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Lo, more Pixar magic beckons! – ‘Onward’ Review

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By Hector Valverde

Let’s cut to the chase: Pixar’s latest, Onward, is good. But just how good? Sporting an awesome fantasy world alongside the studio’s patented mix of humor and heart, I’d say Onward happily sits somewhere in the middle tier of Pixar’s body of work. That is to say, it’s an early contender for one of the year’s best films. 

Photo courtesy of newsweek.com

Monster University’s Dan Scanlon helms this tale of a fantasy world where magic has long been supplanted by urban technology. Centaurs drive around in cars, the legendary manticore tends bar at a family tavern, and the sorcery of wizards is old, outdated news with the convenience of smartphones and electricity. In the wake of it all, Marvel bros Tom Holland and Chris Pratt voice elf brothers Ian and Barley Lightfoot who, on Ian’s sixteenth birthday, receive a wizard’s staff belonging to their late father, along with a rare crystal with the ability to resurrect him for a day. 

Eager to meet the father they never knew, Ian and Barley cast the corresponding spell but, in a panic, only manage to bring back his legs. With the 24-hour timer running, the two brothers rush off on a quest to find another crystal and complete the spell to see their father one final time.  

The world of Onward is a real treat all around, popping with wonderful creativity that makes the more niche reaches of high fantasy painlessly accessible. Everything about the magical suburban land just clicks, dishing out gag after clever gag from an endless bag of comedy bits drawing inspiration from D&D, Tolkien, and other like classics. The animation itself additionally looks incredible, though the recurring CGI dilemma of detailed, but cartoony character models against jarringly photoreal environments once more rears its head here. 

The film could have coasted by on its rich world alone, but its sweet story of brotherly love elevates it with that special Pixar touch. The mature message and resolution at its heart are surprising even for a Pixar film, and Holland and Pratt build the siblings’ relationship with warm, genuine chemistry that you don’t see land very often. As always, bring tissues and prepare yourself for impending waterworks, especially if you’re a brother, sibling, or even part of a tight fraternal pair. 

Additionally, a theme/message/critique concerning society’s relinquishment of effort and mastery in the name of convenience lightly circulates throughout the film, though it never quite makes its stamp fully. It’s there just enough to tease further substance but just doesn’t deliver enough to really confirm it. It’s not a big complaint, especially with the film’s world opening itself so naturally for future installments to address these themes, but it’s a little frustrating all the same. 

I emerged from Onward smacking my lips from the film’s flavorful world of rocking potential, and I’m already salivating for a sequel. Packing all the ingredients of Pixar magic, it’s another instant classic in the studio’s acclaimed repertoire, and I can’t wait to see more. 

Grade: A-

★★★★★

See-through spookiness – ‘The Invisible Man’ (2020) Review

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By Hector Valverde

@hpvalverde

Courtesy of universalpictures.com

Ah, the Dark Universe. Universal Pictures’ disastrous attempts to launch a modern interconnected horror franchise with Dracula Untold and The Mummy (2017) will forever go down as one of the most dunkable failures in recent movie history. Well, the third time’s the charm, I guess, because Leigh Whannell and Blumhouse Productions may have just paved another way forward with their inspired reimagining of The Invisible Man. 

Ditching the material of H.G. Wells’ novel and its classic (?) 1933 adaption, this new tale of transparent terror opens to a panicked woman, Cecilia (Elizabeth Moss), running away from her billionaire boyfriend, Adrian, after years of psychological manipulation and abuse. Just as she’s beginning to recover from their traumatic relationship, Cecilia receives news of Adrian’s suicide, along with a $5 million parting gift from him. Though initially eager to move on with her life free from his controlling grasp, uncomfortable bumps in the night leave Cecilia convinced that Adrian’s not only still alive but tormenting her in a newly invisible form. 

