Reviews

This might be one of the most frustrating movies I've seen in a while. On one hand, the real life story that inspired it is a brutal yet thoroughly important tragedy that is still worth remembering to remind us of how much prejudice and hatred can destroy the innocent, and one can tell when watching this how much the subject matter meant to director Kimberly Peirce. On the other hand, the factor of this feature more or less being a sob story for the death of a trans man comes off as too problematic for its own good even if you don't know about the real life murder of Brandon Teena.

I won't go too much further in my thoughts as most of them boil down to the story being too overly dramatic for its own good and the cast, while mostly solid, feel like they're playing archetypes rather than fully realized characters (save of course for Hilary Swank as Brandon to an extent). I can't speak too much for this film as a cis man but it left me feeling empty for the wrong reasons. I wish I could have known more about Brandon rather than as a mere tragic victim of transphobia and ignorance, although I'm sure The Brandon Teena Story does a better job covering it. I'm not usually one to complain about biopics going against the facts as they're meant more as dramatizations of real life subjects more than concrete recounts, but this film comes off more brutal and harrowing for the sake of it.

I'm sure this film meant a whole lot more back in the day, but its subject matter has aged like milk and that's not even getting into the constant sequences that feel more like excuses for sexual activity rather than believable character development. I would only consider watching this if you're curious at best, and that's being generous. In a day and age where we're getting more uplifting coming of age tales from the trans experience, this film feels hopelessly dated and more troublesome than the filmmakers may have intended. 25 years since its release and it's hard to find much value in this flick in today's eyes.

What happens when a parent loses their child to something so surreally grim and unexpected? Topics like these are hard to fathom, but filmmaker Daina Oniunas-Pusic tackled this quite humbly and harshly in her feature-length debut Tuesday. Starring Julia Louis-Dreyfus in the lead parental role, the film premiered at the 50th Telluride Film Festival in 2023 before getting picked up by A24 for a wide release in June of this year. As of now, while not garnering as much attention as other films released in this year's spring season, it does have an interesting premise executed with engaging brutality.

The film focuses on a single mother named Zora who lives with her terminally ill daughter Tuesday. One day, Death in the form of a size-altering macaw comes to grant Tuesday's inevitable death, thus leading Zora to understand more about her daughter through life, love, and death. With a premise like this, it was clever on the filmmaker's part to establish the conflict from the get go, especially as Death is depicted in a shockingly heartbreaking presence that makes its unsympathetic presence understandably conflicting. At its core, Tuesday is about the conflicting relationship between a chronically ill teenager and their stubbornly unpresent mother who is stuck in her refusal to move on with her life. It is through the troublesome presence of Death that Zora begins to find true compassion within Zora and other people, perhaps hinting at the idea that we tend to miss people the most when they're "gone". The aforementioned Louis-Dreyfus and Lola Petticrew share strong chemistry as Zora and Tuesday that keep their relationship appropriately fluctuating as the film goes on.

Now admittedly, the film's tone is perhaps a little too grim at times, and it doesn't often fully succeed in balancing surreal fantasy and dark humor within its harsh subject matter. It doesn't help that certain dramatic plot points sporadically come out of left field and get resolved a bit too abruptly, almost as if the film can't quite grasp all of its additional targets amidst its central storyline. That being said, the primary mother-daughter relationship is the most engaging aspect of the feature, thus coming off as a strong showcase of captivating acting, intricate effects work and appropriately placed music. In addition, one can tell a lot of time and care was put into blending Death's macaw form within the real world, all while bringing its animated visibility to life through Arinze Kene's brooding vocal performance. Considering how much screen time the character has throughout the feature, his presence feels as bone chilling to the audience as it does to the movie's characters. As a blending of dark fantasy and brutal drama, this is definitely unique amongst both genres.

At the time of this review, Tuesday hasn't been doing amazing financially, but I do imagine this film will garner a much stronger reputation as the year goes on. I see Daina Pusic moving forward with a healthy directorial career, Julia Louis-Drefus gaining some kind of possible Oscar buzz, and both Lola Petticrew and Arinze Kene to be household names amongst many up and coming young adult actors in the mainstream. It might not be everyone's preference given its harsh premise, but there's definitely a lot to appreciate from how bold it is in exploring the values of life and death simultaneously.

Before the Wachowski sisters made a name for themselves with their breakthrough Matrix series and other fascinating projects, their directorial debut was a low budget neo-noir crime thriller Bound. Released in 1996 to a strong critical reception, the film showed off the talents of a sibling duo that were dead set on crafting their own unique features that mainstream audiences weren't used to at the time. Often regarded as an intensely brutal lesbian centered crime flick, this film manages to make the most out of its low production qualities with a dynamite cast and script.

The film centers on a dame named Violet who yearns to escape from her mafioso boyfriend Caesar. After falling for the alluring ex-con Corky, the two women hatch a scheme to steal $2 million from Caesar and his Mafia acquaintances. With this basic premise intact, the Wackowskis managed to tell so much with so little story by establishing how sympathetic Corky and Violet are in their conflicting roles, with the former being hired to work under the mob straight out of prison and the latter being a femme fatale dating one of the mob's members. As for their plan itself, what starts off as a seemingly straightforward money stealing scenario goes completely haywire as Caesar begins catching on, making the film thoroughly suspenseful from beginning to end. In addition, the film does not hold back in presenting the lustful sexual energy between Corky and Violet, thanks in part to Gina Gershon and Jennifer Tilly's raucous chemistry between each other. While the two may be morally ambiguous, they're highly engaging from their first scenes and elevated tropes alone.

As for the other characters, Caesar is ruthlessly despicable the moment he comes into frame, and Joe Pantoliano displays the slimy gangster's descent into madness as he catches on to Corky and Violet's plan. The already established sexual energy between Corky and Violet is just enough to make Caesar's mere presence a genuine threat, but the mafia themselves are somewhat of a mixed bag. On one hand, Mafia boss Gino Marzzone and his immature son Johnny are intimidating enough on their own, but the more reasonable Mickey Malnato might have more sympathy for others beyond his mere mafia acquaintances. In a film that shifts with appropriate dramatic irony and tension, the supporting characters serve the plot by often coming into play when things seem at their most bleak and intense. Since most of them are men, it presents the two leading women as far more endearing than in most other noir films, largely based on the theme of overcoming abuse in power. Next to the story itself, the feature knows how to toy with its cast in suspenseful ways.

With all of that said, what ultimately gives the film its own identity is the cinematography and editing. Bill Pope captures the feature with a subtly soothing homage to black & white noir films from the 1950s, complete with high contrast composition, extreme lighting, and vaguely shaded sets. As the film largely takes place within an apartment building, there is a dangerous sense of claustrophobia as the suspense lingers on Corky and Violet's plan to work out. In addition, color is used to emphasize the gruesome seriousness that our leads are dealing with, no matter how brutally gory the stakes can get. In fact, I would argue the film never gets too excessive in its violent or sexual content so much as only sporadically to build up the danger and lust we're feeling as viewers, let alone to portray the feminine aspects of sex in a positive light. While people may sense a gritty neo-noir flick from their first glance at the feature, they will end up staying to root for one of the very first lesbian couples portrayed in film with love and hope for a better future.

While the Wachowskis have gone on to bigger things in their careers since Bound, there's no denying how much this intense neo-noir crime drama launched them as successful filmmakers. Those who are familiar with the tropes common in the noir genre will find a lot to appreciate about the film's many twists and turns, people who identify as queer will find comfort in the subject matter, and everyone else might get a kick out of the whole thing. It's not common when you see a hidden gem like this filled with so much sexual energy and intensity, and that's all the more reason to check it out.

As The Lion King was an unanticipated success in its heyday, a sequel was naturally commissioned for Disneytoon Studios and the result was the 1998 followup known as The Lion King II: Simba's Pride. At the time, the film was generally well received by fans of the original, and nowadays it's considered one of the better direct to home video Disney sequels, especially before the company dominated said market from the late 90s to the late 2000s. Looking back on the film now for the 30th anniversary of The Lion King, despite its lower production qualities, it's a mostly faithful continuation of such a beloved film.

