Artemis Fowl - Review: Straight to Disney+ For a Reason

Artemis Fowl - Review: Straight to Disney+ For a Reason

Starring: Ferdia Shaw, Lara McDonnell, Judi Dench, Josh Gad, Nonso Anozie, Tamara Smart, Colin Farrell, Nikesh Patel

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

Before I begin this review, I think it's extremely important to note that I haven't read any of the widely-acclaimed books that this film is based on. I understand that there are a large number of people who grew up reading them, and were eagerly anticipating the release of this film, much in the same way that I was anticipating the first Percy Jackson film so many years ago, being as big of a fan of the books as I was.

So understand that I am not entirely sure how this film will hit you, should you be an advocate for these books. Perhaps you will be infuriated at the critical panning this film has already gotten, or perhaps you will be part of the voices that tell of this film's weaknesses compared to the fantastic books.

If you're anything like with Percy Jackson, it would be the latter. I could not believe how horribly the filmmakers had managed to butcher a franchise that I held so dear at the time. Not only did they do it once, but they did it twice. And I pray they never have to do it again for Artemis Fowl.

Because, having absolutely no attachment to the series prior, I watched this film and was mixed with a sense of awe and sadness at how ninety relatively short minutes confused me so incredibly much. Indeed, while this film is not very long at all, being one of the shortest films that i've ever sat through, it managed to pack a story so befuddling that at a certain point, I continually found myself writing "I don't understand what the plot of this movie is" in my notes.

The story centers around a young protagonist named Artemis Fowl. However, much to my surprise, this isn't the only Artemis Fowl, as the film also focuses on his father, Artemis Fowl Sr. Young Artemis has to solve a mystery and save his father before a set amount of time. It seems relatively simple, no? And on the surface, it certainly is. And yet, underneath that simplicity, this film tries to do so many things that it buckles underneath the weight quite early on.

The film tries to introduce an entire mythology in a short ninety minutes, and while it manages to show us a great many creatures and people acting to CGI, it doesn't manage to establish any emotional attachment. Director Kenneth Branagh, director of the MCU film Thor, is known for his grandiose tales that ultimately have a beating heart at the center. And that's one glaring aspect that this film lacks. Despite all the fairies, CGI trolls, and magic flying through the air (including horrifying shots of Josh Gad's mouth - don't ask), this film doesn't give you as a viewer any reason to care.

Lead actor Ferdia Shaw plays Artemis Fowl. With this being his first feature-film role ever, I don't blame him at all for his performance. I don't believe many others would have been able to do much better in his place. But that does not mean his performance was good, because it certainly was anything but. While we are supposed to care about this character or Artemis Fowl and his relationships to other characters, I just could not get invested in his character arc. At points, I almost felt like a robot was delivering the dialogue, and again, that is by no means his fault. Anyone asked to be the lead of a high-profile film without any prior experience would not have been able to do better. But that again does not mean it's good.

The supporting cast surrounding Shaw are mediocre at best. Josh Gad does his best Batman impression, for some strange reason, as he talks the entire film as if he has a frog stuck in his throat. In addition to that, by no fault of his own, Gad looks like a splitting image of Hagrid from the Harry Potter franchise, which was rather distracting as well. I'm not entirely sure why the costume designers and makeup artists made that creative choice, but if you told me that his character really was Hagrid, I would've believed you. There is also a ridiculous framing device that see Josh Gad talking to the camera for at LEAST forty minutes of the film at various moments, which became incredibly distracting. The exposition is almost entirely delivered by his character, and not only that, but it's spoken straight to camera as if we're watching some kind of weird, twisted version of The Office.

The veterans, including Judi Dench and Colin Farrell, turn in fine performances for what they're given. The real standout seems to be Lara McDonnell, who plays a fairy named Holly Short. She seems incredibly invested in the role and does her very best to salvage every moment she can, which made her character instantly likable. 

And while the film certain does many things wrong, it is absolutely entertaining. Perhaps it is not meant to be entertaining at certain points, but, as compared to some other major blockbusters, this film is by no means boring (at least on first watch)l. There is always something to look at, and while that something may sometimes be laughably bad CGI, this film almost always had my attention, which is more than I can say for a great many films.

What truly sunk the film to me was the dialogue. The famous adage of "show don't tell" is entirely ignored, as I continuously heard phrases such as "Artemis is ______" or "Don't mess with Artemis because he's ______". The only character development I ever got out of ANY of the characters was from Josh Gad, who was spewing character development as if he was the screenplay writer at a storyboarding meeting. 

In the end, Artemis Fowl doesn't do many things right. The story is a somewhat confused disaster, the dialogue is horrendous (especially for Kenneth Branagh and a Disney film), and the acting is subpar at best. While the action and the visuals are enough to keep it mildly interesting for a viewer (the short running time doesn't hurt either), there is a good reason that Disney felt they couldn't make much money off of this film in theaters, and that's why it was sent directly to Disney+.

Starr Wars: The Clone Wars (Season 7) - Review: While It Felt All Too Short, the Series' Ending Cements Its Status in Star Wars Glory

Starr Wars: The Clone Wars (Season 7) - Review: While It Felt All Too Short, the Series' Ending Cements Its Status in Star Wars Glory

Starring: Ashley Eckstein, Sam Witwer, Matt Lanter, James Arnold Taylor, Dee Bradley Baker, Tom Kane, Katie Sackhoff

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

Disney Star Wars has not been doing well as of late. With the divisive Last Jedi, and the seemingly universally hated Rise of Skywalker, Kathleen Kennedy has needed to rethink her strategy when it comes to live-action films in the future of the galaxy far, far away.