Along with a riveting score from Benjamin Wallfisch, Whannell breathes new life into this reboot with clever writing and directing that always keeps you at edge. Elizabeth Moss’ raw, all-in performance would be enough to carry the film’s spooky conceit in its own right (Aldis Hodge also kills it in a warm, charismatic supporting role). Still, Whannell takes it a step further by wickedly manipulating his audience’s perception of the events onscreen. 

Excessive empty space envelops each frame as if to taunt you, filling the screen with an unnerving presence that extends the film’s thrills into a personally-involving nightmare. Turning The Invisible Man into a story about gaslighting was a genius move on Whannell’s part. Though a little modern horror rote at times, his directing worked so well on me I was frequently questioning my and Cecilia’s sanity as the film progressed. 

That being said, the narrative lacks that extra insightful thematic touch in the screenplay to push the film beyond a surface level reading. Nothing about gaslighting, abuse, or their toll on the victim and assailant’s psyches is really said beyond the obvious, which is a shame given how openly the material lends itself to be thoughtfully expanded upon. As a simple horror movie, it more than works, but you can’t help but think about how much more The Invisible Man could have been with a little more substance put in.

Additionally, the film slightly screws itself over with an unneeded fourth act/epilogue that carries on well after it reaches its satisfying and logical conclusion. The ending felt like it undid the one bit of narrative substance it earned with a supporting character in the back and, to say the least, left a bad taste in my mouth in how it treated Cecilia.

Inventively written and directed by Leigh Whannell, the high quality of The Invisible Man makes for a solid standalone monster movie with a promising future ahead of it. With bated breath, we’ll see.

Grade: B

70%

Birds of Prey: An Over-Glorified Break-Up Film

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By Calgary Maez


DC has had some highs and lows with the DC Extended Universe; with 2019 including some of their highest highs. So how does Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) rank among its predecessors? Like the film’s title: an over-the-top mess. 

Birds of Prey stars Margot Robbie as anti-heroine Harley Quinn, who goes through a dramatic breakup with The Joker and now has a target painted on her back by Roman Sionis, A.K.A. Black Mask, who is played by Ewan McGregor. 

The lead actor and actress definitely have fun within their roles and have a decent supporting cast, such as Mary Elizabeth Winstead as Huntress and Jurnee Smollett-Bell as Black Canary. However, their supporting roles fall short with Huntress’ very limited screen time and Black Canary’s very limited abilities.

Director Cathy Yan tries to take a unique approach by telling the film from Quinn’s point of view, and portrays her overly jumbled thought process. However, this technique doesn’t pay off. The film takes about an hour to introduce all of its characters through heavy flashback scenes and heavy exposition dialogue.

At one point, you forget what the overall plot is because the film juggles all of the characters’ backstories so much. It’s also worth pointing out that it seems as though it’s more of a Harley Quinn spin-off than it is a Birds of Prey film.

The film does have some scenes with great action and funny dialogue mixed within, especially in the third act. 

Overall, Birds of Prey feels like a glorified breakup film through the eyes of the psychotic Harley Quinn with members of the actual Birds of Prey mixed in. Although it does have some moments of cool action and funny dialogue, it’s not worth the price of admission because of its poorly written story and messy set-up of characters, accompanied by their poor overall development.

Photos Courtesy of IMDB.

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A huge deal – ‘Little Women’ (2019) Review

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By Hector Valverde

I’ve never read Little Women or experienced any of its numerous adaptations across the stage and screens. I also never plan to now, because Greta Gerwig has made an almost, if not outright perfect film in her warm, emotional, masterfully moving update of Louisa May Alcott’s seminal coming-of-age novel.

Photo Courtesy of IMDB


With the one of the best collective cast I’ve seen in ages, Little Women chronicles the lives of Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth March (Eliza Scanlen), four young sisters keeping up their household while their father fights for the North in the American Civil War. When they befriend their wealthy neighbor, Laurie (Timothée Chalamet), their lives are changed forever, diverging across seven years as the girls reach adulthood and take their individual paths to fulfill their dreams and ambitions.