The film follows Simba and Nala's daughter Kiara, who falls in love with Kovu, a lion brought up in a banished pride once loyal to Scar. Separated by Simba's prejudice against the pride and a vindictive plot planned by Kovu's mother Zira, Kiara and Kovu struggle to unite their estranged prides and be together. If the first Lion King felt like Hamlet with African animals, then Simba's Pride is very much a Romeo & Juliet type story, not only from its themes of prejudice conflicting over acceptance, but also how love matters more than generational bigotry. Of course this movie is nowhere near as bleak and heartbreaking as the Shakespeare love story, but the filmmakers managed to tell a fairly emotional story of familial conflict through Kiara's troublesome love towards Kovu, Simba's inner hatred getting the most of him, and the danger lurking from Zira's conniving motive to take over the prideland. There are much needed moments of comedy and also heart contributed by Timon, Pumbaa and Rafiki, but the movie still knows to keep its tone dramatic to emphasize how much love can sometimes conquer over blind hatred. The first Lion King walked in its message of learning from the past so this film could run in a new message of making a better future.

In continuing off from the first movie, the returning cast are mostly their same selves albeit with some notable distinctions. Although Simba shows genuine concern for Kiara due to his own past trauma, his worrisome father role might come off a bit too excessive at times, and the lack of Nala's strong advice doesn't help much either. In addition, Timon and Pumbaa don't feel as necessary here as Rafiki, but it's always fun to hear Nathan Lee and Ernie Sabella bounce off of each other. As for the newcomers, Kiara does fit the typical independent daughter trope a little too well, but Neve Campbell manages to make her sympathetic enough to hope things can go well for her and Kovu. Speaking of which, Kovu is a truly fascinating character, as his arc of being brought up to destroy Simba to then finding genuine solace in Pride Rock creates such bitter conflict between him and his ruthless mother Zira, who is truly diabolical in how she wants everything about Simba dead. Her other children Vitani and Nuka differ in goals, and the latter is probably the only sympathetic character Andy Dick has ever played before. Sometimes, a new cast of characters can be just as if not more engaging in a followup than the returning cast.

Now as this is a direct to home media feature film, the animation quality is naturally not going to be quite on par with the first Lion King, but the team at Disney's Australian studio did a solid job continuing the strong African artistry mostly well. While not as breathtaking as beforehand, the backgrounds and environments are nicely painted and the character animation is given a lot of personality and spunk depending on the characters. Zira's entire pride colony feels like the types of lionesses brainwashed to serve under Scar while still looking distinct enough as menacing monsters. Lastly, the soundtrack features many strong numbers that serve the story near flawlessly, including the timeless He Lives in You establishing Simba's familial legacy and We Are One showcasing how much the circle of life means to the pride lands. In addition, Zira's showstopper My Lullaby has some of the darkest visuals in the whole feature whereas Upendi has some of the most bright and colorful in contrast. Perhaps the dramatic highlight might be One of Us in displaying how much pain there is in feeling betrayed, but the followup Love Will Find a Way remains your typical love ballad. This might be Disney's best direct to video sequel in terms of showstoppers.

Yes, The Lion King II: Simba's Pride doesn't quite hold a candle to the first film due to its familiar storyline and lower budget qualities, but it still offers enough riveting drama, engaging characters, gorgeous animation and banger songs to keep all respects to its predecessor smoothly. Out of all the home media Disney sequels out there, this is one of the few worth recommending to audiences, be it die hard Lion king fanatics or general newcomers. It's simultaneously funny and harrowing in all the right ways, and that's what helps it stay connected in the great circle of life.

While there have been many animated Disney movies that have endured a long lasting impact in both the history of cinema and the pop culture zeitgeist, almost none have managed to remain as huge of a cultural milestone as their 1994 epic African themed drama The Lion King. Not only was the film an unexpectedly enormous success in its heyday, but it spawned numerous sequels, spinoffs and even a photorealistic remake for its 25th anniversary. So with all of that said, looking back on the film 30 years since its release, I stand by that it's mostly really good but not perfect in every way.

The film tells the story of a young lion cub named Simba, who is set to rule the African kingdom of Pride Rock but is soon forced to flee after his uncle Scar kills his father Mufasa and usurps the throne. After growing up in exile, Simba returns to face both Scar and the struggles he dealt with in the past. Obvious comparisons to Hamlet aside, The Lion King is a truly harrowing tale of having to overcome the past, mainly within the context of a former heir who has to come to terms with his destined responsibility of leadership over the African plains. Although the film's message of learning from the past does come off as a little too complicated for kids to understand, it is established with a brutal turning point that almost no Disney film beforehand had ever tackled beyond Bambi: the sudden loss of a loved one. Simba's relationship with his father Mufasa is the true heart of the picture, to the point where even at its darkest, the story allows enough time for us to feel for Simba before and after his troubles, something that you often don't see in most family friendly pictures.

Thankfully, the film isn't completely dramatic in its tone, as it does offer some much needed levity once Simba leaves the pride lands. Mufasa's majordomo Zazu does have some witty line deliveries, but the real comic stars in the film are none other than Timon and Pumbaa, who share as much impeccable chemistry with each other as they do genuine bonds with Simba upon raising him into adulthood. With that said, Scar is the most threatening presence in the whole film next to his hyena lackies, largely due to Jeremy Irons' menacing performance that makes you quiver at the diabolical lion's mannerisms. The hyenas themselves are fun to watch in their own right, although their place as threatening enemies to the lions comes off as slightly problematic with the factor of them starving to death. Other notable great characters include Simba's friend Nala who acts as a lovely reminder to the pros of his past and the wise mandrill Rafiki who leads Simba back on the right path. This cast of characters might be some of the finest in fantasy storytelling that Disney has pulled off.

Perhaps what carries the film's already impeccably structured story is the phenomenal art and animation direction. As the crew behind the feature studied lots of Kenyan wildlife and its nature to capture its core look and feel, the scenic environments scream wild African landscapes through gorgeous landscapes, appropriately colorful backdrops, and a harsh sense of lighting and shadows depending on the sequence. Nearly every layout is remarkably staged with a large sense of scope and scale, all while blending the African pseudo realism with fantasy elements and talking animals. Speaking of animals, the characters are largely restricted to their natural anatomy while still displaying some exaggerated facial expressions and hand gestures, which are complemented by the incredible vocal cast and Disney character animators at the time. It's still baffling how this film was once seen by Disney executives as the weaker feature compared to Pocahontas, yet this film managed to pull off some genuinely incredible talent in the filmmaking department, not just in the story.

Finally, this wouldn't be a complete review without acknowledging The Lion King's biggest place in pop culture, and that is the soundtrack. The songs themselves, written by Tim Rice and Elton John, not only elevate the story with poignant lyrics and strong character interactions, but are also incredibly catchy in their own regard. Where Circle of Life works as a remarkable prologue that informs the audience what type of story they're in for, I Just Can't Wait to Be King establishes Simba's passionate dream to be king from his childlike demeanor, Be Prepared remains as intimidatingly chilling as it does impeccably choreographed, and the fun simplicity of Hakuna Matata makes it far more delightful than it had any right to be. The only song I'm admittedly not too fond of is Can You Feel the Love Tonight, since it comes off a little too cheesy and lovey dovey for my taste. Add on Hans Zimmer's breathtaking score and some authentic African melodies displayed throughout the feature, and this soundtrack might still rank as one of the all time greatest in Disney's musical catalog.

I don't think it will come off as too much of a surprise that The Lion King has remained an incredible work of art in both animation and Disney history. While some of the film's themes might be a little too adult for their own good, the feature's ambitiously crafted narrative, lovable characters, jaw dropping animation and timelessly catchy songs have managed to keep the film largely timeless and beloved to this day. Of course it goes without saying that this feature is a must watch for anyone, especially over its unnecessary remake. 30 years later and the circle of life has kept this film fresh and memorable.

