same name and follows a woman named Lisa Spinelli (Maggie Gyllenhaal) who’s a Kindergarten teacher by day and a budding poet in the evenings at her night school. She longs to be as well-read and eloquent as the poems that are read by her classmates but begins to lose self-esteem when receiving criticisms from them and her arresting instructor (Gael García Bernal), who believe her work to be mediocre at best. She’s a woman who appears cool, calm, and collected on the outside, but is practically screaming for affirmation in her work and personal life on the inside. Colangelo so expertly captures these feelings that you feel a sense of commiseration for Lisa, even when things take a disturbing turn. </p>
<p>One day, as students are heading out the door for home, a young boy from her class begins mumbling and pacing back and forth. She pauses and asks him to repeat what he said while quickly scribbling it down, realizing that the words this young boy has so nonchalantly spoken are actually stunning and powerful verses – something you wouldn’t expect to hear from just <em>any</em> child. Lisa becomes obsessed with this little boy and his “gift”, even using his own poems in her night class which leads to an awe-struck reaction from her peers – filling up the empty void inside of her that craved validation. </p>
<p>What’s so mesmerizing about Lisa is that you feel sympathetic towards her, even as she slips down a steep slope of inexcusable behavior. Colangelo’s script is so well-executed that, as time ticks on, it narrows and has Lisa walking a <em>very</em> fine line. Her advice teeters towards manipulation, making for tension so thick that it feels suffocating. Gyllenhaal only elevates this tension with a captivating performance that really leaves you wondering just how far her character is willing to go to get what she wants. </p>
<p>Want to know something cool? You can watch this on NETFLIX. Have at it, friends! Then we’ll gather for a rant on Why The Gyllenhaal’s Deserve Oscars Right Now, Dammit. </p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/55952112019-01-14T13:48:35-05:002019-01-14T13:49:50-05:00If Beale Street Could Talk<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/02d9958d10edac12ab8c45d5b379c6e9ba7b2f0c/original/ifbealestreetcouldtalk-stephanjames-kikilayne-bridge-700x316.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Barry Jenkins is a filmmaker with a compassionate eye. He doesn’t just <em>tell</em> a story, he immerses you with the utmost care into a delicate tale that requires love and patience from its audience. You feel every emotion that befalls the characters as the camera occasionally, and with grace, focuses on their face and takes a brief moment to allow the viewer to put themselves in their shoes. It's a powerful moment of intimacy that’s guaranteed to leave an impression. You fall in love with the poetic atmosphere, the music, the characters… it's a beautiful experience. His previous Oscar-winning movie <a contents="Moonlight" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=9NJj12tJzqc"><strong>Moonlight</strong></a> was a true testament to the tones that he values in his narratives and his third feature-length film, <strong><a contents="If Beale Street Could Talk" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=lMHWHGSqrsM">If Beale Street Could Talk</a>,</strong> is a follow-up that sweeps you off your feet while simultaneously breaking your heart in an eloquent adaptation of James Baldwin’s acclaimed novel. </p><!-- more -->
<p><strong>If Beale Street Could Talk</strong> is set in 1970’s Harlem and follows the passionate romance between Tish, played by an instantly lovable KiKi Layne, and her fiancé Alonzo, played by a charming-as-ever Stephan James, who's known as “Fonny” to his friends and family. The couple’s life is derailed when Alonzo is put in jail for a crime that he didn’t commit, which is where our story begins. The film opens with Tish visiting Alonzo in prison to inform him that she’s pregnant with their child – information that Alonzo struggles with at first, since they’re not officially married, but then settles into a feeling of joy and excitement that Tish carries with her while delivering the same news to her family. </p>
<p>Tish’s family is light-hearted and kind, especially her mother and father played by Regina King and Colman Domingo respectively, whereas Fonny’s family is more orthodox and lack a closeness that Tish’s family radiates. The two family’s meet for a brief moment, to toast to new life, but tensions arise when disagreements form over what will happen with the baby. Fonny’s family, excluding his father, believe that it’s unholy for the two lovebirds to have a child together when they haven’t tied the knot. Tish’s family believes that the baby will be loved no matter the situation it’s raised in. From this point on, the movie centers its focus on Tish and her family as they work to prove Fonny’s innocence while helping bring this new baby into the world. </p>