Expertly directed by Gerwig, everyone in the film is incredible. As Jo, Ronan rocks the piece with the lovely vibrance of young adulthood, impeccably measuring head-first spunk, drama, and heart in one of the best, most well-rounded performances of the year. Anchoring and tying together the film’s emotional conceits through her work, Ronan’s only ever better when paired with Chalamet’s Laurie in a sweeping rollercoaster of joyous vibrance and chemistry.


Pugh is additionally amazing as Amy, wrapping up her breakout year with her most polished and dynamic performance yet, and though they get a little less to do, Watson and Scanlen are also nothing short of great as the other two March sisters. That’s to say nothing of Laura Dern and Meryl Streep’s lovely supporting roles as the March’s two-generational matriarchs. It’s going to be rough singling out a single performance to push for come awards season.


If there’s one silly complaint to give to Little Women, it’s that the primarily non-American cast notably slips into their native accents on occasion. That and the fact that there’s some much-needed suspension of disbelief to buy that the full-grown actresses are playing blossoming teenagers—children, in essence—for much of the movie’s seven-year flashbacks.


Again, it’s less than a trifle of a criticism given just how phenomenal the craftsmanship everyone puts into the film is. There’s never not an array of beautiful costumes decorating the amazing performances on screen at any time, Alexandre Desplat’s score is warm and evocative, and the cinematography is lush at every turn.


And while the source material itself is gratifying food for the soul, it’s Gerwig that really makes the film something special in every single scene. The obvious love and passion the director feels for the material is tangible in every intimate minute, laugh, and heart-to-heart within the film, giving Little Women that extra cherry kiss on top that elevates the piece to pure, blissful perfection.


Grade: A

For more great movie reviews, follow Hector Valverde via Twitter @hpvalverde.

Jokes On You: A Review into DC’s The Joker

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By Calgary Maez

Since the summer blockbuster movies have now come to a close, films during the fall and winter months start to spread thin, leaving room for some Oscar-worthy films. Joker, directed by Todd Philips and starring Joaquin Phoenix as the clown-prince-of-crime, has entered the atmosphere as one of the most uncomfortable, well-shot masterpieces to hit the silver screen.

The film centers around Arthur Fleck; a starting up comedian that tries to find some sort of happiness in the dark, crime-ridden, decaying city that is Gotham. Even though it is a comic book origin film of one of the most popular DC villains, the film absolutely does not feel like one. 

Joaquin Phoenix has put his own unique twist on the famed villain and gives one of the best performances of his entire career. Todd Philips decided to go in a direction that is more of a case study of the character and shows his slow decent into madness. 

The film is definitely a slow burn. It’s not your typical action-packed, fast-paced action flick. The film wants you to take a journey through Arthur Fleck’s deranged mind and the pay-off towards the end is worth the journey. 

The cinematography of the film stands out spectacularly and is great with visual storytelling. It is also part of the reason why the film can also make you feel uncomfortable because it’s not afraid to shy away from those graphic images. 

Even though the film may be uncomfortable to watch, it leaves you with more burning questions after you walk out of the theater. You become engrossed with the realities that Arthur faces and are left questioning certain scenarios of the film. The incredible writing of the film keeps you on your toes and always guessing Arthur’s next move. 

Joker is a tremendous masterpiece in the art of filmmaking. Joaquin Phoenix delivers an outstanding performance and is one of the best Jokers to ever hit the big screen. The overall writing, directing, cinematography, and score leaves you feeling uncomfortable, yet hungry for more as you take a deep, psychological dive into the mind of Arthur Fleck who is born into Joker. 

Photo Courtesy of Indiewire.com

It Chapter Two Terrifies Audiences A Second Time

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By Calgary Maez

As if it wasn’t terrifying enough to watch a killer clown terrorize a group of kids in a small town, you can now watch them be terrorized as adults and deal with that trauma all over again. “IT Chapter Two” is the climactic film to Stephen King’s novel “IT” and pits the Loser’s club against Pennywise. 

