Memoir of a Snail is the latest from acclaimed filmmaker Adam Elliot, who’s last full-length feature was released 15 years ago in 2009. I only saw his 2009 film, Mary and Max, recently due to my high ambitions of completing the IMDb top 250 (which I recently achieved). At the time, I couldn’t believe the filmmaker hadn’t really came out with anything else. To my surprise, I had no idea Memoir of a Snail was due to come out right around the corner. Luckily, I found a screening invite for it in my inbox, so I had to watch & review it immediately.

Loosely inspired by Elliot’s own life, the film follows lonely misfit Grace Pudel from childhood to adulthood. Similar to his previous feature length film, this one truly surprised me. Elliot’s work is unlike anything else and feels like a privilege to watch in real time. His work is like he never skipped a beat. What he does so well between both of these films is the animation, the writing, and the emotion.

Stop-motion is a form of animation that is highly underrated. It doesn’t feel like its as highly regarded as most other modern animation movies. I suppose the two subgenres of animation I never thought I would watch at my age is stop-motion and anime, and I think that comes with a certain stigma that comes with it. Once you get past that, you come to realize how beautifully made these films can really be. While other filmmakers have mastered stop-motion, Elliot crafts it in a way that feels personal. You can see him unearth his trauma through this form. I am not sure if we will get another film from him anytime soon, so don’t take this for granted.

What helps enhance this form of animation is Elliot’s storytelling. He’s as gifted of a visionary as he is a storyteller. Between both films, I feel like there is still something missing with the set up. Maybe it has to do with a lack of a hook or me just trying to get used to what I am seeing. The point that I am making here is that once you get used to what you are witnessing, you can get so attached to it. It feels like Elliot made this for someone like me. I could personally relate to aspects of the plot, such as my own path to film school. Just like his form of animation, Elliot makes his storytelling personal for others to enjoy.

What also makes his vision unique is how the film embraces its raw R rating. Not only does it bring genuine, unfiltered emotion, but it also creates real shock value that only this form of animation could effectively show without being too morbid. It ends up creating a world that feels so close to our own no matter where we are on planet Earth. Elliot is simply an amazing filmmaker that I hope gets more recognition through this.

The voice performances help elevate the emotion this story requires. In particular, Sarah Snook gives a heartbreaking and earnest performance as the main character that makes it easy to care for her. Kodi Smit-McPhee voices a character that really stands out and helps bring the story home. Then, there is Jacki Weaver is hilariously unpredictable. While no one does a bad job at all, the three mentioned really gives the film the identitiy it deserves.

The film has the type of beginning that seems generic on the surface, but you end up appreciating by the end. The pacing can sometimes be sluggish and offbeat. No matter how you look at the film, the film really brings it together by the end with so many heavy-hitting emotion that makes it all worth it. It makes a few of the lesser qualities worth getting through. I haven’t personally gotten so much of a numb emotion from the ending of this film since experiencing Perfect Days for the first time. If you have the opportunity to see this, please do. It is so worth it.

Overall, Memoir of a Snail is everything I needed it to be. It capitalizes on Elliot’s prior work, showing that the guy has never once missed a beat. The story will grip you and reel you in until the emotionally satisfying ending. With what this film accomplishes, do not be surprised to see this be nominated for Best Animated Feature at the Oscars. I’d act fact though if you haven’t seen it yet, so that way you can be in on the conversation of how great this film is.

VERDICT: 4.5/5 (Amazing)

Venom: The Last Dance is the third, and supposedly final, installment in the Venom franchise starring Tom Hardy that started in 2018. This entry follows Eddie Brock and Venom once again as they are on the run as fugitives, dodging a mysterious military man and alien monsters from Venom’s home world. I have always been relatively easy on the first entry and found it to be better than what the critical reception would say. I didn’t care much for the sequel that I found to be a rushed mess. Needless to say, I wasn’t really looking forward to the new one, but I remained positive like I usually do. In a nutshell, the film had a lot of great potential that was ultimately wasted.

Over the past decade or so, Tom Hardy has proved to be one of the greatest actors working today. He first stood out in Inception, even though he found himself in greater success in a few indies beforehand. If it wasn’t for Inception, I don’t think we would universally know the guy that he is today. He’s gone on to be in many great films, and when the first Venom was announced, I especially remained positive due to Marvel’s track record at the time, plus hoping we would get something R-rated. Unfortunately, we got nothing like what I was expecting. What’s even worse is that if it wasn’t for Hardy’s track record of the past decade, I think this film could have been the nail in the coffin for his career.

When it comes to film, I always try to remain positive no matter how much I like it. After all, these are also people who work on these films, and I do not think they have the worst intentions of delivering something bad. It appears that Hardy has fully embraced the campiness of these films that the studio questionably enjoys. His performance is so lackluster and borderlines Razzie territory often. You can see where he is not even sure how to embrace this character. He just looks uncomfortable all the time.

When the film decides to fully embrace the themes it is trying to convey, that’s actually where Hardy shines, but it is so limited in screentime. As a final installment, the film tackles what both Eddie & Venom lost during their time together. There’s a part in the film where they say that they have only been together for a year, which does make it confusing considering how it tries to connect to the MCU. While I have a hard time buying that these two really feel like they lost something during the time, the film still manages to hit the feels during those moments. Whether it’s Eddie missing out on being a dad or Venom getting to enjoy himself, the film hits the right emotional beats under Kelly Marcel’s direction, even though it’s quite clear that this film is only trying to fit the studio mold.