<p>There are so many aspects to this movie that slowly weave themselves together to wrap you in a warm, comforting embrace. From the beautiful pastel color palette to the electrifying score by Nicholas Britell, every detail beckons you into the narrative and welcomes you with open arms. It’s a story that’s rich in its atmosphere and masterfully crafted in its writing and direction. KiKi Layne and Stephan James emit young-and-in-love energy that feels realistic and refreshing. The audience doesn’t need convincing; their connection appears effortless, especially through those direct moments of looking in the camera. Each close-up focuses on the emotions that they’re experiencing, and longs for you to feel everything with them. The accompanying score in these scenes flutters like a beating heart that’s jittery with first-love nerves and further draws you into the world that Jenkins created. These are the moments that he truly excels in as a director. He knows how to perfectly capture an aura for a story and submerge you right in the thick of it. </p>
<p><strong>If Beale Street Could Talk </strong>is a distressing tale of a couple who's stuck in a battle against a racist and unjust system that wishes the worst on them. It’s gorgeously shot and layered to the brim in messages of importance. Like his previous films, Jenkins doesn’t want you to cautiously dip your toes in, he wants you to take the full plunge – and I’ll gladly dive in head-on for any film of his.</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/55477632018-12-10T13:44:25-05:002020-08-30T13:19:00-04:00Spider-Man: Into the Spider-Verse<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/75e9006bc872524b08df3b5c4469ef4c47a940fe/original/spider-man-into-the-spider-verse-trailer.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />“That person who helps others simply because it should or must be done, and because it is the right thing to do, is indeed without a doubt, a real superhero.” This quote, featured at the end of this film from the late, great Stan Lee, perfectly encompasses the beautiful message within <a contents="Spider-Man: Into the Spider-Verse" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=tg52up16eq0"><strong>Spider-Man: Into the Spider-Verse</strong></a>… </p>
<p>Anyone can wear the mask. </p><!-- more -->
<p><strong>Spider-Man: Into the Spider-Verse</strong> brings audiences into the world of Miles Morales -- a comic book character that was created in 2011 by writer Brian Michael Bendis and artist Sara Pichelli, and this film marked his first foray into the cinematic world. </p>
<p>If there’s one thing that<strong> Into The Spider-Verse</strong> wants you to understand right off the bat, it’s that they <em>know </em>you're fully aware of the iconic web-slinger’s backstory. I mean, there’s been three different cinematic Spidey’s over the years, so we’ve had plenty of time to become acquainted with him. This self-awareness, definitely brought to the table by screenwriter and <strong>The LEGO Movie</strong> helmer Phil Lord, adds to the light-hearted tone of this film and almost acts as a reset for the Spider-Verse we know already. They’re ready to freshen up the scene, and they do it with relish. </p>
<p>From the opening scenes showcasing a vast, vibrant, pop art-styled Brooklyn, to the four walls of Miles’ room, you’ll be in awe of the incredible detail and the film’s literal comic-book-brought-to-life animation. Much like Peter Parker, Miles (played by <strong>Dope</strong> star Shameik Moore) is incredibly intelligent, but also has a keen eye for art – something his dad (Brian Tyree Henry), who’s a cop, doesn’t agree with when it comes to his graffiti. Even though he and his father don’t agree on some things, the love is still strong and very much there. When they’re not in agreeance, Miles finds comfort in his uncle Aaron (Mahershala Ali), who encourages him to embrace his talents and pursue his creative side despite what his father believes. </p>
<p>When uncle Aaron finds Miles a blank wall down in the subway to spray paint, a radioactive spider bites him on the hand, and soon he begins to feel the same symptoms felt by Peter Parker all those years ago. What’s great about this scene is how nonchalantly it’s played out. It’s delivered in a way to say, “Hey, this could have happened to <em>literally </em>anyone.” As Miles’ Spidey senses kick in, he returns to the scene of the bite only to discover Kingpin (Liev Schreiber) attempting to open a portal to another dimension – which introduces us to even more Spider-People from the Marvel multiverse. </p>
<p>We have Peter Parker’s Spider-Man (Jake Johnson), Gwen Stacy’s Spider-Gwen (Hailee Steinfeld), a Spider-Man from the 1920s and 1930s known as Spider-Man Noir (Nicolas Cage), an anime version of Spidey known as Peni Parker (Kimiko Glenn), and a looney tunes-esque pig named Spider-Ham (voiced to literal perfection by John Mulaney). Together, this motley crew comes together to bring down Kingpin and return to their respective dimensions before it’s too late. </p>