However, one department that seems to be quietly thriving for Star Wars has been television. With the smash hit show The MAndalorian already finished shooting its second season, we turned to the return of the beloved animated show, The Clone Wars, as it made its triumphant return for a final season. 

The show, which was discontinued shortly prior to the acquisition of Star Wars by Disney, was allowed to return for one last hurrah as it merged straight into Revenge of the Sith. This show, which got off to a rocky start in the late 2000s, gained an enormous fanbase, including myself, as showrunner Dave Filoni was allowed to explore the period of time between Episodes 2 and 3.

Immediately, as we start out with the first arc of the Bad Batch, two of the key components that made this show so successful are showcased straight out of the gate. The first of these are the clones. The clones in the films are nameless, faceless soldiers that fight for the Republic, later turning on the Jedi. But what this show has done in the previous six seasons was show how the clones truly have an identity, especially with troopers like Captain Rex. 

The Bad Batch gives us a look into a different type of clone trooper, ones with genetic mutations that might be favorable in combat. It was an extremely solid arc, as we see Captain Rex return, struggling with his allegiance to the Republic while also working with an extremely unorthodox group of clones.

But the second element of Clone Wars that's made it so unbelievably successful has been Anakin Skywalker. From the very beginning, this iteration of Anakin Skywalker immediately replaced Hayden Christiansen in my mind as the true chosen one. This Anakin was assertive, he was quippy, he was grounded, he had emotions, he was subtle. I know that part of the problem was Lucas's script for the prequels that led to the downfall of Christiansen, but regardless, this version of Anakin IS the definitive Anakin for me, and whenever I think of Anakin, this is who I would think of.

So it comes as no surprise that the war general is featured prominently in the latter half of the first arc, getting to showcase some hints of the dark side. Without spoiling any plot, there's a line delivered by voice actor Lanter, where he yells, "I don't have such weaknesses!" that truly made me feel like Anakin, still the same good, pure Anakin, inclinations towards the dark side. This animated series truly did what two films could not, and for that, it has to be commended. 

However, this season is not without its faults, and the fault lies squarely in the second out of the three arcs, where we follow Ahsoka as she figures out her life after leaving the Jedi Order with two sisters, Trace and Rafa. Without pulling any punches, I would say this is one of the most terrible Clone Wars arcs they've ever done.

And that's a true shame; with only twelve episodes to bring fans back into the world, the fact that Filoni used these four episodes that could have been used for something else, say an arc featuring General Grevious or Count Dooku (both notably missing in the series save for one shot in the opening montage of the first episode), would have been much more welcome.

Instead, we get an absolutely horrendous arc as these two sisters, seemingly idiotic in their decision making, make mistake after mistake after mistake. One of the episodes was so horrendously bad that the characters literally end up in the same place they started in, from start to finish. 

That being said, and all that aside, we reach the final episodes of the show.

And they were truly breathtaking. 

The final four episodes primarily take place during the events of Revenge of the Sith. We see some very, VERY subtle and clever crossovers in places where it would make sense for the canon. Anakin and Obi-Wan make a triumphant return in the first episode of the arc, which is the best out of the four in my eyes, and both showcase why they are two of the best generals in the entire war. 

From there, Ahsoka is reunited with her master, and we begin the Siege of Mandalore, the eventual Order 66, and the fall of the Jedi. 

Granted, I do have two rather minor complaints about the last two episodes, before I gush about the overwhelming number of positives. The first of these is that the episodes felt much too short. The episodes in the final arc are partitioned into parts, and I wouldn't be surprised if Lucasfilm releases all the episodes put together as a film. It would certainly one absolutely incredible piece of cinema. Regardless, the episodes, four in total, are only about twenty minutes, and even the last episode was about 23 minutes in length. It did leave a lot to be desired; I really do wish that Filoni and his crew had just added the extra 5-10 minutes to each episode to make them longer. It would've made the last arc seem so much more meaningful.

The second grip e I have is rather small, and granted, a little wishful, but I feel like Filoni missed an opportunity to directly show at least a couple of moments from Revenge of the Sith with these characters. The Matt Lanter Anakin Skywalker is so incredibly different and more nuanced from the Christiansen version, that even seeing him turn against Obi Wan would've had so much more emotional weight. I can just imagine the scene where Mace confronts the Chancellor, and Anakin runs in. He sees the two, and starts telling Mace that he needs him, thinking about Padme, thinking about Ahsoka and how the Jedi Order failed her. That would have had so much more weight.

But we don't get any of that, and to their credit, the team behind this masterful show decide to focus primarily on Rex and Ahsoka. And that's pretty great as well.

One thing that has to be praised is the animation. Even between the first two arcs and the last one, the animation SIGNIFICANTLY improves. It's movie-level quality; gorgeous wide shots, the expressiveness of the characters, it's absolutely stunning. And another unheralded strength of this show has been the music. Kevin Kiner scores the last four episodes brilliantly. There were even moments in the first episode, before the credits rolled, that I legitimately thought John Williams came back to score these final four episodes. 

And let us not forget about one of the fan favorite additions/retcons that this show brought to the Star Wars universe: Maul. He's back, and his duels with Ahsoka are absolutely breath-taking. The animation was so clean and crisp, and seeing their fight was undeniably one of the best in recent Star wars, because each stroke felt like it had purpose behind it. 