Back when Dreamworks Animation was a brand new studio, their features tended to be quite mature in storytelling, whether they were making dramas or comedies. One of their most underappreciated efforts is the Oscar nominated Spirit: Stallion of the Cimarron, a Western told largely from the perspective of a wild mustang stallion. Although the film wasn't the biggest commercial hit upon its spring 2002 release, it did garner a reasonable cult following and even a spinoff series and movie in the current day. Looking back on the film more than twenty years since its release, it's shocking how well it's aged.

Set in the late 19th-century American West, the film follows a Kiger mustang stallion named Spirit who is captured by the United States Cavalry, only to be freed by a Lakota man named Little Creek with whom he bonds. Since this film is presented as a western, the movie's primary story chronicles the longing for freedom and coming to terms with new environments, especially as Spirit has to escape captivity with the help of a human being who he does not initially trust. There is a lot going on in the plot as far as story beats go, but the filmmakers manage to keep the story concise enough to keep the focus of Spirit trying to return to his herd from those who attempt to tame him. It also helps that the film keeps its tone quite dramatic and intense, and it does become intimidating anytime Spirit has to face life threatening danger, even if it's within the context of the Cavalry going against the Indigenous Americans during the 1890s. It is honestly incredible how a studio that largely became known for mainstream comical fodder was able to tackle a story this mature in just under 83 minutes.

Due to the film's concise plot, there aren't a lot of characters outside of Spirit, the aforementioned Little Creek and the Cavalry, but that does work in the film's favor. This story is primarily about a wild stallion trying to find his way back home after being captured, and the colonel of the cavalry does pose an intimidating threat in trying to break Spirit down. Where Little Creek has to earn Spirit's trust through open communication, his personal mare Rain serves as both a disciplinary guide for the wild stallion and a genuine love interest who you feel sorry for as the film gets more and more life threatening. Speaking of communication, outside of an almost unneeded narration from Matt Damon, the film has little dialogue and primarily uses non-linguistic sounds and body language to show how the characters act towards one another. This is such a fascinating contrast to most animated features where dialogue nearly engulfs the acting much of the time, and it's remarkable how a film with such a minimal cast of characters said so much with so little.

As this film was one of the few hand-drawn feature films under Dreamworks' studio, the artistry shown on screen has mostly aged like fine wine. In keeping the horses restricted to their natural anatomy, the animators brought Spirit and his herd to life with phenomenal attention to detail while still heavily defining their facial features to allow viewers to connect with them along the way. In addition, the amount of scope and scale shown across the American West is simply breathtaking in nearly every shot, especially during the sequences of Spirit galloping across the plains and running away from the enemies. The usage of combining computer animated backdrop characters doesn't hold up too well, but they almost blend in with the world enough to forgive the experimentation. Less forgiving of a creative choice are the distracting songs from Bryan Adams that feel like obvious marketing ploys, almost as if someone higher up didn't think audiences could follow an emotional story well enough on their own. Perhaps they are the one thing holding this film back from being truly timeless.

So outside of a few minor but distracting creative choices, Spirit: Stallion of the Cimarron is a remarkable epic western that says so much with such little story and characters. As an homage to silent filmmaking, this might be one of the finer animated westerns out there and a high recommendation for anyone curious about films told from primarily the perspective of wild animals. It's hard to say whether this film has quite the lasting impact as Dreamworks' best feature films, especially their non-CG ones, but there is no denying how much passion and care was put into an otherwise niche subgenre.

In 1994, one of the most important LGBTQ films from the land down under was released entitled The Adventures of Priscilla, Queen of the Desert. Written and directed by Stephan Elliot, the film was a massive success both in its home country of Australia and all across the globe, as it brought mainstream international attention to the LGBTQ community thanks to its positive portrayal of drag queens and queer individuals. Given that its success spawned a 2006 stage musical and a large cult following, it's time to see just how well it holds up after three decades in the queer cultural landscape.

The movie follows three drag queens as they journey across the Australian Outback from Sydney to Alice Springs in their tour bus named "Priscilla", along the way encountering various groups and individuals. As Priscilla is a road movie from near start to finish, its tone is quite comedic and risque in nature but also shockingly tender and emotional when it needs to be. The lead character Anthony "Tick" Belrose, a.k.a. Mitzi Del Bra, is primarily attending Alice Springs via request from his estranged wife Marion, which is difficult considering that he has to admit his profession to his own family. As earth shattering as that is for him, the accompaniment of the trans woman Bernadette Bassenger and the lively yet childish Adam Whitely (Felicia Jollygoodfellow) make the journey thoroughly engaging with their personalities contrasting well off one another. Hugo Weaving and Guy Pearce make for strong leading men and you feel for every single situation they end up in, whether it be a perilous life threatening sequence or a fun musical number, and they're just part of the fun.

Outside of Weaving and Pearce, Terence Stamp nearly steals the show as Bernadette, making the character more reserved and nuanced in nature yet rightfully the more experienced member of the trio from living a longer life and witnessing more prejudice in spite of being content with who she is. As fun and campy as the film can be in tone, it knows when to let its more dramatic and tender moments let loose thanks in large to Bernadette, especially when she grows closer to the men and Bob Spart, the only man willing to help out our heroes in spite of his own troubles. As for Marion, while she is content with her husband's life and group albeit in lieu of her own entertainment profession, a much bigger hurdle is faced in their relationship, and without giving too much away, let's just say that is where the film's real heart lies within. Many of the other characters are mere obstacles in the trio's way, including many homophobic gangs and Bob's problematic showgirl wife. Even with a fairly small cast, the actors make the most out of their roles and make them more memorable as a result.

As far as the presentation goes, the film actually won an Oscar for best costume design and it definitely deserved it. On top of a large variety of materials making up so many different suits that our trio display throughout the film, the cast fit in them so smoothly that their attire is practically to die for. The wardrobe is made even more fabulous by the elaborate choreography and lip synching to to the film's killer soundtrack, consisting of numerous camp classics like "I've Never Been to Me" by Charlene, "I Will Survive" by Gloria Gaynor, "Finally" by CeCe Peniston, and of course "Mamma Mia" by ABBA. Although some numbers might stop the film dead in its tracks here and there, they're so much fun to marvel at that you hardly even notice, and they're always a blast to listen to on their own. The original music by Guy Gross also fits the film appropriately amongst the long illustrious outback captured gorgeously onscreen. These notable production qualities are just the little things that make a film like Priscilla, Queen of the Desert a pure visual delight in addition to being a wholesome experience.

To say that Priscilla, Queen of the Desert is a landmark in queer cinema, let alone Australian cinema, would be an incredible understatement. Not only is the film packed with comedic show stopping splendor, but its wholesome story and outstanding performances have allowed it to age like the finest wine there is. Whether or not you yourself identify as queer in any way shape or form, this film is a must watch for anyone curious about the finest movie going experiences down under. It's amazing how much cultural significance this film rightfully garnered over the last three decades; it truly is a one of a kind road flick.

As of this year, A24 has released a new psychological horror-drama known as I Saw the TV Glow. Marking the second directorial role of queer filmmaker Jane Schoenbrun, the film initially premiered at the Sundance Film Festival this year before garnering its mainstream release last month in May. As of now, it has garnered a fairly strong critical and audience reception, and it has been viewed as an allegorical coming of age story from the transgender point of view. Seeing the film on its own, even if you don't identify as queer yourself, I consider it to be a fascinating cautionary tale on obsession consuming one's soul.

The film focuses on the life of two troubled young friends, Owen and Maddy, who both spiral in their own reality after their favorite TV show gets cancelled. As the film is detailed through different points in Owen's life, specifically from middle school to high school and even young adulthood, the story is woven carefully throughout each defining bond between the guy and the only person he feels genuine connection to, if only for a cheesy young adult show. Not only does this show hold special meaning to Owen and Maddy in lieu of their troubled upbringings and personal struggles, but it is perhaps the only thing keeping them both together as they both go on different paths of life, neither of which turn out to be particularly pleasant or fulfilling. In many ways, the show known as The Pink Opaque serves as a form of unhealthy nostalgia consumption and identity crisis for Owen as he ends up coasting through life without much attachment to anything beyond the girl characters in it. No piece of media should ever take over your life, but it can sometimes act as a coping mechanism.