<p>With witty storytelling, lovable characters, and some solid laugh-out-loud moments, <strong>Spider-Man: Into the Spider-Verse</strong> is a fresh and exciting take on the familiar narrative of Marvel’s favorite web-slinger. Its bright, bubbly, comic book style also adds an extra layer of personality atop Miles' already wonderful origin story. I can’t wait to see more of him and all of the other Spider-People (Spider-Beings? Sorry, Spider-Ham...) down the road! </p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/55228072018-11-21T12:03:05-05:002018-11-21T12:28:21-05:00Ralph Breaks the Internet<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/eb906ea7c07483cad7b55ab4f7c0f669f94e52cd/original/la-1542422253-ra0badzpoc-snap-image.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /> <a contents="Wreck-It Ralph" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=vf4r5q8-aWo"><strong>Wreck-It Ralph</strong></a> is easily one of my favorite animated movies. At the time of its release, back in 2012, I was a 16-year-old that tore tickets, cleaned theaters, and filled concessions at AMC. On the day it premiered, I remember cleaning theaters and waiting for children, teens, and adults alike to exit the screening. I could hear everyone’s reactions as they strolled out -- It immediately piqued my interest. Honestly, I probably wouldn’t have checked it out if it hadn’t been for everyone and their mother saying how much they loved it, and I’m SO glad that I did! </p><!-- more -->
<p>Ralph, voiced by John C. Reilly in a truly perfect casting choice, is a bad guy who is really tired of being the “bad guy.” For 30 years, he’s been the villain in an arcade game called Fix-It Felix, Jr. where he pops up to wreck a building that is eventually put back together again by Fix-It Felix -- but for once, he wants to be the hero. To help aid his troubled thoughts, he attends weekly Bad-Anon meetings in the company of various other classic arcade baddies who all live by the affirmation, <a contents="“I’m bad, and that’s good. I will never be good, and that’s not bad. There’s no one I’d rather be, than me” " data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=FVAD3LQmxbw">“I’m bad, and that’s good. I will never be good, and that’s not bad. There’s no one I’d rather be, than me” </a>-- it isn’t enough for this big ol’ softie, though. He winds up going “turbo” – a term used to describe characters in games that go rogue and begin game-jumping – and heads off on a journey to prove that he can be a hero, too! Along the way, he meets Vanellope von Schweetz, voiced to high-pitch perfection by Sarah Silverman, who comes with her own set of problems within her game – namely, she has a glitch. This has made her an unplayable character in the sugary sweet racing game Sugar Rush. So the two set out to break the status quo and, while on their journey, form an incredible friendship. </p>
<p><a contents="Ralph Breaks the Internet" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=T73h5bmD8Dc"><strong>Ralph Breaks the Internet</strong></a> starts off six years after the events of the first film. We're once again back with our favorite duo who are hanging out and discussing life while character-watching in Game Central Station and later heading off to have root beers at Tappers. It’s the kind of bond between friends that many adults can giggle and relate to. Soon, a new system is plugged into Game Central Station: WI-FI. This magical new world is not available for characters to explore just yet, but Vanellope sees it as an opportunity to try out something new and different. So when her game is at risk of being shut down and requires a new part, she and Ralph set off into the vast open space of the internet to find it. </p>
<p>Their entrance into the internet is not only a gorgeously animated scene but so incredibly detailed that you’re guaranteed to find more apps and websites hidden away upon a second viewing of the movie. From older sites like Friendster to major apps like Snapchat, there’s so much to look at that it’s almost overwhelming. This includes pop-ups, which make their appearance in a hilariously abrupt fashion, and even the dark web! That’s easily one of the best parts of this movie -- it knows exactly what it’s working with and how to execute it with its audience. </p>
<p>Upon their arrival, they head to the KnowsMore (Alan Tudyk) search engine to hunt down eBay. After a misunderstanding as to how bidding works, they find themselves in need of $27,001 for the part. On the hunt to find cash, they interact with classic spam pop-ups (including the all-too-familiar: “wanna get rich playing video games?”), try their hand at going viral on Buzztube (Buzzfeed/YouTube) with the assistance of its sassy head algorithm named Yesss (Taraji P. Henson), and even wind up in a Grand Theft Autoesque game known as Slaughter Race. It’s within the intense hellscape of Slaughter Race that we meet the cool-as-a-cucumber stunt driver named Shank. Shank, voiced by the equally cool-as-a-cucumber Gal Gadot, is surprisingly easy-going despite the bleak and terrifying city she resides in. Her and her “family”, a definite play on the Fast and Furious franchise, are instantly lovable and capture the attention of little Vanellope. She feels as though she’s found her home, but leaving Ralph behind and making the decision to stay there instead is the internal battle that she now faces. She falls in love with the wild metropolis of the internet, and now she must learn how to embrace her passions and be independent. This is aided slightly by the Disney princesses in some INCREDIBLE scenes that’ll have you keeled over laughing. Seriously, they're some of the best scenes in the movie.</p>