In the end, this final season of Clone Wars left a lot to be desired, given that this was the final twelve episodes of the show that we would ever get. But as the show came to its glorious end, I couldn't help thinking that the series, started so many years ago, had come to a fitting, beautiful end that it deserved. And for that, I cannot thank Dave Filoni enough. 

Sherlock (BBC Series 1-4) Review: The Definitive Sherlock Holmes for the 21st Century

Sherlock (BBC Series 1-4) Review: The Definitive Sherlock Holmes for the 21st Century

Starring: Benedict Cumberbatch, Martin Freeman, Mark Gatiss, Louise Brealey, Andrew Scott, Amanda Abbington, Rupert Graves, Una Stubbs

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

This is a slightly different kind of review, seeing as this article will encompass the entirety of the show to date, which includes seasons 1-4 but does not include the special in which the cast goes back to the original late 1800s setting. That being said, even though in four seasons, and over 15 hours of content, I feel I can holistically review this show as a unit rather than in each individual season. And that purely stems from the fact that this show is so unbelievably consistent, that you don't feel like there are seasons at all. You feel like each episode bleeds into the next as part of one, giant episodical anthology.

While casting may not always be everything to a show or film, it can certainly be critical, especially when adapting from a source material, and especially when dealing with as iconic a duo as Holmes and Watson. And the casting of Benedict Cumberbatch as Sherlock Holmes may have been one of the best castings in the twenty-first century. Because with the new spin on the show, taking place in modern-day, Cumberbatch delivers an arrogant, sociopathic ,erratic, and yet endearing performance as the great detective.

Not ot be undone, Dr. John Watson, played wonderfully by Martin Freeman, takes center stage as well, unlike in the books where he often takes a backseat. There are certain points in the show where Watson, in fact, is more the central character than Holmes himself, and he serves to truly bring the humanity out of them both. But while each individual works so well on their own, it is truly when they are on screen together the show takes off and elevates to another level.

And truly, it is the showrunners' (Moffat and Gatiss, the latter brilliantly playing Sherlock's elder brother Mycrot) love for the source material that really, TRULY makes this show so special. Each and every episode is laden with careful, reverent references to the novels while also bringing their own unique, fresh twist. It is evident with each and every line of dialogue that the two have such a love for Conan Doyle's work. 

With the show of the format being such that each episode is essentially a short movie, we are able to truly dive into each mystery as if they had a true beginning, middle, and end. These are not part of a larger arc, necessarily, although some beautiful character moments and arcs are allowed to flourish rather subtly. But each episode serves its own purpose. I suppose on that basis alone, there are certain arcs and episodes that don't work nearly as well as others.

For example, a couple of the episodes towards the end of season 4 where new plot elements were teased but fell through didn't seem to be quite as interesting. The more interesting episodes really seemed to revolve around Sherlock, Watson, and the villain Moriarty. 

Now, when James Moriarty is first introduced to the show, I was taken aback. He was not the suave, menacing equal to Sherlock, but rather a goofy, terrifying opposite, which brilliantly was perhaps even worse. Andrew Scott plays the character in such a way that makes his chaotic nature so unpredictable, and yet so well-thought out, you can't help but marvel at his prowess. 

I could sit here and nitpick the show to death, going episode by episode and finding small elements I didn't like, and episodes as a whole that I found unsatisfying, but the bottom line is this. Sherlock is one of the best pieces of storytelling that I have seen ever. The care put into each script, each character, each performance is so tangible, that it sweeps you in to whichever narrative you happen to be watching. Regardless of the episode, you'rer always going to be invested in the adventure of Holmes and Watson, and just like the books, that's just how it should be.

Stranger Things (Season 3) - Review: Bigger, Bolder, Bumbling, but Ultimately, Better

Release date (US): July 4th, 2019


Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Dacre Montgomery, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Cara Buono, Priah Ferguson, Cary Elwes

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

Season 2 of Stranger Things was a misstep. The general consensus seemed to be that the second season took a rather noticeable step back in terms of story from the ingenious, brilliantly set-up Season 1. With botched character arcs and setups (Eight), the Duffer brothers took time to reevaluate. They could've rushed a third season into production and launched it within the same "year" gap between seasons 1 and 2.

Instead they waited just that much longer to think through season 3 and develop it longer, as they are now during the pandemic. 

The result? Stranger Things back on track and in an even higher gear than ever before.

The third season finds our now teenage-kids struggling with their relationships with each other. Nothing supernatural at all, at least not for the majority of the first episode. These characters are just trying to be normal. They're trying to adjust to life, some more successfully than others. For example, Mike starts out the season in a blossoming relationship with El, while Will struggles to see his friends moving from their childhood. Hopper is trying to move past everything that's taken place while Joyce Byers is unable to shake the feeling that something is still amiss in Hawkins, especially after the death of Bob Newby.

This is what makes Stranger Things the sensation that it is. Not the horror, not the visual effects, not the brilliant storytelling (although it is brilliant): it's the character. These are the same kids we met in season one, but they're growing and they're evolving. They're never the same. They learn from their mistakes and make new ones. Let's be honest, who thought Steve Harrington would be hanging out with Dustin Henderson and Lucas's sister? But it works so brilliantly because these characters are not the same as they were two seasons ago. 

Lest we forget, however, that this is the third season of a worldwide phenomenon. And with that in mind, the budget gets raised and the visual effects teams are allowed to go bigger and bolder. And they absolute use that to their utmost advantage, bringing in creatures in a much closer light than ever before. The monsters don't necessary hide in the shadows this season, and that's a good thing. It raises the stakes even further. 