As for the overall experience itself, the film is largely carried through actors Justice Smith and Brigette Lundy-Paine and they sell the shattered personalities of Owen and Maddy so smoothly that you forget they're just acting. Although there are a few characters who make or break the two's differing lives, like Owen's emotionally unaware parents, they're mainly backdrops in what is mainly a two player focused tale of identity struggle. The actual televisions shown in the film are also somewhat of a character amalgamation in itself, mainly by hypnotically representing an almost euphoric transcendence as the one type of place that Owen finds comfort in, even if said comfort corrupts his mind. The necessary static effects in both visuals and sounds recreate somewhat of a claustrophobic surreality laced with Owen and Maddy's worst fears brought to life from their real lives and their personal conflicts with their favorite show. The cinematography and music also play an important role in this factor in reminding us as the viewers that we're witnessing personal complications unfold in surreal ways.

With all of this said, I cannot begin to recommend I Saw the TV Glow enough for anyone curious to check it out. There's so much to take away from it as far as coming of age psychological dramas go, but it will especially play a big role in the lives of troubled queer people. Regardless if you've been down a similar rabbit hole as Owen and Maddy, this feature has an uncomfortably welcoming presence that will make you feel at home in addition to making your skin crawl. I cannot guarantee that this movie is for everybody, but I will admit that there's a chance you'll find some value in its underlying themes.

30 years ago, a strangely unique comedy drama from then renowned filmmaker Robert Zemeckis known as Forrest Gump was released to the general public. Based on the book of the same name by Winston Groom, the film known for starring Tom Hanks in the lead role became a phenomenal success with critics and audiences and even won Best Picture at the 1995 Academy Awards. Often known as one of Hanks highest regarded performances of all time, the film has endured a strong cultural status in the years since its summer 1994 release. But how well does it hold up in today's current era?

The film tells the story about the life of an intellectually disabled Alabama man named Forrest Gump (Hanks) and his experiences in the 20th-century United States. With Gump being established as "different" than other people in the world, both during his childhood and adulthood, it makes his numerous life experiences all the more fascinating. From being able to run really fast at a young age and becoming a pro college football athlete as a result, to enlisting in the U. S. Army during the Vietnam War, to becoming wealthy through shrimping and computer sales, the film truly is carried by a number of different events throughout Gump's life. That being said, a lot of these incredible events throughout Forrest's life are in lieu of reuniting with his only real friend from childhood Jenny Curran, the latter of whom ends up on a different albeit dangerous path from Forrest's. By keeping the two characters' fluctuating relationships the core heart of the feature, Forrest Gump is as much of a tale of true love triumphing over hardship as it is a life changing experience from a below average man.

But with that said, a life as shockingly extraordinary as Gump's isn't complete without a memorable cast of characters, including that of his mother played by the wonderful Sally Field. Anyone who has had to raise a child in a world that is against them for being different will find solitude in Mrs. Gump's bold yet unconditional love and kindness, and that in turn led to her own son showing the same form of devotion to others. Some of those people include Forrest's soldier comrade "Bubba" Blue, whose simple dream of shrimp fishing would be passed on in good hands, and their platoon leader Lieutenant Dan Taylor, the latter of whom is arguably the most fascinating character in the whole feature due to his complicated familial history and later life as a disabled man making & breaking him simultaneously. Many of the other characters outside of historical figures are mainly fodder to emphasize how much Forrest and Jenny care for each other throughout their lives, but the small primary supporting cast are still worthwhile to make this story touching and harrowing at the same time.

As for other notable qualities, it is shocking how well the feature holds up for its remarkable effects and editing work that replicate the multiple time periods shown throughout it. Although only shown here and there to heighten Forrest's life changing throughout the years, seeing Tom Hanks in 1993 being incorporated into archival footage of presidential figures like JFK and Richard Nixon looks so seamless that you hardly notice any flaws. Thanks in large part to veteran visual effects artist Ken Ralston and ILM, as well as the accompanying editing work by Arthur Schmidt, the film comes off as a successful tribute to the numerous political eras in the United States both in style and substance. Of course Forrest himself isn't particularly political himself, but the numerous decades he spent throughout his life reflect on him inflicting positive change throughout his life in lieu of the tragedies going on in the world. These are often carried through an incredible soundtrack that carries the ongoing years with banger hits that we can bang our heads at both in unison and harmony.

It's really hard to explain exactly why Forrest Gump works as well as it does; it just does somehow. Not only is the film carried through Tom Hanks' demandingly wholesome performance, but the culturally enthralling story beats, splendid supporting cast and innovative filmmaking techniques have allowed this film to age like a fine bottle of wine. Now that this film is enduring its 30th anniversary, now couldn't be a better time to look back at it. It's hard to say if this will win over everyone in the long run, but you neer know what you're gonna get out of it unless you try it, kinda like a box of chocolates.

Illustrator and filmmaker William Joyce has endured quite the career working in numerous animation studios like Disney, Pixar and Dreamworks, as well as writing numerous children's books that have also been adapted into other works. Probably one of his lesser known works, The Leaf Men and the Brave Good Bugs, was adapted in the 2013 fantasy action-adventure flick called Epic by former animation powerhouse Blue Sky Studios. With direction and creative involvement by studio co-founder Chris Wedge, how does this film age nowadays after being overlooked compared to the studio's other output?

The film centers on a teenager named Mary Katherine Bomba who gets shrunk into a tiny woodland kingdom inhabited by flower people and soldiers called Leafmen. After getting swept up in a wild adventure between good and evil, she must fight to protect the world she never knew existed. From this mere premise, one would imagine this feature to be derivative of works like FernGully or Avatar, but instead Epic chooses to expand the size and scope of its worldbuilding through an ongoing war between the leaf people living off natural habitats and the more venomous Boggans surviving from rot. Admittedly, the story itself can jump a little too much from one plot point to the next and can often feel like it's tackling too many story beats without leaving room for others to fully develop. The feature is often at its best when it tackles its themes of conflicting nature elements than when it struggles to know more beyond that. Nevertheless, there is still much to appreciate about a fantasy nature flick that prioritizes its worldbuilding to carry the narrative to better heights.

In terms of the characters, some are handled better than others, but the primary ones are likable in their own right. Because Mary Katherine has to endure her well meaning but forgetful father focusing a bit too much on something that might not be there, she is definitely sympathetic enough to root for on the journey. In addition, the friends she meets along the journey all share their own troubles amidst their charming exteriors, such as Nod's brash attitude showing off in lieu of him struggling to be a hero like his late father, Ronin making for a stern yet humble guardian Leafman around the forest, and the pivotal comic duo Mub and Grub whose role of keeping the forest healthy makes up just enough for their juvenile attempts at humor. In representing the Boggans' form of living, their cruel leader Mandrake is truly menacing from his mere design and naturally sinister voice from Christoph Waltz, and the stakes always rise up once he is around. It's easy to see which character you'll root for more and more as the film goes on, but as is this cast is decent enough to root for along the journey.

Now it might go without saying that perhaps the filmmakers put a little more work in the movie's world building and design than the general plot, but thankfully the world of Epic is fascinating enough from a tiny point of view. While most epic fantasy series like Lord of the Rings, Harry Potter and Narnia arguably offer more rich landscapes and environments than the likes of this one feature, the unique perspective to emphasize the scale and scope of a wider forest allows for many unique creature designs and costume work, especially in how the leafmen and boggans operate. The more grounded and pseudo-realistic humans such as M. K., Nod, Ronin and others contrast well with the more stylized and exaggerated characters like Mandrake, Mub & Grub and the cooky scrollkeeper Nim Galuu. Of course, the battle scenes display some incredible staging and life threatening choreography, and the effects work is enough to marvel at from start to finish. There is a lot to admire in just how diversely talented the crew at Blue Sky were, even when the general public hardly noticed at the time.