<p><strong>Ralph Breaks the Internet</strong> keeps a steady and incredibly hilarious pace in its first two acts. By the third, it falters a tad and begins to break its stride. The story starts to drag on and you can <em>really</em> feel that near two-hour runtime. It almost seems a little unsure of what exactly it wanted for an ending. This doesn’t mean that I hated the film -- on the contrary, I actually really loved it, its story just exhausts itself towards the end. Despite this, it contains insightful messages and an overall premise that's brilliantly thought out. It's a delightful concoction of lovable characters and an enjoyable story, with just the right amount of adult humor sprinkled on top, that follows-up to its original and heartfelt predecessor with gusto! Truly a Disney film perfect for every age.</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/55151412018-11-15T14:12:09-05:002018-11-15T23:03:03-05:00Fantastic Beasts: The Crimes of Grindelwald<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/1b8cea85d0ac5ed56d6ff29cf32f336fcf86b86d/original/xgbebcjmfpryhdf7tq7u98erewp.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /> The mystical world of <a contents="Harry Potter" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=VyHV0BRtdxo"><strong>Harry Potter</strong></a> is one that I’ve grown up admiring and adoring. I remember getting the first movie on VHS and watching it over and over again until the cassette wound up breaking. Man, that's an old sentence. Every couple of years, we’d get a sequel that would feel even more exciting than the last. When it all came to a close, I was satisfied -- until <strong>Fantastic Beasts</strong> came around and immersed us into a whole new aspect of the wizarding world. </p>
<p>When <a contents="Fantastic Beasts and Where to Find Them&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ViuDsy7yb8M"><strong>Fantastic Beasts and Where to Find Them </strong></a>was first announced, I was skeptical as to how much more they could <em>really</em> add into this universe. It was a movie that dared to be different and introduced us to a character that, if you're a Potterhead, you may be familiar with from the Harry Potter books. If you don't know, “Fantastic Beasts and Where to Find Them" was a standard textbook written by Newt Scamander, a magizoologist, that Harry was required to purchase upon his arrival at Hogwarts. The book is actually available for all of us muggles to check out as well! Newt was a small part of Harry’s universe, but an intriguing one to explore. His story brought us further into the magical world that J.K. Rowling created.</p><!-- more -->
<p>The first movie took place in 1920’s New York and followed Newt Scamander on his wild adventures to track down, you guessed it, fantastic beasts! It was VASTLY different from the world of Hogwarts, but it still held that magical familiarity that made people fall in love with the original series and The Boy Who Lived. <strong>Fantastic Beasts</strong> is set to be a five-part franchise, and unfortunately, its second entry falls flat from the wonder of its predecessor. </p>
<p>The beginning of <strong><a contents="The Crimes of Grindelwald&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=8bYBOVWLNIs">The Crimes of Grindelwald</a></strong><a contents="The Crimes of Grindelwald&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=8bYBOVWLNIs"> </a>brings us back to MACUSA, or the Magical Congress of the United States of America, with Johnny Depp's Grindelwald locked away in a cell. While being transported from the US to Europe, he escapes and flies off into the night, which unfolds into a wondrous battle in the stormy skies. Newt, on the other hand, remains quirky and quiet amongst his various magical creatures. Side note: baby Nifflers are the most adorable things on the planet, and I will fight all who disagree. He’s paid a visit by a young Albus Dumbledore, played by the ever-charming Jude Law, who tells him that he must rescue Ezra Miller’s Credence Barebone before Grindelwald gets his grimy hands on him. </p>
<p>Many familiar faces returned for this film, but they lack so much depth that halfway through you begin to wonder if it was truly necessary to bring them back into the story. Katherine Waterston’s Tina and Alison Sudol’s Queenie are diminished to just being the “love interest." Their stories are barely pushed forward, and their characters are done no justice. To say I was disappointed with how that unfolded is an understatement. Even Dan Fogler’s Jacob Kowalski makes his return with a couple of standout moments that'll make you laugh but is ultimately brought down to just being a lonely fella that can’t go on without Queenie. These characters are barely kept afloat, and the new ones are hardly going to make a lasting impression. Even Zoë Kravitz’s acting chops were wasted on weak character development for an easily forgettable Leta Lestrange. </p>