One huge change that the Duffers have made with this season is introducing some outside threats. As season 4 suggested with its teaser, the show will be moving away from Hawkins, Indiana, but that begins largely in season 3 as the Russians are introduced at a time in US history when their presences would not have been seen kindly. Their arc and placement in the story is not necessarily the strongest; there are moments where you wonder why the Russian's experiments AND the villain's plot are unleashed at the exact same time, when in reality, there was no reason for them to. But it ties up very nicely at the end (a little too conveniently admittedly) that it doesn't really matter. 

The brilliance of the interweaving arcs that has carried through all three seasons is ever present. But this time, the groups are a little more condensed with some wonderful new additions. Maya Hawke's Robin is a great new character to add that will only help give Steve more dimensions in the future while being a really interesting character in her own right. Priah Ferguson, while a little over the top, has an extended role this season as Erica Sinclair, and towards the end, she really gets to shine. For most of the season, the rest of the kids are together which is a breath of fresh air. By around episode 4, the group has banded together and we really get to see the dynamics between characters like Will and Max that we haven't seen before. 

And yet, while these arcs were very much welcome and enjoyable to watch, the respective arcs of Joyce and Hopper were rather lackluster. With Hopper in particular, the show seems to think of him more and more as a joke as the episodes progressed, but still attempt (albeit successfully) to wrench emotion out of him at the very end. For the majority of the season, he's either intoxicated, making a fool out of himself, or both. It isn't until the last few episodes when he really hits his stride and becomes the Hopper that I personally fell in love with in season one.

That being said, most of my complaints come from the first three episodes of the season, which, yes granted is a lot of real estate given the eight episode length. However, the three episodes, while not all too interesting in themselves, lay some very, very important groundwork so that when we get to the episode entitled "The Sauna Test", everything springs into action and goes full throttle. "The Sauna Test" is one of the BEST episodes of television I have ever seen - it is tense, action-packed, emotional, and interweaves the multiple storylines PERFECTLY. And it only kicks into higher gears from there as we see an incredible hospital sequences with Nancy and Jonathan. 

The villains this time around are slightly different than we've seen before. We get to explore more of Billy, who was a character that essentially could've been cut out of season two entirely. His set up was extremely weak and could've all been established in season three, but regardless, he's given a really interesting arc from start to finish. As for the Russians and any other alien threats, they're fine and they service the story. But it's hard to relate to any of them or understand why they're doing the things they're doing other than "they're Russian".

But as everything begins to unfold and the climax reaches its apex, you realize why everything in this season was planted. There were more than one occasion where I thought to myself, "That's convenient," but you get over those very quickly because of the payoffs. The third season also ends on the most emotional, brutally heartfelt note of any of the three seasons, even beating out the gut-wrenching climax of season one as Hopper revives Will intercut with his daughter's death. 

Season three almost feels more like a continuation of season one. With fresh new characters, bright ideas, unbelievable character growth,  season 3 brings our heroes further in their arcs than they've ever gone before. With a few more missteps and plot conveniences than one would've wanted, season 3 manages to recapture the magic of season while successfully going bigger and bolder.

Stranger Things (Season 2) - Review: Everything Season 1 Was, with One GLARING Weakness

Stranger Things (Season 2) - Review: Everything Season 1 Was, with One GLARING Weakness

Release date (US): October 27th, 2017

Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Dacre Montgomery, Natalia Dyer, Charlie Heaton, Joe Keery, Sean Astin

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

There was no way that a second season building off of the incredible, unimaginable success of the first season, would be able to match the level of quality of Stranger Things. There was no conceivable way. But sequels have been made that have surpassed the original: we look to the quintessential Empire Strikes Back.

And yet, for as hard as this season tries to be the "Empire" of its current trilogy, it misses the mark in one key category that hinders the show for almost the entirety of the season.

Pacing.

Pacing is not often something that I discuss as I review films. I mention it here and there because good pacing is incredibly important to capturing an audience and keeping them invested in your film. But good pacing often goes unnoticed and taken for granted, while bad pacing is laughably bad often times.

With television, however, it's a little different. You're not confined to the two hours that a movie demands, and you can watch as you go. So with television pacing, what's important is that whenever you turn on the show again to watch the next episode, that you're just as intrigued and invested as you were the last time you saw an episode.

Season 2 succeeds in that regard. It still holds the same level of intrigue that the first season had with some great new characters and even better character dynamics. But the story pacing is an absolute mess. There are character decisions made that, yes, one can always make the "they're just kids" argument, but in hindsight, were incredibly dumb. 

The brunt of that leans on Dustin who makes a decision that takes up a lot of screen time throughout this season and pays off in a rather minor way at the end of the season.

But Season 2 is still an incredibly enjoyable watch, despite a horribly messy story. The new characters introduced this time around, notably Sean Astin's Bob Newby and Sadie Sink's Maxine, fit incredibly well and seamlessly into the established narrative. And what's so expertly handled about this season is character growth. As fun as our kids were in the first season, they're going to keep growing, and we see that. Mike is still not moving on from the "death" of Eleven. We see the group begin to split apart a little bit as tensions rise between Dustin and Lucas. We see Steve enter the group dynamic with the kids in a beautifully crafted, rather clever way. 

The Duffer brothers show that they have a clear handle on character, and that remains a very remarkable strength of theirs as they continue to allow these characters to grow and develop into real, mature human beings.