Arguably more fascinating in theory than in execution but still an enthralling time on its own right, Epic serves as a fallible yet ambitiously unique fantasy adventure flick complete with enough unique stylization into its grandiose world building and in depth lore. I won't go as far as to call this an overlooked masterpiece but I do think it is worthy of gaining further appreciation sometime in the future, at least as far as cult enthusiasm goes. With people seemingly not continuing the Blue Sky admiration today as much as its foreclosure, now would be a really good time to give this flick another chance.

As of this month, the long awaited prequel to Mad Max: Fury Road known as Furiosa has finally been released to the world. Starring the likes of Anya Taylor-Joy as the titular character and Chris Hemsworth, the film has proven to be a strong contender for the Mad Max franchise with notable critical acclaim and a modest opening weekend at the time this is being written. Usually, when prequels or spin offs of popular blockbuster movies come out, their reception is usually underwhelming at best. So how does this film stand as an ambitious inclusion into George Miller's insane saga?

Set roughly 15 to 20 years prior to the events of Fury Road, the film chronicles Furiosa's heartbreaking life from being kidnapped as a child by the forces of warlord Dementus to her seeking revenge as an adult on the warlord for the loss of her mother. In just under 2 and a half hours, this film manages to detail just enough of Furiosa's dangerous upbringing, whether by struggling as a slave under Dementus's control, or becoming a trusted lieutenant under the Citadel's cult leader, Immortan Joe, to yearning for her own home of the Green Place where life prospers amidst the war crimes over water, food, weapons, and gasoline. By keeping the storyline largely straightforward without using unnecessary flashbacks or jumping ahead too soon, Furiosa largely works as a character driven journey thanks largely by the character herself. Anya Taylor-Joy looks and comes off surprisingly similar to Charlize Theron's performance, but Alyla Browne's largely mute performance captures Furiosa's trauma and anger with such a vigorous drive that keeps the first half on its toes.

Speaking of the cast, Chris Hemsworth makes for an effectively ruthless presence as Dementus, complete with a mix of cunning ham and callous malice that makes him and his crew thoroughly loathsome. In addition, returning from Fury Road is the aforementioned Immortan Joe, his war crazy sons Rictus and Scrotus and the Organic Mechanic, all of whom play their own roles with such ferocity without going completely mad, at least in the case of Joe who's mere nuanced presence makes him arguably scarier than his more bombastic sons. Some characters in the film might be hard to truly know who to root for or be against, but the commander of the Citadel's war rig Praetorian Jack is arguably the most sympathetic aid of Furiosa due to his vulnerability deep inside a tough exterior and a humanesque performance courtesy of Tom Burke. Although most people will come in to see Taylor-Joy and Hemsworth work off of each other, and indeed they do, the supporting players are what make the entire feature truly harrowing and engaging to watch from start to finish.

In continuing the insane world-building and top tier stunt & effects work from Fury Road, the filmmakers managed to up the ante while still keeping some scenes more low key in contrast. With much of the crew from Fury Road returning, including composer Tom Holkenborg, costume designer Jenny Beavan, editor Margaret Sixel (Miller's wife), and co-writer Nico Lathouris, the world of Furiosa feels much more expansive to the post apocalyptic Australian wasteland with elaborate set locations, intense car chases, near impossible stunt work, post punk jaggery costumes, and an overall feeling of complete madness. To keep the flow going through so many different plot points, the insane effects and stunt work is saved for the more life threatening sequences, thus allowing the more human moments to play out as long as they need to. Other Mad Max films have done this as well, but this is the longest installment in the franchise, so you really feel the weight being lifted once a quieter scene comes into play. There's much to appreciate from these filmmaking vets nearly 10 years later.

It's often a miracle when a prequel to a beloved feature in an already well established franchise turns out good if not great in the end, and thankfully Furiosa delivers quite well. Thanks in large part to some stellar performances, a concisely multilayered storyline, and phenomenal filmmaking qualities, this film works well as a spinoff without feeling like a nostalgia bait cash grab. If you're a fan of the Mad Max series or you're in the mood for some substantive blockbuster fun, then this is a must watch for the summer movie season. It's incredible how even nearing 80 years old, George Miller still has it in him.

Before I discuss my thoughts on this two part docu-series, I must state right now that the subject matter detailed here are not easy for anyone to bare witness. If you happen to be a victim of sexual misconduct in any way, it's perhaps better to avoid this series as it chronicles numerous people within the entertainment industry who were assaulted by former acting legend Kevin Spacey. You have every right to not watch this series and anything depicted should be advised through viewer discretion.

Now with that said, where this documentary series succeeds the most in is bringing new insight into many men who were victimized and horribly mistreated by Spacey through sexual desires. Considering that Spacey himself turned out to be a self-loathing homosexual man, the many interviewees shown in the documentary make enough account into how much Spacey's horrendous actions could have stemmed from internalized anger based on what he was. While it does not excuse anything he did, Spacey's growing career seemed like a good coping mechanism to hide away from his traumatic upbringing. The numerous stories chronicled from the people who Spacey mistreated, his own family members and other journalists paint an interesting light into how much made and broke the actor both in terms of ego and reputation.

That being said, as this series is only two episodes long, it feels a little underdeveloped as far as detailing anything interesting beyond the mere allegations and some of Spacey's already spoken about childhood. Because both episodes focus more on the men who Spacey took advantage of, the moments where Spacey's older brother Randy recollects the abuse he endured from their father and certain details like Spacey's ongoing court trials following his MeToo exposure don't feel as intuitive as they should be. Perhaps one or two more episodes could have been made to go over just how much the trials affected Spacey's washed up career, that way we could gain more insight into how the actor felt following these accusations beyond what the general media thought otherwise. Some more anecdotes might have benefited this series in the long run.

Regardless of the flaws, I would still recommend this to anyone who doesn't know much about how appalling of a human being Kevin Spacey was during his career, and arguably now. It's one thing to coast through your life trying to cope with your internalized hatred and loathing, but to take it out on others is never ok and this series at least had the insight to demonstrate that in an unsentimental yet convincing manner. Enter with caution but remember that it's worth it for at least some of the anecdotal information.

In 1989, the then fairly new Japanese animation company known as Studio Ghibli released their fourth feature film called Kiki's Delivery Service. Based on the children's book by Eiko Kadono, the movie proved to be the studio's first big success upon its original release and it soon gained notable attention internationally thanks to the Disney produced English dub in 1998. Nowadays, it is often seen as one of director Hayao Miyazaki's finest features, especially to those who grew up with it in the early 2000s decade. So how well does it hold nowadays as a coming of age witch story?

The movie follows a young witch named Kiki who moves to a port city with her cat by means of starting a flying courier service. This premise is pretty simple all things considered, but much like the best of Miyazaki's films, what makes the movie engaging is the character of Kiki herself rather than the actual story. Although somewhat episodic in nature, the different misadventures Kiki embarks on to deliver baked goods across the town of Koriko are delightful in their own right, especially as she meets new people and discovers more about her strengths and weaknesses. Since Kiki is just 13 years old, she has to face maturity and independence at the expense of losing who she is internally, and it's through her genuine gestures and Minami Takayama's sincerely vulnerable performance that make the titular character worth rooting for. Although the film does end a little too abruptly after such an intense climax, it nonetheless captures the search for independence that people face at a young age with emotional sincerity and respect for those people finding themselves.

As for the other characters, perhaps the most symbolic one is Kiki's black cat Jiji. In addition to being a witty companion, the factor of Kiki being able to talk to him represents the cat as a voice of reason towards the titular character, at least before Kiki matures. The baker couple who take Kiki in are also charming in their own right, especially Osono being outwardly kind and concerned for Kiki's well being, and the curious lad Tombo makes for a cute if not quirky mutual fascinated by Kiki more than she thinks otherwise. That being said, the young painter Ursula is by far the most relatable and uplifting character in the whole movie, as her experiences being a self imposed artist could resonate with anyone suffering from a creative crossroad. In addition to a lovable cast of characters, the often preferred English dub comes courtesy with a spectacular cast such as Kirsten Dunst, Phil Hartman, Tress MacNeille, Janeane Garofalo, Matthew Lawrence, Debbie Reynolds and more. Whichever dub you personally prefer, you'll still be able to admire these characters the same way.