In her directorial debut, Kelly Marcel stood out, because of her work as a writer on the trilogy. Even more, I found it interesting that she was going to direct as it seemed like no one else wanted to touch it. Once again, I remained positive as she might be the perfect fit to bring it all home due to her involvement in the beginning. Instead, we get another studio movie that does not care about the end product. I will give credit to Marcel for hitting the right emotional beats that reminded me of my own cat, as well as where I was in life when I saw each entry in the trilogy. The film just gets bogged down by trying to service what the studio wants and trying to fits into their own agenda that will not work at the end of the day.

There’s always been a loss in direction since the beginning of Sony’s Spider-Man Universe (SSU). While the trilogy has tried to remain intact, especially with the MCU, the other films, Morbius & Madame Web, never connected properly. With what the film chooses to do to expand on the franchise after this one concludes baffles me. We have the villain, Knull voiced by Andy Serkis, who only serves the purpose of exposition with about two minutes of overall runtime. I truly can’t imagine how the franchise is going to continue considering how this one is. It ends up becoming lazy, dull, and lifeless.

Speaking of exposition, the film has so much of it. Venom has to continuously explain things to Eddie really quick that often make no sense. At least there was a reason to the madness in the MCU. It just doesn’t make sense here. The film will often cut to other side characters, explore their backstory, and make nothing of it. Chiwetel Ejiofor, in a different role other than his MCU role, adds nothing of value to the story. He is a tremendous actor. Considering he has already been in the MCU, it is beyond me why he decided to be here.

Then, there’s another actor who has already been in another Marvel movie, Rhys Ifans, who starred as Lizard in The Amazing Spider-Man & Spider-Man: No Way Home. Once again, he plays a completely different role in a plotline that is perhaps the most baffling a film that is already baffling. Ifans stars as the father of a family who run into Eddie as they head their way to Area 51. Apparently, Area 51 is being decommissioned. Even though it’s a secret, people still know about it, which leads this conspiracy family to check it out before it goes away. It’s clear this is only added to add some humor, but you can also see where this is when Eddie & Venom ponder what life could have been like in a past life. We get a scene where the family, including Venom sing to David Bowie. The family talks nonsensically. It is quite similar to an early 2000’s video game adaptation. Somewhat related is how Mrs. Chen is brought back only for Venom to have a dance scene. Most will see this as pointless as the rest of the film, but I think that’s Marcel trying to once again show what the two characters lost.

Worst of all is how Juno Temple’s character is handled. We immediately get her backstory as soon as we see her. It’s clunky from a visual and storytelling perspective and goes on for far too long. You could have cut it out and allowed the pacing to be tighter, getting us back to Eddie & Venom, which is what we care for most. Her backstory somewhat ties into the end, but it doesn’t justify it at all. I can see where Marcel, as a writer, is wanted to give all these characters more life. I just think the studio machine prevailed, beating out what could have been an entry that was more hard-hitting and satisfying.

By the time the film reaches its climax, the film proves why this wasn’t necessary. The film starts off with the duo on the run, forcing them to go to New York City to clear their name. They quickly explain that they are doing it to frame someone else, but that doesn’t even matter in the end. For a film that could have truly embraced being a buddy-travel movie, the movie instead sets most of it in Nevada. When we get the big action scene at Area 51, my buddy who went to go see it with me, and I both realized that this was the end. The end feels more like a mid-point for the film, especially when you take into account everything that came before it. It’s nice to get an emotional moment out of it that made me feel sad, but it doesn’t fully wrap itself up in a bow that feels conclusive. Once everything is said and done, Eddie is able to move on, but as what cost? I guess at the cost at our ticket to go see it.

Aside from my frustrations with the story, and as you can see, I had plenty, the film is mostly nonsensical. We get random action set pieces that do nothing to advance the story. People are able to conveniently speak English when they probably wouldn’t be able to be. The sound design overlaps with the soundtrack, making the music sound meddled. We get a few other characters that are thrown away like it’s nothing. Creatures are able to terrorize and make noise without anyone else hearing or seeing them. There are goofy action set pieces that served no purpose. I think the common throughline throughout all of this is that the film served no purpose and is only just a bunch of sound.

Overall, Venom: The Last Dance had so much more potential that made me want to like this more. Instead, the film is only trying to play it safe by fitting the studio mold. Everything is beyond ridiculous. If you are a fan of the first two, I am sure you will like it. Considering it is supposed to be the final chapter of Venom, it’s disappointing to see how much is explored outside of the titular character, and it’s even more disappoint to see it try expand into more movies that will more than likely never happen.

VERDICT: 1.5/5 (Really Bad)

Writer & director of the first Smile, Parker Fin returns 2 years after the original with Smile 2. The latest sequel stars Naomi Scott as pop star Skye Riley who begins to experience a series of increasingly disturbing events as she is about to go on tour. Rosemarie DeWitt, Lukas Cage, Miles Gutierrez-Riley, Peter Jacobson, Raúl Castillo, Dylan Gelula, and Ray Nicholson star in supporting roles, with Kyle Gallner being the only one to reprise his role from the first film.