Winona Ryder and David Harbour are also given a little more to do this time around, rather than just be the "adults". They have some really interesting arcs and some great sequences with some of the new characters as well.

As for Eleven, who was the clear standout of last season, though her scenes and interactions with other characters are wonderful as always, she was easily the most disappointing part of Season 2. She was relegated to a side role much of the season. And yes, we are going to discuss the infamous Episode 7.

Episode 7 should not exist, and I will never rewatch it if I were to come back to this season. It is messy, it feels so out of place, and the characters are extremely unlikable. This, thus far in Stranger Things, has been the one big misstep of the creators. They were trying to build up something bigger and grander to go off of for next season, and it did not work in the slightest. 

Taking Eleven's place as the standout this time around is Will Byers. Will, who had very little to do in the first season, is now thrust in the leading role. He's required to play a character that has so many layers, and that's incredible to see from such a young performer. His acting, especially as the season progressed, kept getting better and better. 

Again, Stranger Things 2 isn't bad by any stretch of the imagination. I love these characters and their dynamics so incredibly much, I would see eight hours of them just hanging out. But the fact remains that while the concept behind the story is incredibly interesting, and the season comes to a very, very satisfying conclusion, the bulk of this season feels lost and meandering. Like it's building towards something, but even it doesn't know what that something is. Ultimately, season 2 is a great launching pad for another season, but not a memorable one by any stretch of the imagination. 

Stranger Things (Season 1) - Review: A Nostalgia-Bomb for '80s Kids, a Sci-Fi Adventure for Modern Times, and a Lovable, Heartfelt Ride for All of Us

Stranger Things (Season 1) - Review: A Nostalgia-Bomb for '80s Kids, a Sci-Fi Adventure for Modern Times, and a Lovable, Heartfelt Ride for All of Us

Release date (US): June 15th, 2016

Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Natalia Dyer, Charlie Heaton, Joe Keery, Mathew Modine

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

Yes, this review is coming four years too late. Yes, the show was an instant fan-favorite the second it hit Netflix. Yes, I hadn't seen it until now. But, better late than never. Because this show, even four years later, is still one of the best pieces of cinema, movie or television, I've ever seen.

The first season, which is eight episodes long, each about fifty minutes, begins on a very ominous note. We enter Hawkins Lab, and are immediately introduced, albeit through shadow and sudden cuts, to our monster for the season as it wreaks havoc throughout the laboratory. Right away, we are introduced to one of the many tones that will permeate throughout the series.

What this show does so well compared to others is switch tones. The showrunners, the Duffer brothers, are able to switch tones from lovable 80s middle school, to straight horror, to adult drama, back to jokes on a dime. With television, since the length of the overall season is much longer than a film, you have time to draw out each separate tone and give it an arc. For example, when we're with our main characters, Mike (Wolfhard), El (Bobby Brown), Dustin (Matarazzo), and Lucas (McLaughlin), it's like peering back into childhood through the simpler lens of the 80s. They're young adolescents playing Dungeons and Dragons like many of the "nerds" watching the show would have done.

And then we switch back to the Hawkins Lab and suddenly we're back into horror, like nothing had ever happened. And then we switch to Nancy, Jonathan, and Steve (Dyer, Heaton, Keery), which turns into a coming-of-age series. It is impeccable.

But not only are they able to create these characters and the different tones and moods the series brings, but they're able to bring them all together at the very end. We see all of the arcs converging into one, and the last episode of the series if one of the most gut-wrenching, tense, emotional pieces of film I've ever seen.

All facets of this show work on so many different levels, and that includes our child performers, with the aforementioned Wolfhard leading the charge amongst the boys. Yes, at times the performances are a little goofy and over the top. But the amount of realism this show is able to draw from their child performers is unbelievable. They are able to convey real terror, real anxiety, and real fear when they need o. 

The show is anchored by the two adult leads, Winona Ryder playing Joyce Byers and David Harbour playing Chief Jim Hopper. Both are excellent in their respective roles and help to ground the show in the real world and give it a sense of grit and realism that it needs.

But let's not kid ourselves; the real star of this season is Millie Bobby Brown's Eleven. Brown's performance is easily the best out of anyone's as she's able to convey, with such little dialogue, true raw emotion that most adult actors are not even capable of. Her performance is so convincing that you legitimately believe this child has superpowers and can move things with her mind. 

No piece of art is without fault however. Easily the worst part of the season was the villain character, played by Matthew Modine. Modine's performance was not the problem; he played the character with a suitable air of arrogance and aloofness that was required of the character. But every time the character is brought back into the spotlight, the story revelations and motivations that are presented to the audience feel rather flat and lack weight. 

But that's a minor quibble. Compared to the excellent pacing and strong chemistry between the groups (which are the two highlights of the season), Stranger Things is a breath of fresh air in the TV space. It's no wonder that it's become so unbelievably popular and will continue to be for a long time to come. 

Onward - Review: A Charming, Emotional, if Somewhat Aimless Tale, Onward is Another Triumph for Pixar

Onward - Review: A Charming, Emotional, if Somewhat Aimless Tale, Onward is Another Triumph for Pixar

Release date (US): March 6th, 2020


Starring: Chris Pratt, Tom Holland, Julia Louis-Dryfus, Octavia Spencer

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

It was clear that even though Toy Story 4 was a huge critical and financial success, that Pixar needed to make some moves. The studio was beginning to grow stale, something that it most certainly had not been known for over the last two decades. Yes, it was still capable of wringing out emotion, and yes it was still capable of making spectacular sequels (Incredibles 2, Toy Story 4) but it was time to go back to the drawing board.

