Nothing else to say
“Our next movie is quite simply a masterpiece…”
So said Roger Ebert on one episode of Ebert & Roeper back in 2002. The movie in question was Spirited Away, and up until that point, my knowledge of anime did not extend beyond the Pokémon TV show.
Looking back at my Letterboxd ratings of the first two Avatar films, I realize that there is a slight decline.
That is not at all to say that “The King of the World,” James Cameron, is losing his touch as a filmmaker. His original world-building of Pandora and the Na’vi is so mesmerizing to see that it is becoming redundant to say so. In Avatar: Fire and Ash, the tradition of outdoing the previous film with truly special effects continues. The problem, as has been stated, is the writing (which is also by Cameron).
I know, I know. This is three movies instead of one.
Yet as the very overused meme would say, “one does not simply pick one of the films in The Lord of the Rings Trilogy.”
Of all the 25 films I have on my list, none has me more at a loss for words than 2011’s The Tree of Life.
I recently tried watching it (my Blu-ray got busted up halfway through, so it looks as though I will need to get the Criterion Collection version after all), but it was enough to remember two things: This is one of the most visually stunning films in my lifetime, and I am still not entirely sure what to make of it.
At the end of my review of the first Wicked film, I mentioned how I worried about the fact that, as someone who grew up a fan of the musical, the best songs were always in the first half. That is not to say that the second half hasn’t got its share of good tunes, but it is hard to compete against the likes of “Defying Gravity”, “Dancing through Life”, and “Popular” (which I did a spot on lip sync version to as a camp counselor this past summer. Just saying.)
Now, after a yearlong intermission, we are back in Oz with Wicked: For Good, and I regret to say that my fears were realized: It was not just the songs that did not live up to the first half, but the second half as a whole.
By the time her film Nomadland (2020) had won her Best Picture and Best Director Oscars, Chloé Zhao had already finished her attempt at a superhero film, Eternals (2021), considered by many to be one of the most inferior in the MCU library (I know it is not good, but it is not near as bad as some of the others).
I never once thought to blame her for that and knew that her next film would demonstrate she is still a bona fide talented filmmaker. Well, I was more than correct, because after seeing Hamnet (her fifth feature film in ten years), she exceeded my expectations as someone who is truly a cinematic poet.
Looking back, most would agree that no other year this century had a more top-notch lineup of films than 2007 (although 2019 would come to mind).
That said, it is somewhat forgotten that the year was also solid in its output of musicals. You had originals like Enchanted (which showed the world how alluring Amy Adams can be) and High School Musical 2 (though not as adaquate as the original in my book, the music to that trilogy had popularity like you would not believe). Then there were stage-to-screen adaptations, such as Sweeney Todd: The Demon Barber of Fleet Street (one of Tim Burton’s very best films) and Hairspray, which took delight to a whole new level. Still, no musical (of any year) had me rushing to iTunes to buy the whole album quicker than Once.
Who would have thought that a Predator had personal problems?
Apparently, director Dan Trachtenberg.
The formula for the first few Predator films (I have only seen the first two of the ones made before Trachtenberg) was reminiscent of the Alien films (which, oddly enough, I also have only seen the first two of that franchise): a bunch of humans are in the near vicinity of an extraterrestrial monster, and only a few survive. Then, in 2022, Trachtenberg came in and made the film Prey, which used somewhat of the same approach but in the early 1700s with Indigenous peoples. Now, he flips the script with Predator: Badlands, asking the question: What does it mean to actually be a Predator?
The predator protagonist in question is Dek (Dimitrius Schuster-Koloamantangi), considered the runt of the clan (and in the Predator species, runts are seen as too weak to be allowed to live), but still eager to prove himself. So eager, in fact, that when it comes to finding the adversary, he must hunt to be accepted, he goes after an unkillable monster called a Kalisk.
Upon landing on the creature’s home planet of Genna, Dek runs into Thia (Elle Fanning), a damaged android who is only accepted by Dek (since Predators only work alone) when she is seen as a “tool”. She is in search of her counterpart, Tessa (also Fanning), whom she was separated from after their last encounter with the Kalisk. They also encounter a monkey-esque creature that Thia names Bud, whose true objective is to steal every scene it is in (and succeeds with hardly any effort).
The planet of Genna itself is indeed dangerous, but not “bad”. It does have some rather inventive naturalistic dangers to behold, such as blade grace, an unstable purple cactus thingy, and exploding caterpillars/slugs. The result is (mostly) rather profound CGI that does not feel like a low-rent MCU film that is almost always in front of a green screen.
Parents, this is a rare case where I actually agree with a film being PG-13 instead of R. There is indeed violence and blood (albeit green blood, since that is what a Predator’s blood color is), but there is no sexual content or nudity. There is some swearing, but nothing drastic. In my theater, I saw a dad with his two sons, who were probably between 10 and 15. I would argue this is a great “guys’ night out” type of film.
There are clear homages to other films such as Aliens and The Empire Strikes Back (Thia is basically C-3PO even before she is being carried around like him). I read on Wiki how Trachtenberg is hoping to do at least one more film in this universe if Badlands makes enough money back.
I’d be down for it because he definitely has a caring mind for the material. Plus, I am a fan of Elle-3PO…or maybe it should be C-3P Elle.
Overall:
⭐⭐⭐⭐
Rating: 3.5 out of 5.
It is rather difficult trying to put into words my feelings on the films of Yorgos Lanthimos.
Granted, I have now only seen four of his films, which started with 2018’s The Favourite. I then went back to discover The Lobster (2015), which is possibly my personal favorite to date. Then came 2023’s Poor Things, which, despite having a wonderful performance by Emma Stone, was way too much for me (a reincarnated woman with a childlike mind discovering sex is just…no).
In High School, my english class always seemed to be one of the first of the day, and that was no exception back in my sophomore year.
Yet one day in January of 2004, I can safely say I don’t at all remember what we were supposed to be doing, because I was not paying any attention. We were in one of the computer labs (do those even exist anymore? I don’t know), working on research of some kind, but my mind was elsewhere: the Oscar nominations.
Nothing else to say