My Own Little World

After having seen The Last Jedi three times, I finally have some concrete thoughts about the film. My overall positive impression of the film has not changed, but there are some things I have begun to notice that I’d like to share with you. Two of the three things I'm sharing here are going to seem harshly negative, and while they are more or less blemishes and might detract from the film, they don't  WARNING: spoilers for The Last Jedi follow. Please do yourself a favor and don’t spoil this movie for yourself. It is far better if you know nothing going into it for the first time. But really though: don’t spoil this movie for yourself. I knew nothing going in, and that made a lot of what happens in the film impact me that much more; if you want my spoiler-free thoughts on the film, you can find them here . Anyway, here’s my observations. Anytime after the first viewing, this film drags. I didn’t notice The Last Jedi ’s length the first time I watched it that mu

Film has the potential to be one of the most impactful forms of media because it excites the most senses: we can see, hear, and emotionally feel for everything that is happening on screen. We don’t always need big spectacles to do this for us either; sometimes, the smaller and more intimate a film is, the more impact it can have on the viewer. I recently saw Three Billboards Outside Ebbing, Missouri , a well-written character-driven mystery that has at its core a really unique portrayal of forgiveness and reconciliation. I think for a time like we are in now, this is a film that everybody must see. It doesn’t become overly political, and it doesn’t try to force these hefty themes: it simply tells a human story. The most central element to Three Billboards is the writing, both of the story and the screenplay. Martin McDonagh, the film’s director and writer, is actually best known for his plays, and that style of writing shows up constantly in this film. The dialogue is meaty

Because of the complexity of The Last Jedi and how interwoven the film’s quality is with its major plot points, I am going to treat this a bit differently and more shortly than my normal reviews. After I watch this film a second or third time, I will publish a much longer spoiler-filled review; this is more of a first impressions post than anything, and I promise there will be ABSOLUTELY NO SPOILERS in the words that follow. I have never reacted to a film like I have The Last Jedi . I have never been so shocked by the way a film’s plot has progressed or by how one single movie can take the lore of an entire franchise as deep and rich as Star Wars and make you ask questions about its central core. I want to make one thing very clear, though: I still don’t know how I feel about this film. There’s too much for me to process after just one viewing for me to give it a specific score, and if you see it I bet you will feel the same way. So much happens in this film, and while that

One of my friends called Reputation “fun trash,” and I’m beginning to agree with him. Taylor Swift’s sequel to her 80s-laden synthpop tribute 1989 – an album I thought was incredibly solid and more substantial than her previous work – has all the components of today’s latest trashy pop music. It has celebrity feuds, horrible break-ups, dubstep hooks fused with R&B rhythms – it’s all here. And I’m feeling somewhat…disappointed. Granted, being someone who loved the music of 1989 and its trendy nature makes it pretty plain that I don’t care for just any pop music. My favorite pop album of the year was Lorde’s Melodrama , a beautiful synthpop record with some indie flair that subverted the lyrical trends of most pop music by showing what happens after the party ends. Besides the musical quality of the record, what I loved most was that Lorde retained who she was – an outsider wanting to offer a slight critique of what the industry pushes as its product. Taylor Swift,

It takes a lot to make me cry. It’s not that I don’t have emotions; I just don’t show them through crying. I’ve seriously cried in public only a handful of times in my memory, and I have never cried while watching a movie. Well. Frick you Pixar. You finally did it. You made me cry while I was watching Coco . In all seriousness, Pixar has done a very good job with making me feel emotion at the movies, but  Coco went to a whole other level. It does have some of the best computer animation I have ever seen (more on that later), but it’s the emotional component that makes Coco the great film it is.  A big part of this is due to the story’s depiction of Mexican culture. Coco gives the celebration of the Day of the Dead and the culture’s value of family so much justice that it made me think often about what my own family, both living and deceased, would think of the decisions I have made in my life. By the movie’s climax – one of the many examples of the power of Coco ’s

There are some films that just look like they won’t be artistic. One of the usual culprits for this is the inspirational family drama: movies like The Blind Side , as good as they are in their acting and ability to wave their emotional wands to cast a spell over their audience, they lack any unique flair when it comes to their direction and perspective. I was expecting the same out of Wonder , which follows a child with Treacher Collins syndrome struggling to fit into a normal school environment. Treacher Collins involves a lot of physical disabilities and hardships, including significantly altered facial features, that would undoubtedly make entrance into middle school (the period addressed by Wonder ) so much harder than it would be otherwise…and it’s not like it was easy to begin with. Basically, I thought this movie would bank on sympathy for Augie, the central character. Instead, Wonder tells Augie’s story from countless perspectives, and it really works in its favor.