So in 2020, Pixar decided to head back to its roots and release two films, both completely original. The first of which, which released in early March before the theaters shut down, was the Chris PRatt-Tom Holland-led vehicle known as Onward.

Of the two films coming out this year, the other being Soul which would have released in June had it not been for the pandemic, Soul was the one that caught most people's attention immediately. Directed by Pete Docter, the man who brought us tear-jerkers such as Up and Inside Out, Soul was set to be the next in the line of all-time Pixar greats that stand atop the studio's fabled legacy.

And then there was Onward.

The first trailers made no indication of anything special. From all accounts, it looked like a Dreamworks B-level film. Which isn't bad by any stretch of the imagination. But it's not Pixar. Could Chris Pratt and Tom Holland, two incredibly likable talents working today (both having been made famous with the other Disney IP, Marvel) carry a film from a studio that never really banked on cast, but on emotion?

The answer is yes. And no.

The only way Onward succeeds is with these two leads. Of course any number of permutations for any films will get you quality, but this particular film that was presented to the audience was made complete with Tom Holland and Chris Pratt. Pixar understood that a lot of the emotional heavy-lifting had to be done by Tom Holland, and Holland delivers subtle nuance in voice acting that you would expect. And Chris Pratt, normally bombastic and goofy in nature, had a character that suited him just right, with a few surprising, pleasantly emotional moments sprinkled in.

Now, granted, Pratt's performance was immediately one of the ones that stood out negatively for me in the trailer, and while he greatly exceeded my expectations in the film, it wasn't because the trailer presented something different than was in the film. Rather, the trailer presented a small microcosm of his performance, which is much of the same in Onward. But his goofiness is welcome and a nice contrast to Holland's Ian. As mentioned above, however, he was given a couple key emotional beats, one of which I thought he completely nailed, and the other of which felt very rushed and very forced. It was rather hit-or-miss for the character of Barley.

But the film rides hard on these two characters; it's really what makes this film unique from others. This is a story about brothers and how they fit together and how their family dynamic works and what they're trying to accomplish through this quest that they're on.

As for the quest itself, which drives the main narrative of the story, it's meandering and rather aimless in moments. The film is surprisingly funny, which works to its benefit because it covers up some of the flaws of the story. Dan Scanlon, who also directed Monsters University for Pixar, still hasn't quite proven that he's got a tight handle on story. The side characters and obstacles that they encounter are there to further the brothers' relationship, but they often feel forced and unearned, once the laughter subsides and the story settles back in.

The rest of the cast is mostly made up of two characters, played by Julia Louis-Dryfus and Octavia Spencer. Louis-Dryfus, who plays the boys' mother, does a wonderful job at the role she's given; it just so happens that the role she's given is a little cliche in most parts and doesn't do much to stand out. It accents the rest of the family structure very nicely, but it doesn't do much else.

Octavia Spencer, one of the best actresses working in Hollywood today, voices a mystical creature that was easily one of the weirdest, and worst parts of the film. Her motivations and change in behavior were very off-putting, and her reason to be in the story at all was questionable at best. Spencer does a great job voicing the dialogue she's given, but there is still something to be desired by her character.

And yet, for its flaws and weak story, Onward reminds us of why Pixar is so good at what they do. in many ways, this film is a slow burn. It builds up to an ending that wrenches a raw, powerful emotion out of any human being who has had any type of family member before. It feels earned, and it feels refreshing. The last fifteen minutes of the film alone are what make it stand out above other films in Pixar's catalogue like Cars. There is a simple beauty behind this film's message that will resonate with almost anyone, and that's the beauty of a Pixar film. It's not a film that will appeal to kids and entertain adults. It's a film that will entertain kids and appeal to adults.

In the end, while Onward may not be remembered as the greatest Pixar film ever made (it may not even be remembered at all due to COVID-19 and its lackluster performance at the box office), it is still an incredibly solid film that almost anyone, of any age and background, can watch and take something from. Pixar once again proves that once it goes back to its creative, original roots, it can really make magic happen on the movie screen.

1917 - Review: A Visual Masterpiece, but Not Much Else

1917 - Review: A Visual Masterpiece, but Not Much Else

Release date (US): December 4th, 2019

Starring: George Mackay, Dean-Charles Chapman, Richard Madden, Benedict Cumberbatch, Mark Strong, Colin Firth

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

A film built on the backs of visual storytelling, it was no secret right out of the gate that there was something different about 1917. From the second it was released, there was immediate buzz surrounding the film for one reason alone. The entire film was made to look like one shot. There were other movies that had done this before, granted. But critics and fans all around the world said there was something different about 1917. Something new, something fresh. 

The film centers around two soldiers, played by George Mackay and Dean-Charles Chapman, who are serving England during the climax of World War I. The two soldiers are tasked by command to deliver a message to soldiers on the front lines; as with most other war films, the message is imperative, and the soldiers are on a race against time to traverse the wasteland and reach their troops.

Right from the very beginning, 1917 grips you by the shoulders and sucks you into this world. You are transported from your seat into the middle of a war. The war is bloody, the war is dark, it's gritty; but it's also real. You're able to see soldiers hanging around, talking to each other about going home and about ending the war. You're able to see the hope and glimmer in some soldiers and the despondence in others. And it's all done through visual storytelling.

