  It had been nearly a decade since I last visited City of God. I described this to my friend as a brutal and hard to watch film about kids with guns dealing drugs. To my surprise, the experience was not hard to watch at all and in fact it was very entertaining. I think you can contribute this to the film's soundtrack, which has a heartbeat of funky samba dance music. So despite what you're watching being violent and terrible, the music makes it go down easy. There are a few moments where the music stops and it lets the emotion hit you. For instance, this one sobering scene where a man buries his cheating wife alive in the floor of their home. The music stops so you can hear his whimpering sorrow. But then it turns right back on! We mainly follow 3 characters Rocket, L'il Dice, and Benny. All of them grew up together and somehow get wrapped up in the drug trade in Rio De Janeiro. It's a heartbreaking true story that demands to be watched and you should. This has held it's place in the top 25 highest rated movies on IMDB for a long time, and in my opinion it's earned that spot. The young actors are phenomenal, the cinematography matches the energy of the score, and it doesn't shy away from the brutality of this real place in time. Its a movie that feels alive. When you turn it on you are no longer a viewer but a participant. Be careful.
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  "You see, my momma was banging the milk man."
In the end of the movie, Will's kid is swimming in the pool and retelling his grandfathers stories to his friends. His grandfather's legend lives on. As the credits rolled I couldn't help but feel a slight bit of jealousy. I don't have any great stories of my grand parents, who are both deceased. I then started thinking about how things have changed since this movie released. Stories aren't told as much anymore, at least not real (or not so real) stories from families or friends. There's too many distractions in our time. I would tell Will, the son of our protagonist Edward, to relish those stories. Even when he's heard them a thousand times, because I wish I had those to cherish. Tim Burton's film is an easy watch with gorgeous visuals and lots of fantasy, which you'd expect from a Burton film. Ewan McGregor leads a colorful cast starring Steve Buscemi, Danny DeVito, Helena Bonham Carter, and even a young Miley Cyrus. Everyone plays their part in recreating the bigger than life memories that Edward tirelessly shares with everyone he meets. The script is amusing and funnier than I remembered, but ultimately it's a bit hollow. The best parts of this movie are the stories being played out and the spectacle of it all. When it comes time to wrap up the story there isn't much of an emotional punch. Like Will, we never really come to understand the heart Edward outside of the things he's done. Still I found enjoyment in this film and it's a reminder to listen extra closely next time a relative or loved one tells a story. In the end that's how we all live on.   Miyazaki has never presented a boring world on screen. His legendary skills and the work of the amazing team at Studio Ghibli are reason enough to experience all of their animation. Spirited Away and Nausicaa of the Valley of the Wind are two titles I'll always remember and revisit often. Howl's Moving Castle also has such notoriety and in some ways it's deserved. The work of the English dub cast was incredible. Howl's castle is a memorable sight that I almost felt wasn't explored enough. I was excited for every twist and new character. There's so much to take in and then it ended, without ever really grasping my emotions. I believe this has a lot to do with Sophie's character and how her story plays into this amazing world. Sophie is cursed at the beginning of the film and immediately leaves her home out of shame. She is then swept into Howl's story by chance. Howl is a powerful wizard during a time when powerful wizards are being called to battle. However, Howl doesn't want to fight. We're given snippets of lore but ultimately Sophie is the main character and we only witness what she does. There seemed to be so much more ambition beyond the scope of Sophie's plot line, which was the weakest aspect for me. I'm not saying the film is a disappointment because I did enjoy it and I do recommend it. I just wanted so much more than I was given. Almost like I was cheated out of the real story that we only see develop in the background. It's just that Sophie isn't interested in war.   Growing up I played enough 007 games featuring Pierce Brosnan's James Bond to consider him the one and only. Even though I was only 10 years old for the release of Casino Royale, I somehow felt like they were ruining something sacred to me. So I avoided the series, as my love for classics grew with my age, and I never got around to watching them until now. I'm now 24 and can admit I was missing out as a teenager. I could have learned a lot from Daniel Craig's Bond, who's cool and suave but more importantly human and emotional. I'm not a fan of blockbluster action flicks or narcissistic assholes. I expected this to be both of those things and to my surprise this embodied neither. The pieces of action are fun and well choreographed and the finer moments are acted with sincerity and beautiful landscapes in the background. I'm very excited to continue watching the anthology, which I'm now glad I purchased!   John Nash lived until 2015 and his life meant a great deal for both the world of higher education and for those struggling with schizophrenia. Outside of this film I didn't know much about him and I'm grateful for this experience which educates audiences about this man. Unfortunately, I don't think this film does a very good job of relaying what makes him so important. He's a genius. We come to understand this fact early in the film but I still couldn't tell you what he did as a mathematician. Even though it's the primary focus of the first act of this film, or so you think it is. Like many big releases of the 2000s, this film tries to be too many things. It strives to be a drama, romance, and even a thriller with a big twist. I think at the heart it's a fine romance film and those are the scenes I appreciated the most. Jennifer Connelly is the best thing on screen for the first half. Her presence is spectacular. Until the second half of the film when the script slows down finally allowing Russell Crowe a moment to act, then he becomes a fine match for Connelly on screen. Overall, it's the second half of this film that really nails it. The first half is bogged down by mathematical babble that isn't explained and a few scenes that serve no greater purpose than setting up the film's twist. By the end, after Nash's great speech, I became a blubbering mess. Though if this film was about a fictional character I don't think it would be as rewarding. Is that cheating? I'm not sure. There are not many 2000's films I'd want a remake of but this would be one of them. Nash's struggle with schizophrenia is important to remember and I think this story could be told in better ways.