Now even though this was only Studio Ghibli's fourth movie, the filmmakers brought the world of Kiki to life beautifully. Despite most of the film taking place in one town, the luscious backdrops, intricate color details and rich artistry recreate the look of a gorgeous northern European coastal area down to the tiniest ornaments and environments. Many of these landscapes are shown at their pique during the flying sequences, which are fun to watch on their own and make the viewers feel the soaring heights in each gust of wind Kiki embarks on. Also, the character designs and animation are reminiscent of what you'd find in your typical Miyazaki directed Ghibli film, which is perfect since the characters are naturally down to earth amidst the presence of a magical person who is also losing sight of their own abilities. Lastly, not only is Joe Hisaishi's score poetically refreshing given the film's mostly laid back tone, but the opening and end credits songs keep the momentum going strong all throughout. It's great that even a slice of life fantasy film can feel as poignant as a more epic one.

As a heartfelt coming of age film about a witch discovering her significance in the world, Kiki's Delivery Service stands strong as one of the penultimate Studio Ghibli films with its down to Earth themes, lovable characters, gorgeous artistry and serene sense of realism. After roughly 35 years since its debut, it has aged like fine wine as far as coming of age films go, and it's worth checking out for more than just the main premise alone. Just like how its message of self discovery inspired numerous people back in the day, here's hoping that it can continue to do so in the decades onward.

30 years following the final Mad Max film in the original trilogy, George Miller set out to create a brand new installment with the character. Released in the spring of 2015, Mad Max: Fury Road was not only a critical darling and a commercial hit, but it has now been deemed as one of the best action films in the 21st century, if not of all time. Time has proven so kind to the feature that it has grown a loyal following without any need to watch the original trilogy, and a prequel is already set in stone for this month. So why exactly did this film work so well when it could have easily been a nostalgia cash grab?

The film focuses on Max Rockatansky who joins forces with Imperator Furiosa against the tyrannical cult leader Immortan Joe and his army, which results in a lengthy road battle between the elite traders and undervalued prisoners. While this premise may seem typical for your average Mad Max installment, what makes Fury Road twice as engaging is how much the stakes and intensity from the ongoing chase to stop Furiosa are cranked up towards. George Miller himself has described Fury Road's primary theme as survival, and that not only makes sense from nearly everyone in Immortan Joe's high command chasing Max and Furiosa but also from how Max himself regains his humanity by sticking with someone who yearns for a better tomorrow. A yearning for a new home and reconnection with family are what drive Furiosa and Max to escape such brutal territories, along with a remarkable feminist view as Furiosa's commitment to rescuing the many wives of Joe to a better tomorrow. It's not everyday when an insane chase movie can be this thematically harrowing.

But of course, a film like this is not complete without a strong cast to bring all of these characters to life, and this feature delivered well. Tom Hardy takes over the character of Max after Mel Gibson, and he portrays the man well through intense brooding mixed with genuine emotional turmoil as the character lumbers through all the madness occuring in the world. In addition, Charlize Theron is wonderfully stoic as Furiosa and her intense dedication to escaping Immortan Joe's wrath is nothing short of remarkable. Speaking of Immortan Joe, the late great Hugh Keays-Byrne returns to the Mad Max series to portray this intense warlord amidst his intricate body armor. As for the others, the many wives of Joe could all have their own backstories and the war boy Nux arguably has the most concise arc in the whole film from going for Immortan Joe to soon going against him as the journey reaches its conclusion. The remaining cast are all fascinating in their own right, but the primary leads are what make this thrilling action chase truly more dramatic and heart wrenching in just 2 hours.

Now it should go without saying that this film is possibly the most ambitious Mad Max film to date as far as production design and visual effects are concerned. Considering that this film was shot roughly three years before it came out, the amount of creative vehicles shown throughout the action scenes are frightening from their mere designs alone, and the practical stunts and intricate performers are a marvel to witness whether you're seeing this film in a theater or on your own device. In addition, the grandiose dry weather backdrops allow the chase to feel like it's literally ongoing and the brisk editing keeps the stakes cranked up without losing focus on what we're witnessing at first glance. The score by Junkie XL also adds into the tone whether the moment is quieter yet still intense or rip roaring, although perhaps some of it could have been edited out in favor of letting the silence speak for itself. From the original low budget action drama to this epic extravaganza of high budgeted filmmaking, it truly is astounding to see how far the Mad Max series has come in more ways than one.

By carrying just as much emotional weight as its exhilarating action, Mad Max: Fury Road stands as not only one of the best installments in the series, but also one of the best post-apocalyptic thrillers out there. It stands so well on its own that anyone who has never seen the original trilogy will have a grand old time watching it from start to finish. With its anticipated prequel focusing on Furiosa coming out next week, now could not be a better time to endure yourself with this magnificent masterpiece of emotional intensity. It's a rollercoaster unlike anything you'll see in most action movies today.

One of the strangest films I've ever had the chance to see is the 1975 Japanese experimental short Atman. The entire 11 minute long film depicts a demonic figure sitting in an outdoor environment wearing a robe and a Hannya mask. Believe me when I say that as short as the film is, you feel the figure's presence in every frame.

The film was executed through receding and shifting images utilized in a frame-by frame manner. With the addition of strange color palettes and hypnotic music, the best way to describe this transformative method of jumbled cinematography is something straight out of a fever dream. Much of this is contributed to avant-garde composer Toshi Ichiyanagi, whose score transcends the numerous different view points of the demon with melodies that will haunt your dreams for a while.

As scary as this film is, I would recommend it to anyone interested in the intrinsic experience. It's not going to everyone's cup of tea hence the short runtime and odd concept, but if you're looking for the closest thing you can think of experiencing a real life demon, this is the best bet you'll have. Enter at your own risk but keep in mind that it's up there for all to see.

If you were to be asked the first early 80s coming of age high school film that came to your head, Fast Times at Ridgemont High would probably be on that list immediately. Marking the debut of writer turned filmmaker Cameron Crowe and director Amy Heckerling, the movie garnered a massive financial status and a huge cult following amongst gen Xers and fans of 80s pop culture. Nowadays, its status has grown significantly higher and it's also regarded as one of the better teen based dramedies of its time. Watching it now with a genzier's perspective, it's more than easy to see how well it's aged.

The film details high school sophomores Stacy Hamilton and Mark Ratner who go about their new year at Ridgemont High with their older friends Linda Barrett and Mike Damone, both of whom believe they are wiser about romance than they actually are. What seems like your typical coming of age teenfest turns out to be a surprisingly fascinating look into feminine sexuality and toxic masculinity. Stacy herself goes through a lot in the film, such as falling for guys who don't care for her to facing the consequences of unprotected sex, and Jennifer Jason Leigh portrays her in a relatable fashion that makes us empathize with her struggles. Although most people tend to remember this film for its raunchy stoner humor, the core of the feature is an emotionally charged narrative about teen curiosity that I'm sure many people can resonate with regarding their high school years. In subversing teen film tropes by having the girls be just as sex enthused as the guys, Fast Times's title speaks for itself on how fast things might go for teenagers during early periods of their lives.

But of course, most people tend to go back to this movie for the ensemble cast of characters, including the stoner surfer senior Jeff Spicoli. Although Sean Penn's performance is equipped with hysterical one-liners, Spicoli is actually more sympathetic when he has to deal with his stern yet reasonable history teacher Mr. Hand. In addition, Stacy's older brother Brad goes through numerous obstacles from job after job to relationship struggles, and Damone might be the most nuanced as far as romance knowledge goes in spite of his callous attitude, which is highlighted whenever Ratner has to deal with him. Lastly, Stacy's friend and coworker Linda remains the most sex enthused woman in the whole film both in stature and experience, complete with one of the most paused scenes in cinema history. Complete with then new now well known faces amidst the cast such as Phoebe Cates, Forest Whittaker, and even Nicholas Cage and you've got one of the funniest and most memorable pack of supporting characters you'll ever see in a 80s teen dramedy.