Yes, some films have massive amounts of hype and expectation surrounding them. And not many deliver; many fail to succeed. But with 1917 riding on the waves and waves of positive word-of-mouth in terms of its visuals, there was little room for failure. And the movie did not disappoint. Through some ingenious cutting and direction, both director Sam Mendes and cinematographer Roger Deakins are able to craft the camerawork so that there is no broken shot in the entire film, save one intentional cut in the middle of the movie.

And with that tool at their disposal, they're able to take full advantage of it. The beginning of the film follows these two soldiers as they receive their mission from command and begin their journey across the battlefield. And this one tracking shot doesn't let up; you're constantly following these two characters, literally as if you were right behind them. While most films struggle for the entirety of the runtime to immerse an audience member into the story, 1917 is able to do this almost by default. There are shots of the leads simply walking that are so entrancing, it's almost hard to believe what you're seeing in the 21st century because you feel as if you're in World War I.

To Roger Deakins's credit, he's able to turn some very bleak and desolate shots into absolute pieces of art. Deakins has been one of the best cinematographers in the entire industry for many, many years, but this film is truly the peak of his excellence. By very nature, the wastelands and desolate war fields are not pretty to look at. And yet, with each and every shot, and each and every movement of the camera, there is a detail that is captivating and enrapturing. It keeps the audience's attention on something the entire movie, to where the audience member never feels like they're bored.

But despite all of Mendes's best efforts and Deakins's heroic cinematography, I did indeed find myself being bored in this film.

Overshadowed by all of the high praise of technical excellence came something that I had perhaps taken for granted, and was surprised to find it missing: a compelling story. With fils of this high caliber, with many critics claiming this to be the clear-cut best picture winner, I had expected the story itself to have been equally strong, rivaling the spectacular visuals that oozed from every frame. And yet, I found nothing to grasp on to.

To me, story is the crux of a good film. You can strip away nearly every element, but you need to have a good story. And while this film tries its hardest to be as realistic as possible, the did not lend itself to proper cinematic translation.

When translating film from another medium, whether it be real-life events in this case, or perhaps even novels, one has to take artistic liberties in order for it to fit within the scope of a film. If a book such as Harry Potter and the Order of the Phoenix were to be translated into film in its entirety, the film would nearly 10 hours long, and then some. There is a reason that films are shortened and creative liberties are taken. In the context of a historical movie, two things need to be addressed in order to make the movie function outside of the scope of its setting: characters and story.

The two leads of 1917 are likable enough. But the film cannot spend much time developing their characters because it is so busy literally driving the film forward, as the camera is literally pushing the characters or following them to the next scene. It works to the movie's benefit most of the time, but in those moments when Mendes is trying to bring out some humanity from the soldiers, it falls utterly flat. The characters serve their purpose and the movie ends. Simple as that. But in doing so, I didn't feel any connection to them, other than the odd pang of sympathy that simply came with this being a war film. By default, I felt sorry for the characters because they had to endure such horrible circumstances.

That's the problem with 1917. The film wants you to feel like you're literally in this war, literally with these soldiers fighting for their lives. This would be a great documentary, because it showcases what war is really like. But realism does not always equate to cinema. Like I mentioned earlier, just because you have wonderful source material does not mean you can translate it word for word into a different medium.

At the end of the day, the spectacular visuals and stunning concept will be enough to fulfill any film fan. I would go so far to say that if you are studying film or love the art of cinema in any capacity, this is a must-see movie based on the visual prowess alone. But hidden underneath that glimmer is a story that doesn't hold up and will not stand the test of time. 

Marriage Story - Review: A Quiet, Riveting Story Carried by the Leads

Marriage Story - Review: A Quiet, Riveting Story Carried by the Leads

Release date (US): August 29th, 2019

Starring: Adam Driver, Scarlett Johansson, Laura Dern

**DISCLAIMER**: This is a subjective, opinionated article that does not have, nor should have any effect on your opinion. As such, my opinion is entitled to change over time and whatever is written here at this point in time may not and should not be held to me in the future. You are not meant to agree with me 100 percent of the time, because the nature of subjectivity is we see everything differently. If there is something you happen to disagree with, I absolutely respect your point of view if you will respect mine. Please keep this in mind. 

The Review

Netflix has made quite the showing these past couple of years. With films such as Roma getting serious awards considerations, 2019 seemed primed to further Netflix's exploration into high caliber filmmaking. With the release of a film like The Irishman, which automatically looked to be a frontrunner for Oscars, the possibilities were endless. 

And yet, something peculiar happened. In August of 2019, a small film directed by Noah Baumbach dropped. It was called Marriage Story, and it starred two of the biggest actors in the world with Adam Driver (of Star Wars fame) and Scarlett Johansson (of Marvel fame). But this wasn't a flashy film. In fact, it fell completely under the radar for quite some time because many did not know it even existed until it was released. Slowly, it gained traction, until suddenly, it too stood tall with the likes of Quentin Tarantino and Martin Scorcese. 

Marriage Story is a film that feels incredibly real. When people describe cinema as an immersive art form, this is truly one of the best examples. Certain types of films, such as 1917, need to be seen in a movie theater in order to fully capture the immersive nature of the film. But a film like Marriage Story relies completely on the characters and lead performances to drive the movie forward.

The film centers around an ex-husband and wife, Charlie and Nicole, played by the aforementioned Driver and Johansson. Throughout the film, as layers are unraveled, you begin to see exactly why their marriage fell apart and how each side is dealing with such a horrible event. In addition, their young son, Henry, is caught in the middle and while the film doesn't spend an exorbitant amount of time with him, his presence is always felt, especially by his parents.