  Looking back on The Hangover after a decade of comedies failing to achieve what this film did, was honestly a really fun time. 2007-2009 were the golden years for comedies; Superbad, Pineapple Express, Forgetting Sarah Marshall. As a pastors kid unable to watch R rated films, I missed out on more talked about movies those few years than I did my whole childhood. Comedies played by different rules during those times and if we're being honest a lot of these films would be canceled if releasing today. Though I believe appreciation is still due. All the films I named including The Hangover make me laugh a lot. There's a lot of jokes I just didn't get as a teenager that I can now appreciate. Though in this case there's more jokes targeted at 13 year old's than their is intelligent viewers, but that's okay. It keeps me laughing and paying attention for most of it's screen time and that's just about all I'm asking for here. The Hangover may not be my favorite from the golden years but it's awesome to see these 3 guys back together.
  I won't waste time describing this films famous narrative device or even discussing the plot of the film. Chances are you've see it already. There's no great mystery to unravel or intelligent screenplay to analyze here. This film for a lot of people, especially Americans, was an introduction to India. The best thing this film does is bridge the old India and the new India together through Jamal (Dev Patel). Jamal has seen a lot. His life experience helps him become a millionaire. Though the title itself spoils that ending. He lives through the transitioning period in which India developed from a slum into a global business hub. Just as Jamal goes from rags to rajah so does India itself. The performances are great all around, the cinematography captures India through many different lenses, and the pacing is mostly spectacular. There is a few times in the second half of the film where the films energy felt rather insensitive. Displaying tragic violence and splashy entertainment side-by-side is an editing issue and it rubbed me the wrong way. Otherwise, I really enjoyed my revisit to this best picture winner.
  Director James Wan and writer Leigh Whannell have one hellish track record boasting some of the most talked about horror films of the last two decades. These are not filmmakers who you can simply write off as bad, even though some may try. While sticking mostly to a similar formula, they've managed to find new ways to scare their audience. They make entertaining, crowd-pleasing experiences that take full advantage of the theater landscape, or of a late-night viewing at home. The original Saw is one of their better films too. Even with admittedly shallow characters this film never manages to get boring. John Kramer's games have inspired many evil playgrounds which quickly became non-sense. This first game however is all about the mind of it's victims. We're given time to understand the motive of each unlikable character until we find ourselves hoping for a good ending. Kramer knows his toys too well for that.
  Experiencing David Lynch's most awarded film is like listening to a dream from someone who once lived a traumatic life in Hollywood - the city where dreams are made. Mulholland Drive is like a reoccurring dream though. Where characters sporadically reemerge, reform, and say things that don't usually make sense. Logic is not something Lynch hoped to create here. If you need logic to keep you grounded, as Roger Ebert says in his review of this film, then go watch something else. Instead Lynch creates a dreamscape that seems like it has something to say about Hollywood but rather not share. Sure, there is somewhat of a storyline. Confident viewers might leave this experience with ideas about what was reality, who was really who, and the meaning of it all. But I've seen it twice now and I swear I saw two different movies. Perhaps a third viewing will leave me with new revelations. All I know now is that I'm intrigued enough to keep watching. Its funny that Mulholland Drive is said to be based off scenes Lynch recorded for a TV show that never aired. I would have gladly been a fan.
  If this film had a happy ending it would be a completely different film. But instead, Korine's Spring Breakers shifts it's focus to the dark side spring break. Who doesn't leave the beach after spring break? What gangsters are profiting off these fun seeking college students? I saw this film in a completely different way my second viewing. In 2012 when I first watched it my review was along the lines of, "boobs were nice." Now I understand that 'Spring Break' is the only place no bra is acceptable. It's a world free of judgement. The 4 beautiful lead actresses are always presented in a very uplifting way. They have the power. The power of beauty and freewill. What I mean is, for example, there's one scene where the really wild group member Cotty is in a room full of college boys. She has her breasts out and she's having a great time. But whenever any guy tries to grab her attention she denies them. She probably left that party without sleeping with anyone completely satisfied just with the experience of being open and desired. More power to her! At one point brittany spears is even referred to as an angel. These girls are free and beautiful and Korrine never portraits them as simple eye candy, despite what it may seem. Remember, this is a 'blockbuster' film in disguise. It's a joke you have to understand director Harmony to get. Beautiful girls, beach trip, loss of innocence, the 'trailer' for this film is purposefully misleading. This is about the dark side. It's honestly a dark film overall. And Korine is always changing how he tells story's. If you don't like it, maybe try again later. It's not for everyone. It wasn't made to be.