<p>Amongst these watered down characters, there’s also a plot. Scratch that, there’s multiple, some of which go nowhere at all. Its underlying story remains constant, but its subplot’s stray so far away that you wonder why they included them in the first place. It feels chaotic, and in the end, you don’t feel especially thrilled with what’s meant to be a climactic and epic finale. Instead, you feel burnt out. On the positive end, this movie succeeds in its special effects. Even the animals are still lovable and creative in their design! It's visually spectacular and shows that, despite a muddled story, it still manages to keep the magic alive.</p>
<p>The wonder of the wizarding world lives on in <a contents="The Crimes of Grindelwald" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=8bYBOVWLNIs"><strong>The Crimes of Grindelwald</strong></a>, even if its lackluster story leaves something to be desired. It'll hit theaters this Friday, November 16th!</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/54685242018-10-13T16:42:37-04:002018-10-13T17:08:47-04:00Bad Times at the El Royale<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/257197/def2b056236fd41adac095e4bba05b79b0bcc4fa/original/badtimes2-0.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /> Drew Goddard is no stranger to crafting delightful meta-stories. His directorial debut <a data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=NsIilFNNmkY"><strong>Cabin in the Woods</strong></a> was a fantastic horror comedy that embraced the scary movie tropes we’re all-too-familiar with and shocked us with its originality and self-awareness. He’ll make you believe you’re watching one thing, then strap you in for a metaphorical rollercoaster through sub-genres that will have you leaving the theater feeling surprised at how much you <em>actually </em>enjoyed it. It definitely leaves you eager to see what he makes next.</p><!-- more -->
<p><strong><a data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=y7wzBVARwaU&t=11s">Bad Times at the El Royale</a> </strong>is about a seemingly deserted hotel called the El Royale in Lake Tahoe. It's split down the middle by the border of California and Nevada. You have the option of staying in either state -- choose wisely. The film kicks off with a frantic Nick Offerman stumbling into a room at what we can only assume is the El Royale. The camera remains in one place as we watch him pull apart every corner of the room to bury a bag under the floorboards. Not long after, a man knocks on the door and shoots him in the head. These abrupt incidents are what push this sly noir into Pulp Fiction territory. Much like the bistate border in the El Royale, the story balances on a thin line for a crime thriller – occasionally tipping over the side into extremes that keep you on edge. </p>
<p>We flash forward ten years and meet four guests that are all checking in. Jeff Bridges plays a priest named Father Flynn, Jon Hamm is a salesman named Laramie Seymour Sullivan, Cynthia Erivo is a songstress named Darlene Sweet, and Dakota Johnson is the mysterious hippie filled with very few niceties and a TON of attitude. Once this wacky bunch obtains their keys and settle in, the thrilling narrative begins to unravel. </p>
<p>Laramie is the first to discover the secretive side of the hotel. Inside the maintenance closet, there runs a long hallway filled with windows. Each one is a two-way mirror and looks directly into a room. Creepy, right? As Laramie makes his way down the hall, he begins to see what each person is <em>really</em> doing in their respective rooms. What makes this scene so incredible is the ominous sound of Darlene singing acapella to The Isley Brothers' "This Old Heart of Mine" -- as heard through a speaker in the hallway -- while Laramie roams from window to window. It’s a tracking shot that leaves our characters vulnerable and the audience even more intrigued. </p>
<p>As the story continues, title cards pop up to inform us of who we’ll be learning the backstory of next. It’s fun, exciting, and helps to enrich the story and the characters. This movie boasts a strong cast that keeps the narrative afloat even when it starts to sink. </p>
<p>While we have plenty of development for our core characters, Chris Hemsworth's "Billy Lee" is shoehorned in towards the end as a crazed cult leader, similar to that of Charles Manson. It’s an interesting take that fits the late 60’s time period that the film is set in, but fails to effectively hit its mark -- despite his snazzy dance moves. Once he's introduced, the story begins to drag on into its third act and all-in-all the finale of the 2 hour and 21-minute runtime ends up feeling a bit lackluster. </p>