The first Smile was an unexpected success. Truthfully, I don’t even think I saw it in theaters. I believe I saw it when it came out on Paramount+, but that was because I really no interest in seeing it. For one, I was in a weird place with horror at the time due to the pandemic. Seeing horrific things happen to people didn’t seem ideal in an already gloomy world at the time. Second, the concept just appeared to be goofy based on the marketing. To my surprise, I was quite entertained by it. I could tell Parker Finn was going to be a fresh voice in horror going by how dark and mature the film is. Upon a recent rewatch, I don’t think the original particularly aged well, but it was still entertaining. I didn’t think a sequel was necessary, but after seeing it, I can confidently say that I really, really, really liked it.

The story in the sequel takes place almost immediately after the first. Without any spoilers, the film finds a creative way to connect to the first with an outstanding one-take shot that is only the first of many. Parker Finn must have heard how much I like one-take shots. They are not only frequent, but they are done incredibly well. While I really liked what they did in the opening scene, I was still a little disappointed. Something happens to a certain character that I think could have played a big part in the main plot. It is what it is though, because the film still finds a way to keep the momentum going. The beginning tells the audience to not get too attached, and yet it’s nice to see some connection to the first thanks to the original writer & direction returning.

Once the story connects into the main plot involving Scott’s character, I was invested from beginning to end. I do think the writing immensely improves here with the protagonist over the first. This is not a dig towards the actress of the first. I just think Finn is showing where he is improving with his writing. There is a lot more to care about in Scott’s character. She has gone through a lot within the last year. Her comeback proves that others around her only care about what’s in their best interest over her own, including her own mother, played by Rosemarie DeWitt, who works for her. Even when she has down time, it’s not like anyone is ever going of their way just to spend time with her. When the film reveals more about the past, you only feel more and more for Scott’s character.

This is a perfect opportunity to talk about Scott’s performance. This is a performance unlike anything else. What is required of her makes her completely vulnerable. She easily disappears into this character. While this speaks to Finn’s strength as a director who is improving in his craft, it also shows that Scott’s time to shine is now. The way she can shed a tear on command or display anxiety is truly some incredible work. There were a few moments where she displays a panic attack that is so realistic. She delivers the best performance of the year so far. I can’t imagine that changing much by the end of the year.

The sequel manages to be better than the original due to its story, but it all wouldn’t be possible without its pacing. I took issue with how long the first movie was, and I felt like at least 20-30 minutes could have been cut. Here, I can’t imagine what could have been cut and it’s at least 10 minutes longer than the first. If you aren’t a superstar or famous, I think it’s tough to relate to someone who is. Finn brings Scott’s character down to a level that is relatable. Between the investment being put into her career and just how consistent the scares are, there’s never a dull moment, but there’s also never an over-the-top jump scare that doesn’t feel cheap.

Horror movies that have nothing but jump scares can be quite cheap nowadays, especially when it’s that over any story or substance. Where the Smile franchise succeeds with how it approaches its horror more as a psychological. There are a few jump scares, but there are always so unexpected. Being in a crowd full of people makes it fun and entertaining. I applaud Paramount for putting these movies in theaters instead of their streaming service, which is something they initially were going to do.

Finn establishes so much lore in the film that makes the film interesting. I hate to say it, but I am more inclined to visit this one more over the first due to the way the lore is explained. There is a lot more to understand, keeping you invested with what happens next. The film also continues to keep you second guessing yourself to the point where the twist ending truly blew my mind. It was done so well that isn’t confusing, but made me want to revisit the film to see what I missed. I didn’t feel that way with the first one. Once again, without spoilers, the twist ending is pulled off so well that it makes you view the film from a completely different perspective. It almost feels like someone else made the film with the approach that it is given.

The intensity is cracked up to eleven in the sequel. The gore is so much more intense. The horror really got under my skin and gave me chills. It’s been a while since a horror film has given me that. I’ll give credit to Finn once again with how he places his characters. You consistently see this things from Scott’s character’s point of view, making it even more thrilling and engaging. The synthetic score is still there and sounds great in a premium theater format. The cinematography once again goes even harder as it blends shots into new scenes with the editing team finding unique ways to make it all transition. The creative team went harder than they ever needed to be. Give me whatever they want to do next. I am in. Based on how this one ends, my jaw dropped. I am really interested in seeing what they do next.

Overall, Smile 2 doubles down on the first, showing that Finn is a talented filmmaker in horror. Naomi Scott not only gives the best performance of the year so far, but also the best of her career. What this film accomplishes will send chills down your spine. The cinematography and sound design still look great, but look even better on the big screen. The film finds a creative way to tell its story that makes the 2 hours fly by. There was more potential with the story to make the first one matter more. All-in-all, this is still a great time that is well worth watching at the theater.

VERDICT: 4/5 (Great)

We Live in Time is the highly anticipated film from John Crowley. The film stars Andrew Garfield and Florence as a couple, Tobias & Almut, over the course of a decade. That’s the basic synopsis of the film, but I am going to keep it brief to avoid spoilers. Unfortunately, there were aspects of the film that were spoiled to me that I think would serve better if you go in knowing nothing other than the cast, which is the biggest selling point.