 Gravity weapons, alien politics, a funny looking English guy- what more could you want from a Sci Fi film? District 9 released when it was still really cool put PETER JACKSON on your poster (even though he only produced it). Yet, this film about aliens becoming a hated minority in the city of Johannesburg deserves the approval from the Lord of the Rings director. It's one of the rare early 2000s sci fi films that still holds up in 2021. While it takes full advantage of what 2009 had to offer it terms of CGI, it's story is still what sells it the most. If you watch this movie again you won't doubt it and when the action begins in the second half it's nonstop fun bursting with creativity. I mean, he throws a pig with a gravity gun to eliminate an enemy. C'mon!
  There's one scene from this film that's haunted me ever since I witnessed it as a child. Today this film haunts me for a completely different reason. I also now know why I wasn't allowed to finish watching it all those years ago, and last night as the credits rolled, my eyes watered. This is a great film. It's also a film I expect to love much more as I grow older. Guillermo del Toro and his talented crew have crafted a masterful fairy tale for adults. A fairy tale grounded in reality of all things. Where the dreaded evil is one that actually existed. Through his use of swiping transitions, as the camera goes around one corner to the next, a new scene begins without missing a beat. This technique is purposeful in showing that the fairy tale world that Ofelia explores exists right around the corner of the dreary war. They exist together. Though now I understand that the despicable Vidal is much scarier than the monster Ofelia discovers.
  I've never laughed more at another person doing drugs, than I have laughed at Seth Rogen. I love when he does drugs. It's hilarious. In 'The Night Before' we get to see him take all sorts of goodies. Pineapple Express is a bit more self-explanatory (if you know, you know). This film is all for fun but if it did explore something serious it's the relationship between a pot-head and his drug dealer. I don't think there's any other film that understands this dynamic more than this one does. James Franco's pot dealing Saul is a genius performance. Danny McBride as Red (the drug dealer's drug dealer) is also great. All around it's a ton of fun and if you understand weed culture you'll love it. If you don't maybe try smoking some weed ang enlighten yourself. I promise you'll pee laughing. My only complaint is that the last act of this film is too much. Too much action, not enough weed jokes. But otherwise, very nice!
  "One really can't be too careful when it comes to home invasion."
One of the first lines of the film made me chuckle. It's said by a snobby real estate agent who's showing the house, which is a metaphor for the board this game will be played on, to Jodie Foster's character, Meg. She is one of our players. The salesman says this quote while describing the functionality of the panic room, which is obviously very important to this game. And then the tutorial is over. The game begins. David Fincher's 'Panic Room' is a really fun movie. Unlike his earlier release 'The Game' from (1997), the rules now are much tighter, which makes the realism believable. Successfully elevating this from your typical home invasion thriller. Forest Whitaker's Burnham is the other player. A security systems installer who worked on this very house, and who was hired to help steal millions from this very panic room. We learn that he's trying to pay for a custody battle hoping to stay close with his kids. Considering Meg's daughter Sarah ( who's played wonderfully by a young Kristen Stewart), is in the home, the situation dives into some very complex and well thought out strategy from both our players. Saying any more would be spoiling it. It's well worth a rewatch. Even though it's one of Fincher's more generic films.   You know it’s a Fincher film when it’s either starring Brad Pitt or there’s a badass intro. This one features the ladder and it’s honestly the best one, which is fitting because this is one of his best films. I won’t claim to know the source material but I am really interested in this story. I say interested because “like” or “enjoyed” are too positive of words to describe such a hard-edged, often stomach turning screenplay. Considering Fincher is the master of producing anxiety through the screen it’s a fitting choice for him and it manages to be his darkest film since Se7en (1995). What I’m saying is this film is not for everybody. If you’re willing to brave it though you’ll discover one of the most badass women heroines on screen, Lisbeth Salander (Rooney Mara). She’s both fierce and haunting. On the other end is Mikael Blomkvist (Daniel Craig), who’s both likeable and charismatic enough to be a journalist. These character’s develop separately and when they come together in the second act it’s a powerful thing. Don’t get the wrong idea though, this isn’t a love story. You’ll be happy to just see Lisbeth smile. This is about two talented people naviagiting a murder case amoung detestable nazi scum. There will be blood.
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