<p><strong><a data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=y7wzBVARwaU&t=6s">Bad Times at the El Royale</a> </strong>weaves together multiple narratives into a Tarantinoesque story that's stylish and entertaining but ultimately gives way to the weight of its third act -- falling off the line that it balanced on so well in the beginning.</p>Hannah Hoolihantag:hannahhoolihan.com,2005:Post/54528742018-10-02T21:23:01-04:002018-10-02T23:19:56-04:00First Man<p><img src="//d10j3mvrs1suex.cloudfront.net/u/257197/11b6bcc07b3350aabc6d2fe4cfe3a958c9804182/original/first-man1.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Damien Chazelle has proved to cinephiles all around the world that he isn’t confined to one genre. From his first jazzy movie musical <a contents="Guy and Madeline on a Park Bench" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=3xT8QGWHxRk"><strong>Guy and Madeline on a Park Bench</strong></a> in 2009 to the intense drama <a contents="Whiplash" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=7d_jQycdQGo"><strong>Whiplash</strong></a> in 2014 to the colorful and wondrous musical <a contents="La La Land" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=0pdqf4P9MB8"><strong>La La Land</strong></a> that swept us all off our feet in 2016, he seems to transition flawlessly - always keeping a little bit of jazz in his back pocket to sprinkle into his stories. </p>
<p>Now, we’re escaping the city of stars and heading up into a galaxy of stars. </p><!-- more -->
<p>Chazelle didn’t slow down after winning his Best Director Oscar in 2017. In fact, his next film had already been in development for quite a while. With the help of Oscar-winning screenwriter Josh Singer, Chazelle teamed up once again with Ryan Gosling to tackle something new and different: a biopic. <a contents="First Man" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=PSoRx87OO6k"><strong>First Man</strong></a> chronicles NASA’s mission to land a man on the moon, with Gosling playing astronaut Neil Armstrong.</p>
<p>Chazelle delivers his most audacious work to date while telling a very personal story.</p>
<p>Shot on grainy 16mm and 35mm film, with the occasional IMAX 70mm, the opening scene takes us back to 1961. Accompanied by a slow-building score from Damien Chazelle’s longtime musical collaborator Justin Hurwitz, the first shot has us hurtling up into Earth’s atmosphere alongside Neil in an X-15. The anxiety is palpable as the ship rattles upward. The combination of incredible sound design and shaky camera movements leaves you white-knuckling your arm-rest feeling hopeless and claustrophobic. When the chaos comes to a pause, we get a fleeting glimpse of the magnificence that lies outside the ship, appearing almost peaceful in its never-ending darkness. This tranquil moment is short-lived as things begin to malfunction, and Neil realizes that the rocket is unable to descend. He fidgets with buttons and finds himself bouncing off the atmosphere and struggling to regain control. He’s soon able to stabilize the craft and make his way back down to the Earth’s surface, but Chazelle does an incredible job at capturing these moments of peril and making you question the story that you already know. It’s a recurring pattern throughout this film that helps to keeps you on the edge of your seat. </p>
<p>From one distressing scene to another, we then see Neil and his wife Jan, played by Claire Foy, watching their daughter Karen in a hospital room. We learn that Karen is suffering from a brain tumor. She passes away and Neil believes, during his grieving period, that he can start anew by applying to NASA’s Gemini program. He’s accepted and the family moves to Houston. </p>
<p>Compared to movies like <a contents="Apollo 13" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=KtEIMC58sZo"><strong>Apollo 13</strong></a>, Chazelle put his focus on the astronauts and the things that they hear in their day-to-day life instead of zeroing in on the final frontier. It almost feels as if there’s added anxiety from this point of view. When you’re constantly hearing about malfunctions and having to accept the losses of your friends, it’s easy to see how traumatic the process is. Everyone wants to move up the ladder, and everyone knows the cost. As the space race grows in intensity, so does the competitive and obsessive nature surrounding the program and everyone within it. We slowly watch Neil become emotionally detached from his family and friends the more that he climbs the ranks. </p>
<p>Gosling delivers a compelling performance as Neil. He’s an incredibly smart engineer with a can-do attitude who has also grown accustomed to burying his feelings deep below his stoic exterior. His wife Jan (Claire Foy) carries the emotion in the story and makes the most out of the little screen time that she has. She’s honest with her anger and anxieties and you can understand it as the viewer. She knows what his job entails and that there’s absolutely no guarantee that he’ll even make it back alive. She’d rather confront that truth than bury it. </p>
<p><strong>First Man</strong> is a marvelous spectacle and an astounding feat for Damien Chazelle. It celebrates the success of Apollo 11, but acknowledges the long and heartbreaking path that Neil took to get there – and that’s the most important piece in its out-of-this-world puzzle.</p>Hannah Hoolihan