I remember a few years ago or so when Garfield & Pugh both presented at an Oscars ceremony. Immediately afterwards, everyone wanted them in a movie together. Both actors have an incredibly likable presence and seeing them together felt like a winning formula for a film. As it turns out, they are what makes this film work. There’s a lot more to the plot that keeps the film engaging. Without Garfield and/or Pugh, this movie probably wouldn’t have worked as well as it did.

Director John Crowley last made 2019’s The Goldfinch – a movie I really liked that no one else did. I even got the book and loved that. Even the author of that book hated the novel adaptation. I never understood the hate, but I knew I still wanted to see what Crowley did next. His work on Brooklyn also showed how much of a great director he is to tell these expansive stories that involve the way we look at life.

The film was written by Nick Payne, but it feels like it’s easy to mention how well Crowley delivers this script for the big screen. He has a clear understand of knowing how to make it work, especially since the film is told in a nonlinear structure – a choice that I think may turn some people off; however, it serves an important purpose to the story and it’s something that’s actually pulled off really well. I never once felt confused and I believe this structure helped set the genre apart from other films.

The work Garfield & Pugh put into their characters is authentic. Through the chaos of how they meet, they still want to meet each other. It makes it easy to root for them when you know their flaws become good things for each other. I don’t know if I would put either or in my top 10 performances of the year, because they both equally work and it comes off so naturally. It’s like they really fell in love on screen.

I was amazed to see how calm & collected Garfield was with everything being thrown at him. He does the best that he can, but his emotions are only human. Pugh, however, has more of the story as the story centers a lot around what happens to her more than Garfield. In a way, it makes me wish Pugh got top billing over Garfield.

Her story really comes into play in the third act. The film takes an unusual turn that feels original, even if I wanted more from it. It involves Pugh’s character having to prove to her daughter that she is worth something. Unfortunately, I didn’t quite get the impression that their daughter learned anything as the daughter tends to be an afterthought after she is born. I also think the third act’s tone is out of place with the rest of the film. While the third act could have benefitted from more closure, I did like nuance in its meaning. It’s very different once you get past the climax.

I would give credit to A24 as they seem to always deliver on the musical score; however, this film is distributed by other companies, so I won’t exactly put it as though A24 delivers on that front. It’s through the direction, writing, and performances that makes the musical script feel like its transcending time. Composer Bryce Dessner brings together one of the best scores of the year with music that fits perfectly with the emotional punch of the film. I know it certainly got my misty eyed at times.

Overall, We Live in Time accomplishes exactly what it sets out to do by delivering amazing chemistry through Garfield & Pugh. John Crawley easily bounces back in his career with a film that shows that he is willing to always do something different. The structure may not be for everyone, yet it is easy to follow and helps deliver a meaningful arc. This is easily one of the best romantic dramas of the year.

VERDICT: 4/5 (Great)

The Apprentice is a biographical drama that follows Donald Trump’s career as a real estate businessman in New York and in the 70’s and 80’s, as well as his relationship with lawyer Roy Cohn. The film is directed by Ali Abbasi from a script written by Gabriel Sherman. Sebastian Stan stars as Donald Trump, Jeremey Strong as Cohn, and Maria Bakalova as Trump’s first wife, Ivana.

I can’t say that I was particularly excited for this when it was first announced. Stan as Trump sounded like an odd casting choice. After seeing the film, I even debated whether or not I should talk about it. There was a lady in my theater who clearly went into this to support Trump based on the American flags she was waving around. After some thought, I decided to talk about this. Coming at this from unbiased perspective, I still think it’s important for people to watch what interests them and to still have a healthy dialogue about it.

To my surprise, I actually think Stan did a great job as Trump. After seeing his performance in A Different Man, I had more confidence in him to do a great job. It does take a while for him to actually mimic Trump. It’s clear he is a completely different person in the beginning. The film has the intentions of trying to show that his lawyer Roy Cohn made him into the person he is today. Once we see the impact his lawyer had made on him, you can start to really see that change in Stan’s performance. I wouldn’t say it’s Award worthy compared to his performance in A Different Man, but I’d like to see Jeremy Strong get some recognition for his performance as Cohn. The guy can just flip like a switch.

Perhaps one of my favorite aspects of the film is the overall look. It looks like a film I would put in my VCR in the 80’s. I wouldn’t say its groundbreaking by any means, but it certainly transports us back to the time this film takes place in. The film also brings a chaotic nature through its music choice, which helps fit the overall tone.

At 2 hours, there is no denying the film feels longer than what it really is, which can be a good and bad thing. Every moment matters, yet the film tends to jump over important information that could have helped understand the characters better. The film chooses to slow down in certain scenes to dig deep into its core themes, but it doesn’t do it for the scenes that should matter most.

Unfortunately, I didn’t quite understand why Trump becomes the person that he is in the film. Sure, it’s clear Cohn has an impact on him in the beginning of the film. Strong & Bakalova’s screentime feels restrained, hindering the impact they have on the story. Just as you see where Trump becomes more unhinged, Cohn tries to reason with him, but it’s too late. It’s not like Trump’s parents were that bad. Personally, there just wasn’t enough of a reason for Trump to change for the worst if this film is trying to be a villain origin story. Instead, it’s a villain origin story that lacks substance.