As for other notable qualities, the filmmakers managed to capture the aesthetic of high school through the production design and cinematography quite well. The Van Nuys High School backdrop keeps the primary school setting afloat with many attributes ranging from small yet raucous hallways to classroom settings that elicit claustrophobic uncomfortableness during any of the side character's shenanigans, including Spicoli. In addition, the cinematography allows each sequence to feel naturally lit yet colorfully heightened to present the feeling of teenaged nostalgia without emphasizing any forced sentiment in favor of brutal honesty in what teens faced. Much of this can be attributed to the soundtrack, which adds into the fun of the film while also subtly speaking on behalf of the more dramatic moments, although some scenes still get their own share of upbeat rock songs to add to the 80s flavor of it all. In being a time capsule of early '80s teen memorabilia, this movie's impact on pop culture has stood the test of time arguably more than other films of its subgenre.

While Fast Times at Ridgemont High may seem like your typical juvenile high school flick of its day, its genuine dramatic heart, lovable cast of characters and spot on replica of 80s pop culture make it a thoroughly appealing time capsule that has stood the test of time in more ways than one. Whether you're a die hard fan of this film or not, it's absolutely worth a watch for anyone curious about the earlier works of the cast and crew. Now that teen based dramedies seem to be far and few in between and inconsistent in quality, wonderful time capsules like this are always worth the price of admission and significance.

In 1973, newcomer director Hal Ashby and up and coming screenwriter Robert Towne adapted Darryl Ponicsan's 1970 naval themed novel The Last Detail into a motion picture. Starring Jack Nicholson in the lead role, the film garnered largely great reviews and prestigious awards, including a Best Actor award for Nicholson at Cannes and a Best Supporting Actor nomination for then newcomer Randy Quaid. Often seen as a quintessential rebellious 70s dramedy, this feature is often sighted as one of Ashby and Nicholson's best works to date, and it's easy to see why through its raw nature.

The film follows career sailors Buddusky (Nicholson) and Mulhall (Otis Young) who are assigned to escort a young emotionally withdrawn recruit named Meadows (Quaid) from their Virginia base to Portsmouth Naval Prison in Maine. At its core, The Last Detail is a thoroughly enticing road movie from start to finish thanks in large part to Towne's bravely profane script and the lead cast's unabashed performances. As the film goes on, we can see how much Buddusky and Mulhall resent their task based on the insipid crime, and that alone makes their goal of showing Meadows a real good time before his imprisonment truly human and relatable. In honoring the bonds between manhood, so much adventure and new discoveries occur between the trio, whether it be getting Meadows drunk for the first time, attending a Buddhist community, or even getting the young man laid. There is rarely a dull moment to be found in our lead's journey, which makes its inevitable conclusion all the more saddening once it's all over. It's not often when you root for officers and recruits in such dire situations.

Going into the actual performances, Jack Nicholson gives this movie its much needed edge, which contrasts well with the strict orders he's given for something so insignificant. In addition, Nicholson and Otis Young share great chemistry as Buddusky and Mulhall in how much conflict and resolution comes up in their differing attitudes yet similar choices of fate. That being said, Randy Quaid nearly steals the show as Meadows, as he brings genuine devastation through subtle gestures and facial acting, even when his character is having fun. Much like how this film is a critique on systemic corruption, its themes of human injustice are shown through Quaid's reasonably depressed state of being, and it's shocking how well he did compared to his later comedic roles. Other notable performers only appear when a scene calls for it, but they all serve their roles in showing people at their most cruel and most endearing in different ways. When the right actors are chosen for such a small group of core characters, you get some of the most intrinsically real performances out there.

As far as other notable qualities go, Ashby's direction keeps the film grounded in the cold winter season with brutal realism that fits the film's reflectively cynical nature. This film marked legendary cinematographer Michael Chapman's first venture into that field, and his work captures an almost quasi documentary approach to natural light, which further adds into the tension of any given sequence focusing on our leads' rauctious escapades. The editing contributed to Robert C. Jones lets each scene play out as long as it needs while making strong usage of dramatic jump cuts and looming scenic transitions to show how much time is passing without much of a care given by Buddusky or Meadows. Lastly, while only used sporadically, Johnny Mandel's somber score allows us to empathize with the aforementioned passage of time that makes this feature such a minimally harrowing human experience. So much attention to detail and care was placed into capturing the natural side of human discourse through talented filmmaking, and that's just part of what makes this film special.

To this day, it's remarkable how little fame The Last Detail has garnered, since its reasonably cynical content, powerful performances and strong low key filmmaking earn it as a definitive staple of early '70s cinematic mastery. If you're a fan of Ashby, Nicholson or overlooked gems from appraised decades in cinema, this film is a must watch for anyone out there, and there is still a lot to get out of its critiques on the questionable power moves laid on us by those who don't know any better. It has been 50 years since its release and it has rightfully aged even better than beforehand.

I liked some of the segments and didn't like some of the other segments, but as an ambitious jazz revue conducted by Paul Whiteman and his talented group of musicians and vaudeville comedians, this is a fascinating cinematic landmark. Your viewing experience will vary depending on how much you're into these kinds of concert feature formats, so take it with a grain of salt of course. Considering this film was once considered nearly incomplete to the years onward and is now seen in near full technicolor form thanks in part to Criterion, there's enough to admire from the music, staging and tributes to Broadway magic. By far the highlight is Whiteman's rendition of George Gershwin's acclaimed harmonious jazz composition Rhapsody in Blue, which has arguably been brought to life in better ways than this, but is still soaring through bold conduction and lively choreography. So all in all, take this movie for what it ultimately is: a charming time capsule to an era that was just starting to embrace sound and music together in the world of film.

25 years ago, Universal released their own remake of their 1932 horror film The Mummy starring Brendan Fraser in the lead role. In spite of the feature's mixed critical reception, it was a huge commercial hit and spawned two sequels, a prequel and a short lived animated series. Looking back on the film now, it stands well enough as one of the typical action summer blockbusters made when CGI was dominating that market. As for how it holds up nowadays on its own, while not all that different from the average blockbuster of its day, there's just enough to enjoy from its entertainment value alone.

The film follows adventurer Rick O'Connell who travels to Hamunaptra, the City of the Dead, with a librarian and her older brother, only to accidentally awaken Imhotep, a cursed high priest with supernatural powers. As an adventure film, there's plenty of cliches to go around surrounding O'Connell partnering up with Evelyn and Jonathan Carnahan, the former of whom is both an aspiring Egyptologist and an obvious love interest from the get go. That being said, this is meant to be an Indiana Jones inspired adventure epic complete with high scaled action, swordplay, and dodging dangerous obstacles, and this movie has plenty of it all. While nowhere near as sharply engaging or funny as the better Indiana Jones movies, the tribute is still there and it makes the horror elements work well enough with the sets and effects shown throughout the feature. Many plot points are predictable as popcorn, but anything to keep the story on its feet is fine by me. The film is somewhat self aware enough to know that its story is more about the show than the substance, and it works well in the end.

In addition to Brendan Fraser serving as the perfect swashbuckling lead who doesn't always take himself too seriously, the cast make the most out of the otherwise cheesy material. Rachel Weisz in particular is impeccably sharp witted and beautifully bold as Evelyn, and the bumbling chemistry between her brother Johnathan is often funnier than John Hannah's admittedly corny performance. Kevin J. O'Connor also makes for delightfully cowardice as the greedy yet pathetic Beni Gabor and the accompaniment of Jonathan Hyde as Dr. Allen Chamberlain and his men allow for much needed tension when the rival team is searching for the same treasure as our heroes. Lastly, Arnold Vosloo's straight laced presence as Imhotep still remains bone chilling and intimidating from start to finish, elevated even further by his spot on motion capture performance as the character in corpse ridden form. In a silly popcorn flick that mashes horror and comedy within its adventure, a cast of remarkable talent is just what's needed to keep things from losing steam too soon.