Without hyperbole, I can say that these two leads give the best performances out of any actors I have seen, at least in a long time. Despite all the buzz that Joaquin Phoenix is receiving for his turn as Joker, Adam Driver crushes him with a grueling, real, gritty performance. Every look on his face, every line of dialogue is resolute and has purpose and emotion that carries so much depth beyond what is simply spoken. The scenes that require incredible emotion are executed immaculately. Johansson, for her part, is able to stand equal to Driver throughout the whole movie. I would wager to say that the movie, while split fairly evenly between the two, focuses more on Driver's character. Thus, Johansson's relatively mild performance compared to Driver has nothing to do with her acting, but more to do with her screentime. Nonetheless, she is able to match Driver line for line, scene for scene in what will undoubtedly be a career-defining performance. 

While I usually don't commend films for their set designs, I will say that the atmosphere that is created through setting in film is so critical and so well executed. Baumbach does everything he can to make this world feel so much like ours. This is Los Angeles. Not some fictional Los Angeles that is blown up by aliens, or a fictional New York. This is the Los Angeles where aspiring actors go to make their careers and fulfill their dreams. This is the New York where aspiring writers come to live out the Broadway life. 

And the design of the settings lends itself to the story. This story is not necessarily the strongest I've ever seen. But it's real. We as a movie-going audience are used to constant twists and turns, with the rug constantly being pulled from under us that we have become desensitized. A real divorce is not pleasant. There are a lot of legal procedures that need to be undertaken and there is a lot of hurt that accompanies it. 

What really drives this movie is the emotion that the lead characters bring out of you. There is a conventional courtroom scene. There is an argument scene. These in themselves are not interesting. But what brings them to life are Driver and Johansson. The argument scene in particular is one of the finest pieces of acting I've ever seen anyone accomplish. Driver pulls a kind of raw emotion out of himself that I have never seen before, and will seldom see again. 

Laura Dern has been receiving much awards considerations herself for her role as Johansson's attorney. Many have praised her performance, and she has been winning Golden Globes and is nominated for an Oscar. This is where I disagree. I do believe she gives a great performance, as she always does, but nothing about her character stood out to me. Really, she and the other members of the respective legal teams are background noise. They don't matter as much as the leads. Whenever they appeared, they were there out of necessity. Her character, Nora, is given very little screentime, and that's not a knock on her character, but rather a testament to the pacing. 

The other major pitfall of a movie like this is that it's incredibly hard to watch at times. As soon as the movie was over, I felt a sudden urge to never want to see this movie ever again. Perhaps someday I will. But not in the near future. It is so unbelievably hard to swallow some of the ordeals that these characters go through, and they were pounded day after day with new and harder difficulties. It is a testament to the difficulties of divorce, and how it can truly affect a person.

But there are moments of hope. Without them, the film would be dour and perhaps not nearly as good as it is. The ending is tied off with the message and the idea that perhaps everything will end up alright. Baumback intentionally leaves this open-ended for the audience to consider. But there is still a glimmer of light at the end of the tunnel, which wraps a dangerously melancholy film up with a nice bow. This is a piece of art that deserves praise because of its execution. The idea, though not necessarily a novel one, was near-perfect in the finished product, and Driver and Johansson's performances are a testament to that. 

The Mandalorian: Chapter 8 (Redemption) Review - A Rousing Finale to a Proper Star Wars Show

The Mandalorian: Chapter 8 (Redemption) Review - A Rousing Finale to a Proper Star Wars Show

Initial Air Date: December 27th, 2019

Directed by: Taika Waititi

**The episode reviews will contain no major spoilers, but be warned that I will be dropping little plot details and moments throughout the review. You have been warned.**

The Review

The Mandalorian was the reintroduction into Star Wars that we should have had instead of the sequel trilogy. Imagine a world in which the very first thing coming out of the Disney Lucasfilm regime was this show, set right after the events of Return of the Jedi, where a rogue bounty hunter is protecting a child.

Regardless, this show has lived up to every expectation and more. While it may not be the most groundbreaking show, this is exactly what Star Wars needed, especially right now. And the finale embodied every single bit of it.

The episode picks up with a couple different characters that we really haven't seen before. We get to see their interaction, and right away, you know that it's Taika Waititi. The off-kilter brand of humor is written all over the dialogue, which is absolutely fantastic. I was skeptical when I heard Taika would be directing an episode, but once I saw his vision on the screen, I understood immediately why Disney and Lucasfilm wanted him to direct this episode.

Waititi's strengths lie not just in his comedy, but in the heart as well. As evidenced by his recent film, Jojo Rabbit, Waititi knows exactly when to put emotion into the story and when to balance it out with ridiculous comedy.  This episode shows his master hand at work, crafting a story with incredible care and reverence, while also throwing caution to the wind sometimes and going for some great humor.

As for the story itself, the tension runs high throughout most of the episode. There are a couple moments where you feel the episode come to an abrupt halt as some exposition is given. But the exposition delves even more into the psyche of our main characters. Each one is given a role to play, and each one has more of their character developed as the episode goes on. 

And being a season finale, the primary goal is to wrap up the season while also exciting the audience about the potential future. And the last shot of the episode left me absolutely speechless. There were a lot of potential twists and turns that the show could pull off, due to the characters and the setting, but this had to be one of most exciting directions the show could take. With Jon Favreau announcing Season 2 coming in Fall 2020, I cannot wait until we get to see Pascal's hero once again.