Overall, the film capitalizes more on its performances more than its story. The story jumps over a lot of vital information, hindering any importance. Instead, this film is just going to continue to divide people, which is unfortunate. I really only went into this, because I like the on-screen talent. For that, I think it was entertaining, but it’s certainly not something I would go out of my way to recommend nor watch again, and yet, I don’t regret my time with it. I enjoy films that challenge viewers. This is something different and will challenge viewers. If that’s your cup of tea, then go for it.

VERDICT: 3.5/5 (Pretty Good)

Piece by Piece tells the true story of singer/songwriter and record producer Pharrell Williams’ life through the use of LEGO animation. Presented as a documentary, the film uses the voices of Pharrell Williams, director Morgan Neville, Gwen Stefani, Kendrick Lamar, Timbaland, Justin Timberlake, Busta Rhymes, Jay-Z, and Snoop Dogg.

This film is a perfect example as to why I avoid trailers. While I was under the assumption that this film told the story of Pharrell Williams, I did not know it was more of a documentary. That aspect really surprised me, especially since it was told through LEGO animation. I thought at least it would be told through a story from start to finish. Instead, I really liked the documentary style. It invites younger viewers to visit a story of one person who has had a major impact on the music industry.

I have always enjoyed Pharrell’s music growing up. N.E.R.D.’s music used to be amongst my favorite music growing up with Sooner or Later being one of my all-time favorite songs. His contribution in movie’s have always had an impact on me. However, there is still quite a bit that I didn’t know about him. Without him, we wouldn’t have the like of artists like Gwen Stefani or Snoop Dogg. While I am sure these artists would still be relevant to a certain degree, Williams made beats for them that forever changed their career.

It’s understandable why this story is worth telling. Through his upbringing, I could also see myself. Back in middle and high school, I also just wanted to play music. I could see others who are at that age being inspired by the film to keep pushing themselves to be in the music industry. Beyond his foundation in the music scene, Williams has gone through a hero’s arc. Just as he becomes big, what made him once relevant quickly makes him irrelevant as he lets his guard down. Once he lets what others tell him to do, you can see where his musical genius begins to quickly diminish, putting him in a place where he is lost and has to find his way again.

Through his journey getting back in the music scene, he realizes how much of an impact he has had on others around the world. I never knew he helped produce Kendrick Lamar’s track, “Alright,” which is also one of my all-time favorite songs. I did know he created “Happy” for Despicable Me, but I never knew the impact he had around the world with that song. “Alright” and “Happy” have two completely different meanings, and yet they have both had a major impact on the world. I’d like to think that through his music, he is able to unify people from around the world. Not only do I think I’d be where I am without his music, I simply don’t think the world would be where it is now without his contribution. He seems to know what the world needs through his music.

Since seeing this yesterday, I am going to keep all of my thoughts on the plot there. This film gave me a lot to think about. More importantly, I am amazed at how much I want to see this again. I typically don’t have a desire to rewatch documentaries. Through the use of animation, the film is able to solidify on its own ideas. For one, there is some creativity that the film uses to dive deeper into Pharrell’s mindset. Second, the film wouldn’t be able to get away with what it does without its animation. There are some genuinely funny moments in the film that I won’t give away. When I saw what the film got away with to meet its PG rating, I had to register it for a second and then genuinely laugh-out-loud as to how they pulled it off.

As for the flaws I had with the film, I do believe the film doesn’t cover as much as it could have. I would have liked to have known more about the formation of N.E.R.D. and where they are at today. One character that has a poignant impact on Pharrell’s life is a character named Chad. I would have liked to have seen more from him. Without him, there probably wouldn’t be the Pharrell Williams that we know today. Even at 93 minutes, the film could have tackled more, but I am sure they had to keep it shorter to fit the tone of the film.

Overall, Piece by Piece is a film you certainly need to see. Whether you are familiar with the name or not, you will be familiar with the music he has made. I am going to keep my thoughts here rather short, because I think I have tackled everything that’s on my mind without spoiling anything else. It is unlike I have ever seen. The music and themes hits. The animation is beautiful. Please. Go see this. I am interested in seeing if this will be nominated for Best Documentary or Best Animated Film at the Oscars. That’s how groundbreaking the film is.

VERDICT: 4/5 (Great)

Saturday Night is a biographical comedy-drama that follows the night of the 1975 premiere of NBC’s Saturday Night Live. Leading up to the premiere, tensions run high as producer & creator Lorne Michaels, along with other comedians & writers, try to prepare for the very first broadcast. Directed by Jason Reitman and written by himself & Gil Kenan, the film stars an ensemble cast that includes Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons.

To be honest, this film got more hype than I could have ever anticipated. Jason Reitman, while great in his own right, has not delivered a film like this before, especially one that is already getting quite a bit of award recognition. Co-written by Gil Kenan, Kenan also didn’t quite deliver with his Ghostbusters: Frozen Empire either earlier this year. With a wonky release rollout this year, Saturday Night certainly seemed like… something. Needless to say, the end result easily settled those worries away.

From a production standpoint, I loved this movie. I used to work in production management on film sets, so I could easily understand the drive that Lorne Michaels (LaBelle) has. Even though he acts more as the creator of the show, he is still the one that has to deal with the behind-the-scenes drama. I’ve been there. It can be tough, yet it is so rewarding in the end. You are having to make stuff up as you go along and trust the process. I feel good with where I am in life, but this film easily made me miss working in production management more than any other film as of recently. More than The Fabelmans, which is ironic since LaBelle also starred in that.