Now with the special effects being the main selling point for this movie, the phenomenal optical and digital work of ILM holds up today in varying degrees. On one hand, some mystical effects and character animation come off as dated from their rendering alone and there are numerous post production add ons that wouldn't be necessary when compared to the practical production design on display. That said, some of the supernatural elements like the flesh eating scarabs and Imhotep's reawakened minions are still frightening by design, and the insane amount of dedication to making these insane effects work well are no wonder the crew finished the film on the day of its premiere. Much of these effects are carried through the intensely powerful score of acclaimed film composer Jerry Goldsmith, complete with bombastic conduction and a mixing of traditional European orchestral and cinematic Egyptian melodies. Whether the effects hold up well or don't, the actual viewing experience of this film will be determined by all the well coordinated ambition displayed on screen.

As an epic action adventure film with horror and comedy mixed in for effect, The Mummy (1999) remains a fun staple of its time that can be enjoyed nowadays on its own for how much nostalgic value it offers. In a day and age where computerized effects have completely dominated filmmaking in more ways than one, seeing a big scale production like this at a time when the technology was still in its early years makes it stand out as a charming treasure from an older era. Whether you prefer this over the original 1932 film with Boris Karloff or the 2017 reboot with Tom Cruise, this one will be a good time for you.

Back when nerdy filmmaker Kevin Smith was a brand new face in the indie filmmaking scene, his View Askewniverse had kicked off to a good start with cult hits like Clerks and Mallrats. One of the films in that franchise, Chasing Amy, has endured one of the better stand alone legacies in Smith's filmography, mainly for its sensitively portrayed themes of conflict between love and sexuality. Not only have Smith enthusiasts viewed it as a fascinating grey area in depicting cinematic relationship conflict, but its lasting impact has stemmed partially from its portrayal of queer people during a different time in our culture.

The film follows a comic artist named Holden McNeil who falls in love with a struggling writer named Alyssa Jones who turns out to be a lesbian. This causes complications in Holden's personal feelings and his relationship with his best friend and partner Banky Edwards. Loosely inspired by a crush that Smith's producing partner Scott Mosier had on lesbian filmmaker Guinevere Turner, the feature is often at its most intense in depicting how brutal these kinds of relationships can be for anyone who takes love seriously. The complicated relationship between Holden and Alyssa are elevated by Ben Alleck and Joey Lauren Adams's flaunting chemistry as they grow together and apart on account of just how complicated their feelings are for one another. As crude and immature as the setting might be, the film's themes of problematic tension are handled with such raw honesty that anyone who has ever been in a serious relationship can feel for the leads in more ways than one. It's hard to believe such a thorough depiction of relationships could come from the world of Clerks.

In addition to its central core of complicated romance, the film also explores how frustrating bromance can be for two best friends. On top of the aforementioned Banky being resentful to Alyssa's queer presence, his close partnership with Holden borders on uncomfortable due to faltering plans to bring their popular comic series Bluntman and Chronic into the mainstream. While seemingly despicable and unpleasant, Jason Lee adds an extra layer of relatable intensity into how much Banky doesn't want to lose his best friend to some stranger who isn't attracted to him in the way he thinks, no matter how repugnant he may seem. Other notable characters add into the hilarity behind Holden's complicated relationship such as the flamboyant black comic creator Hooper and the legendary duo that is Jay & SIlent Bob, the latter of whom share a similarly heart wrenching story as Holden's. Considering that Kevin Smith went out of his way to feature as many recurring actors from his older projects as possible, it makes the feature all the more like a proper View Askewniverse endeavor.

Now with all of that said, it's best to acknowledge on whether this film's depiction of the LGBTQ community holds up or not. Considering that this film reflects more on a straight man learning about what it means for a woman to be gay and fall for them at the same time, it makes the depiction of gay women around Alyssa's life feel more like after thoughts in service of the main narrative. While this film was fairly progressive for its time period, knowing where queer culture has grown since then might rub some viewers of today the wrong way in the context of the film's main narrative focus. However, I think it's best to analyze this film less as a legitimate breakdown of the lesbian experience and more as a wake up call for those who cannot see past their own views on romantic relationships. Whether people would like to admit it or not, heterosexual dudes of the late '90s were still coming to terms with their own feelings in the wake of queer revolution, and smaller stories like this are just a dime a dozen as far as what Smith and his friends were getting across since their beginnings.

So while its queer representation might not be as authentic as today's standards, Chasing Amy holds up well as an emotionally raw romcom that tackles its tricky themes with genuine honesty and frustrating introspection smoothly. Unless the work of Kevin Smith isn't your cup of tea, I highly recommend this for anyone who has been in similarly tumultuous relationships as the ones depicted in this feature and especially to newcomers of the View Askewniverse. Even after 27 years since its release, this film has managed to seep into pop culture so well that it's hard to imagine anyone who also hasn't been chasing Amy either.

In 1984, Japanese animation legend Osamu Tezuka released a made for TV animated feature film called Bagi, the Monster of Mighty Nature. Intended as a critique on the Japanese government's approval of recombinant DNA research happening around that year, the film has fallen into obscurity compared to Tezuka's more prestigious works and has only garnered a marginal following of internet anime fans. Looking at the film nowadays, while its earnest intentions led to a fairly heartbreaking story, it's better to acknowledge this as more of an experiment than a fully realized experience.

The film's story is told by a young Japanese man named Ryo, who recounts how he reunited with his old pet cat named Bagi, a sentient creature that was the result of genetic engineering, to unravel the cursed mysteries of her past. At its core, Bagi does mostly keep its focus on the unethical nature of genetic experimentation fairly intact, mainly through incorporating themes of losing connection with the ones you cherish the most and the trauma of finding out how you were made in the first place. Bagi herself is a tragic figure who had been lonely for so long and does not want anymore abominations like her to suffer like she did, hence her devout love towards Ryo as her only friend. Speaking of Ryo, his arc of going from a rebellious teen biker to a loyal friend who will help Bagi at all costs lends to some emotional albeit naughty chemistry between him and the titular character. The feature is arguably at its most harrowing whenever these two are split apart not just from bad circumstances, but the consequences that come from those who mess with nature.

With all of this said, the execution of the story is somewhat disjointed as it jumps from Ryo in the present being sent to hunt Bagi to him at age 15 helping Bagi find her past. It does help paint several key scenes in context from past to present, but it leads to some unnecessary buildup for little payoff and causes some characters like Ryo's dad and certain government agents who are out to get Bagi to get sidelined more than you'd think. Also, the third act is possibly the weakest point in the whole film due to some unneeded additions from people setting Ryo up to find Bagi in the present. Not to mention, some moments are too uncomfortable to watch due to the filmmaker's insistence on portraying Bagi in a fairly risque manner, which is added more by certain shocking moments that come off as more inappropriate than anything else. Lastly, although Ryo's mother being the one who created Bagi has some weight to the narrative, she is sadly undermined by incompetent politics and not handled well to gain much empathy for her, no matter what the filmmakers insist.

Outside of that, the animation direction is quite impressive given its made for television presentation. Despite some occasional janky camera pans and often jerky character movements to meet the film's deadline, the animation crew made the most out of the limitations with well composed chase scenes, gorgeous environments and a creative barrage of sci-fi machinery. The transitions of showing Bagi at a young age to her full grown self years later also helps distinguish her visually as she develops. The score of Kentaro Haneda adds into the suspense of the feature, although some of the music compositions do come off more dated than the animation due to some insistence on early to the occasional mid '80s synthesized tracks. As a more original project of Osamu Tezuka's studio, this is the closest they got to do as far as experimentation is concerned for a televised animated feature based on such a bizarre concept. While the script may have some questionable choices here and there, the production crew seemed to get the story well enough to show how rough the edges can seem.

At the end of the day, Bagi is a boldly flawed cautionary tale about what can go wrong if increased scientific experimentation is left unchecked. Unless this kind of material isn't something you find appealing, I would recommend that people check this obscure rarity from Japan at least once. If you can get past the off putting fanservice elements and uncomfortable creative choices, you might walk away with the idea that perhaps we need to be more careful with how we treat our species beyond what we normally think. Only someone like Osamu Tezuka could pull a concept like this off with such integrity.