The one challenge that presented itself was to find actors that could successfully portray the kids as adults. This is the films strongest piece because not only do the adults act exactly like their younger counterparts, but some even look like them! It’s impressive how well the actors perform in their roles, especially Bill Hader. The only one that felt slightly off was Jessica Chastain as Beverly Marsh. It’s not that she does a bad job — she is a phenomenal actress — but refer back to the first installment, Bev was a carefree, rebellious girl, which wasn’t translated to her adult character. This is especially true when you see the kids in certain flashback scenes. 

If you loved the first film, you’ll likely leave the theater satisfied once again. 

What makes “IT Chapter Two” unique as a horror film is the comedic relief that is sprinkled among the horror and scares. There are several hilarious moments throughout the film that were done very well. Even though it’s meant to be a horror film, the comedy lets you connect with the characters more and makes you root for them. 

It’s a breath of fresh air for the horror genre because the film doesn’t rely on the cliché horror tropes that are present in most blockbuster films. But when those horrific scenes play, they leave you on the edge of your seat. The film does a better job with its horror elements than the first film and makes you fear Pennywise even more. 

Without getting too much into spoiler territory, there are some decisions made by the filmmakers that didn’t work in the film. There were a couple of twists that didn’t pay off well, and even some that probably would have been best left out. While there are some minor gripes about the film, it makes you scratch your head a bit when really thinking about it and trying to make sense of it. Not only that, but the film feels too long with the run time coming in at 2 hours and 50 minutes. The first installment is one of those films where you can just pop it in and enjoy, but this one feels like you have to set some time aside and really be in the mood to watch. 

Overall, “It Chapter Two” is a solid sequel and good conclusion to the franchise. The film has amazing acting performances, hilarious comedic and horrific scenes, good visual effects and an overall decent conclusion. Some of the lackluster twists and the long run time holds the film back a bit, but if you were to watch both the first film and this one back to back, it would be a solid story to experience. 

Poster Courtesy of @ItChapterT_wo

Toy Story 4 a New Beginning for a New Generation

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By Calgary Maez

One of the most beloved Pixar franchises has returned this summer to bring a new adventure for the beloved band of toys. However, the ending of Toy Story 3 raises the question: Was a sequel really necessary?

In many ways, Toy Story 4 feels like a new beginning in the franchise. In the newest installment, Bonnie, the child from the third movie, has the toys she received from Andy, but ultimately she cares the most for the toy she made in school, named Forky. Woody sets out to protect the plastic cutlery so that he can continue to serve his purpose to make Bonnie happy. And that’s really what Toy Story 4 focuses: What is one’s purpose throughout life?

Characters, new and old, come together with empowering, positive messages for children, resonating with parents who grew up watching the original Toy Story.

Pixar is one of the best innovators when it comes to animation. The fabric on the toys have immaculate attention to detail, and there are scenes that look as if they were shot with real cameras and animation added in later. We’ve come a long way with technology and Toy Story 4 is a great achievement in the animated film genre.

However, the film doesn’t really stand out much as a Toy Story film. Yes, the original characters are there and Woody is the obvious star of the film, but they ultimately get left on the back burner with their screen time extremely limited. It was disappointing to see Buzz Lightyear getting that same treatment when him and Woody were such an iconic duo. In previous films, the original toys had a larger role to play by adding more to the story. 
The messages and overall plot of Toy Story 4 is great for all families to enjoy. The incredible animation is stunning to look at and the voice acting is spectacular. It would have been nice to see the original toys get more screen time, or even a scene like the first three films where they were getting played with like an over-the-top action movie. While it is a good Toy Story movie, it’s not particularly the most stand out film in the franchise as it feels a little more separated from the rest.

Poster Courtesy of movieweb.com


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