I am not too sure what this film could be nominated for. Maybe Best Picture, Best Costume Design, or even Best Original Screenplay, but I know one thing for sure… this film works because of its stellar cast. I can’t emphasize how spot on the casting is. Cory Michael Smith is an easy standout as Chevy Chase. He literally becomes him and you cannot see the difference. Matt Wood as John Belushi is also incredible. Nicholas Braun as Andy Kaufman AND Jim Henson is just terrific. I cannot emphasize how perfect the casting is for the film and how well directed each and everyone of them are.

Jason Reitman’s direction feels like his old school days. He has experience in indie films, but now he has even more experience directing ensemble casts. There is a lot that he has to manage here. While the story focuses solely from Michaels’ perspective for the most part, Reitman still finds time to incorporate other key figures that help push its story and its themes forward.

Some may some that the script for this mimics something that Aaron Sorkin would make. While that may be partially true, there is no denying that Sorkin actually couldn’t create this. It feels like Reitman has a first-hand account on the film’s event. Reitman was only born two years after the film takes place. I believe between his own experience in the film industry and being the son of Ivan Reitman that this made him the perfect choice to tell this story that is funny, sincere, and cutthroat.

The film has a chaotic nature. The camera work is almost entirely shot handheld, bringing the audience into the scenario. We are panicking just as much as everyone else is in the film. With a 109-minute runtime that includes credits, it’s amazing how fast paced the editing is, because it certainly feels longer than 109 minutes. What makes this runtime so unique is the fact that it is shot like it is in real time. There is always something going on and we are seeing every minute of it. That actually makes me believe this film could get a nomination for Best Editing.

Throughout the film, I was certainly teetering on my score. After some thought, I feel good with where I am with it. While the writing and acting are solid, and I can relate to it to a certain extent, it does feel like the film can have a lot of cliches & coincidences. Just as one problem rises, it is quickly resolved through something that doesn’t quite feel like actually happened. There is also the climax that truly made me question if it really happened. It felt like it was added by the studio to give the viewers something rewarding. Maybe I am wrong, but coming from my own personal experience in production, I have a hard time buying that it happened that way. Even if it did, give it more realism, much like the rest of the script can be.

In order to make this film work, you have to be thrown right into the situation. Unfortunately, that results in a lot of backstory in terms of plot & characterization that are missing. If the film had an extra 20 minutes to explain what was going on, it would help viewers understand the situation better. I can’t imagine viewers unfamiliar with SNL to truly understand what’s going on. The film is missing that purpose in the beginning to care about the outcome.

Overall, Saturday Night exceeded my own expectations. I would not be upset at all to see this get award recognition. The casting is extraordinary, with some mimicking their counterpart. It’s a film that truly captures the chaotic nature of production. It’s certainly a film that I believe everyone should seek out as soon as they can.

VERDICT: 4/5 (Great)

A Different Man follows an aspiring actor named Edward with neurofibromatosis, played by Sebastian Stan, who undergoes a radical medical procedure to change his appearance. When his new appearance turns into a personal nightmare, he becomes obsessed with what he lost. Renate Reinsve & Adam Person star in supporting roles under the direction & writing of Aaron Schimberg. While I wasn’t particularly excited to see this, I am always down for whatever A24 has to put out, plus it was exciting to see Adam Pearson in a big role again.

Writer & director Aaron Schimberg has all of the right reasons to make a movie like this. Born with a cleft palate, the filmmaker has finds his inspiration through telling stories on characters with facial disfigurement and how the world views them. I am particularly hard on myself at times with the way I look, so I can relate to this to a certain extent. I think viewers of The Substance could say there is some resemblance between the two films. However, I cannot relate directly to facial disfigurement. Even without facial disfigurement, I hope viewers can understand that those with some sort of disfigurement are people too, and that they can still be secure in their own bodies.

In a year that is sure to highlight that he is more than just his MCU character, this is actor Sebastian Stan’s first major role of the year that I believe will take the world by storm. It’s a transformative performance that I believe will earn him an Oscar nomination for his performance. Furthermore, I have him placed right below Colman Domingo for the top performance from an actor for the year. With almost 200 2024 released films under my belt, I think it says a lot about how I feel with her performance. The fact that he has to continue playing the same character both in and out of the makeup is truly outstanding.

In their supporting roles, Reinsve & Pearson help get the overall message across. Viewers might be familiar with Reinsve from The Worst Person in the World & Adam Pearson from Under the Skin – a film that came out a little over 10 years ago! Reinsve has to effectively portray as someone who finds heart over appearance in a partner. Without her character, the film would not be able to effectively get its point across. As for Pearson, I am so happy Schimberg put him into this kind of role. It’s so important to show others that facial disfigurement should not make anyone insecure. Here’s to hoping that Pearson will be in more going forward.

To elaborate on the messages I keep mentioning, there is quite a bit and I am going to do my best to explain them without any spoilers. No matter what synopsis you read on this film, it’s more or less incorrect. It’s vague in its approach, because it’s about so much more. At first, we are made to believe that this medical procedure will change Edward’s life. While it is sad to see him go through his insecurities, we are almost rooting for him as he transforms into someone else. At the same time, how do we, the audience, know what’s best for him? Things don’t seem all that bad for him to begin with.

Once he does transform, his life appears to be better. He’s with attractive women and he has a nice place. However, he works as a realtor, not being the person he once wanted to become. It’s not until he comes across a stage play that was about his former life directed by his former neighbor, Ingrid (Reinsve). As he starts to become more obsessed with chasing his prior life, it’s not until Oswald (Pearson) comes in and truly makes him rethink everything. He’s frustrated by the way Oswald is confident in everything that he wasn’t. Oswald has it all where he doesn’t even with his new transformation. The film paints an important message about embracing who you are and tells everyone else to be on board with it through its positivity.

The technical components help bring it all together quite nicely. The score is probably one of my favorites of the year. The cinematography can be claustrophobic at times, but also uses color to help paint the emotion of the characters. The production design teleports you into the film with the wardrobe heavily symbolizing who these characters are. The plot balances humor with thrills with both being just as effective as the other, making this easily one of the best movies of the year.

Upon finishing the film, I needed time to sit with it due to its conclusion. I knew I personally loved it, but I didn’t know how to word it in the way for others as I could see others not enjoying the conclusion. The conclusion isn’t particularly groundbreaking. It jumps through a lot and it’s incredibly subtle. It stuck with me long after watching it and made me appreciate it even more, because it allows for further discussions of what you just watched. I love how there are important films coming out this year that is making people not only talk about what they watched, but also work on being better people for it.

Overall, A Different Man exceeded my own expectations. It transcends through its themes, direction, and performances. It’s funny, thrilling, and thought-provoking. If you haven’t it yet, please take the time to try to watch it as soon as possible.

VERDICT: 5/5 (Perfect)

Joker: Folie à Deux picks up two years after where the first one ends. Struggling with his dual identity, the film finds failed comedian Arthur Fleck meeting the love of his life, Harley Quinn, while incarcerated at Arkham State Hospital for the killing of 6 people. While the film has been heavily marketed as a musical love story, the film is even more focused on being a courtroom drama as Fleck tries to prove his innocence.

This film was easily one of my most anticipated of the year. I really enjoyed the first, and with news coming out of who was being cast and what it was going to be about, it sounded like it could be really good. Needless to say, my friend and I walked out of theater frustrated and disappointed. We both haven’t felt that way with a film in quite some time. I initially told him I was just going to stick with my Instagram review. As I have thought about it more, I decided to talk about this more in length.

First off, I do want to commend everyone who clearly worked hard to make this movie look and sound good. The trailers clearly show the phenomenal camera work, but it doesn’t do the film the justice it deserves. There are some lengthy one-take shots that I know wasn’t easy to pull off. The colors that are used also show the imagination of Arthur Fleck and how he still looks at the world, even when the world has been cruel to him. Watching this in a Dolby theater really heightened the sound design between the musical and courtroom scenes. The production and costume design is also quite impressive. The people behind this helps bring this world to life that makes this world so interesting.

Lady Gaga gracefully brings her own version of Harley Quinn to screen that feels unique and worth exploring. She has become quite the actress that shows range and her vocals brings so much quality to the film. I wouldn’t say she is the best version of Quinn, but she still easily makes every scene she is in work.

As I sit on this film longer, the themes really makes me feel things. I feel mostly frustrated, but that is Todd Phillips’ intention. He isn’t setting out to make an easy movie to digest. He makes you see different perspectives of mental health. I hope, if anything, this will get people talking about it more. I am not exactly sure if this is a positive, but I will say that Phillips make this film so pointless that proves why it didn’t need a sequel in the first place. I truly hope this will prove to studios to STOP making sequels that are not necessary.

The first act actually starts off pretty strong. I enjoyed the set up between the location and the relationship with Fleck & Quinn. After that, the film quickly nosedives in quality. I knew this film was going to be more of a courtroom drama than what the marketing made us to believe, but I never expected it to be as bad as it is. I am no law expert, but I know there are scenes here that are highly implausible. The things that characters are able to get away with is so laughably bad.

To make these scenes worse, they are treated like a clip show of the greatest hits from the first film. It’s the equivalent of the Seinfeld series finale. It’s redundant and adds nothing new to the story that we didn’t already know. Musical set pieces are springled throughout to help us look more into Fleck’s mindset and seeing what is helping him feel better throughout all of this. The problem is that they are awkwardly edited into the film that hinders the pacing and tone of the film.

I really loved Phoenix’s performance in the first one. While the first one should have been a one and done, I can also understand why he would want to come back to the role. He won an Oscar for his performance! Unfortunately, I felt nothing here with his performance. He tries to do too many different things that do not land with me. There’s a lot of moments where he isn’t doing much that I honestly forgot about his laughing condition. His impressions when he represents himself feel out of character for him. Even his musical scenes didn’t do much for me. I won’t put all of the blame on him here as this requires good direction and writing, and I think he does the best that he can with what he has.

Director Todd Phillips needs to stop making sequels. Instead of rehashing an exact replica like he did with The Hangover Part II, he goes for something completely different and subverts expectations. When I heard this from early reviews, this got me excited. I love when a film subverts expectations. The problem here is that he does it to the point where it feels like a slap in the face to the people who enjoyed the first movie, especially with what he does in the last 30 minutes of the film. Instead of going in one direction, he goes in another that acts completely out of line with these characters.

There are hints of Phillips trying to establish thematic messages that get people talking. but at what cost? I won’t get into the graphic spoilers here, but there was a scene that truly made me mad. They don’t show exactly what happens, but I knew. My friend didn’t catch it when I brought up to him. When I looked at the wiki plot, I couldn’t believe I was right. What the film does in this scene is so unnecessary and added nothing of value to the plot.

As for the runtime, the film does go on 20 minutes longer than the first one, which is crazy in hindsight when so much of it is just telling you things that we know happened in the first. Unfortunately, we get a plot involving a prison guard played by Brendan Gleeson that was not necessary. We get little to no background to Harvey Dent, played by Harry Lawtey. The guy is a great actor, but I could consistently hear his British accent slip. At least there was a cool little Industry reunion with actor Ken Leung. There are three too many musical songs. I think if the story focused more on advancing the story, it could have been tons better. The film also needed more focus on the Bruce Wayne character that was established in the film film.

Overall, Joker: Folie à Deux has moments of greatness in its production value, but made me beyond frustrated and disappointed with the direction of its story. As a Batman fan, there was so much more potential to make this better than what it was. I think the film will hopefully spark important conversations about mental health. If you are like me and will still go see it even with the mixed reviews, I get it. I will always support people to go see whatever they want to see. I can just already tell a lot of people are walking out of the theater with the same thoughts as me. I will personally never watch this again. I will do my best to erase this from my memory and act like there is only one from 2019.

VERDICT: 2/5 (Bad)

My Old Ass stars Maisy Stella as a young 18-year-old named Elliot. When she got on a mushroom trip with her friends, she comes face-to-face with an older 39-year-old version of herself, played by Aubrey Plaza. The interaction forces the younger Elliot to start rethinking everything from family to love to her future. The film has been receiving critical acclaim since it first came out, and I got the chance to finally see it this weekend when it released everywhere in the states.

I never thought I would ever go to the theater and have an unexpected Aubrey Plaza double feature. I made it work to where I was able to see this immediately after Megalopolis. While Plaza serves an important part to the story in each, she is certainly more of a supporting character. I’d even go to say that he considerably less screentime in this film. Plaza is great with what she is given and make her presence truly felt, but the main star Maisy Stella gives one of my favorite performances of the year.

For the sake of the story, you have to believe Stella’s performance as someone who is selfish, yet has the best of intentions. She loves her family and where she lives, but she is eager to move on with her life and do something important. The confusion she faces with her sexuality also requires her to go out and embrace the world to get a better understanding of she is. I honestly thought I had seen Maisy Stella before. To my surprise, I never did before. I thought I had seen here before, because she is that good. She is so good that I currently have her placed in my top 10 performances from an actress for the year and I hope that doesn’t change. There is so much of this story that requires to go through some drastic emotional changes that is not easy to do.

While it is only her second feature film, Megan Park is quickly becoming one of my favorite working directors today. She did also write this story on her own here, but her direction makes her one of the most important people to tell story for the younger generation. Her first film, The Fallout, is a lot more dark and gloomy, yet the message she leaves behind in that film is the importance of understanding the younger generation in a certain way. This one is not as dark & gloomy. It’s a lot more upbeat and comedic, yet there is still a challenge for the main character that she has to overcome between trying to be better to her family and understanding her sexuality. Park never intends for us to understand it all. We are just as confused as the main character, but at least we go away knowing that everything is going to be okay, which is something the main character goes through.

For a movie that only runs 89-minutes including credits, a lot is accomplished quite well here. For one, the cinematography gives a grand overview of its location, which never limits the crew to capture what they need to for this film. The music offers some originality in its score. The music they borrow however fits the tone this movie is going for perfectly, with some making me nostalgic of my own upbringing where challenges were different. It doesn’t matter how old you are what you identify as, I think a lot of people will relate to the situations this main character will go through. I know I wish I could tell my younger self that everything will work out.

As for negatives, I few tidbits where I think it could have been improved and where my score would have gone up significantly. For one, the story seems to cut out moments that offer little to no closure. I personally would have liked to have seen more interaction between Elliot and her father. I also would have liked to have seen more closure with her female romantic interest. I think having these interactions would have really helped enhance the story and character development.

I also wasn’t crazy how the movie segues into something else at times. In particular, I wasn’t crazy about when Elliot goes on her second trip in the hopes to find her older self again. Instead of offering more insight into her relationship with her older self, we get a musical replica of her singing something from Justin Bieber. It’s funny to a certain extent, but I would have liked to have seen that go in a different direction. There is also a reveal that happens towards the end that isn’t totally revealed as to how it happens. I think there was a missed opportunity to explain more as to what happens.

Overall, My Old Ass exceeded my expectations thanks to its humor, heart, and emotion. 2024 might be a rough year for movies. If there is one thing I can appreciate, it’s how so many of the great films this year have a hopeful message. I really wouldn’t mind seeing this again in the near future. Unfortunately, I don’t know if the title itself is going to appeal to a lot of people. I think if people do seek it out, they won’t regret it.

VERDICT: 4/5 (Great)