Movies I Wanna See Most: Summer 2018

The summer movie season is always one of my favorite times of the year because it seems people outside those of us who consistently devour movies seem to make a big deal of what's opening in theaters each week. When it's something the masses are interested in it feels like a celebration and no matter how crappy or generic some of these movies might be that attract the masses I can't help but smile about people finding joy and excitement in the cinema. I've always attempted to find a balance between big-budget and indie fare rather than dismiss the blockbusters and only adore the smaller, more intimate movies. I like to try and think in terms of objectives and how well a movie accomplishes the objectives it sets out to accomplish by the end of the film. This seems especially critical when approaching traditional summer popcorn movies. That doesn't mean I'm necessarily more excited for Skyscraper than I am something like Hot Summer Nights, but rather that I'm interested in both for very different reasons. While neither of those titles will be on my list I would place director Brad Bird's follow-up to his 2005 Pixar juggernaut, The Incredibles II, just outside my top ten along with the likes of Rupert Wyatt's follow-up to his The Gambler re-make titled Captive State that stars John Goodman and explores the lives of beings on both sides of a conflict that has been in place for nearly a decade after an extra-terrestrial force took occupation in Chicago. The film has an August release date and was included in my most anticipated of the year as Wyatt's entry in the last Planet of the Apes trilogy is still my favorite and this film seems like a natural progression after Goodman's fantastic turn in 10 Cloverfield Lane, but the absence of any trailer or any promotional material whatsoever makes me wonder if this one might not get delayed. Elsewhere, there is The Happytime Murders from Brian Henson (son of Jim) a dark comedy about the puppet cast of an eighties children's TV show that begin to get murdered one by one, Gary Ross' (Pleasantville, The Hunger Games) take on a Steven Soderbergh heist flick with the star-studded Ocean's 8, and likely Morgan Neville's (20 feet from Stardom) documentary that explores the life, lessons, and legacy of iconic children's television host, Fred Rogers in Won't You be My Neighbor?. You won't find the likes of The Equalizer II or The First Purge on my list and none of the broad mainstream comedies such as Tag or Uncle Drew are on there despite the fact I'll no doubt end up enjoying both of them, but like I said, I'm by no means opposed to unabashed blockbusters as is evidenced in my number ten pick...

GET OUT Review

Get Out is the directorial debut of Jordan Peele who you might recognize from the sketch comedy show, Key & Peele. Get Out is not a comedy though it contains a fair amount of laughs, namely from the performance of stand-up comedian LilRel Howery who will get many, many jobs from this star-making performance. What Get Out actually turns out to be is a rather striking thriller that provides a topical conversation around racial tensions that then amplifies and exaggerates the inherent tensions of its presented scenario in a way that both plays with the tropes of the horror genre while delivering commentary on innate and unavoidable fears in the black community. I heard someone explain it as, "playing on black people's fear of white people's fear of black people," and it's hard to put it any better or more simply than that. This is all to get to the point that Get Out is making the point that we need to stop pretending we know what it's like to walk in other people's shoes. Not that these assumptions can't be compassionate, but more that they are unnecessary. Get Out begins as one thing-playing on the natural awkwardness that comes along with a black guy going to meet his white girlfriends entirely white family in their very white/suburban neighborhood for the first time and then, once it arrives there, takes steps using its genre classification to get at this idea that no matter how good or well-intentioned one might be, it is near impossible to have a real comprehension of what people who have experienced struggles and/or faced some kind of oppression have indeed been through and more over, who they became out of such experiences. Get Out is a film that plays on those facets of ourselves that we'd rather not acknowledge-that no matter how much we believe ourselves to be above stereotyping people or forming preconceptions, that there is a truth to such ways of thinking and Peele uses this unavoidable, unflattering truth to draw out a fair amount of anxiety. Peele plays on those anxieties and social standards exceptionally as through to the very last frame Get Out keeps things as taut as any horror movie in recent memory while never losing sight of its original intent no matter how crazy the genre hijinks get.    

SNOWDEN Review

For the second year in a row now we have a fictionalized account of real-life events that were already well-documented in award-winning documentaries starring Joseph Gordon-Levitt doing weird accents. And, much like The Walk, the biggest obstacle Snowden was going to need to overcome was that of the one for its own relevancy. Not only did most of the American public see the splattering of media coverage when the Snowden story broke in the summer of 2013, but many also watched Laura Poitras' Oscar-winning documentary, Citizenfour, that was released in 2014 and chronicled how Poitras along with Guardian reporters Glenn Greenwald and Ewen MacAskill traveled to Hong Kong to meet with Edward Snowden and discuss how to break the news of the information the whistleblower was willing to leak. That rather riveting documentary was more than enough to give us a portrait of who this man was and why he did what he did without going into overly dramatized flashbacks or even divulging all of his professional history with the CIA and the military. Solely through how he presented himself in the current circumstances he was facing at the time of Citizenfour viewers glimpsed what type of man Edward Joseph Snowden is and what he might have done were he presented with the dilemma of going along with a CIA field operatives dirty plan or standing up to that more seasoned field agent and doing what he felt was right no matter if it meant him resigning from the agency or not. While we could have likely guessed what path Snowden would have taken given the virtues and sentiments he doles out in his Citizenfour interviews for some reason director Oliver Stone has found it necessary to go back and fill in those gaps just in case you didn't get it. While the idea of a feature film around Snowden isn't inherently a bad one what Stone has chosen to do with the material in telling a straightforward account on the life and times of Snowden in the twelve years leading up to the incident that would make him the, "World's Most Wanted Man" make the idea seem downright unnecessary. Given this is exactly the type of territory Stone has always enjoyed covering, especially when he has a particular point of view on the subject and wants nothing more than to convince you he's right, I expected Snowden to offer a compelling and thoughtful argument and examination for and of the actions Snowden took and why they should be celebrated rather than slammed, but while Stone's position is evident there is nothing here to compel an indifferent viewer one way or the other.

MILES AHEAD Review

The title of this latest music biopic suggests that Miles Davis was a man ahead of his time and many would agree when speaking about his musical talents, but Don Cheadle's first directorial effort, Miles Ahead, isn't introspective enough to put on display why this particular individual was allowed insight into music others hadn't yet tapped into, but rather it's about how Davis was very much a product of his time. In his actions and his views in his personal life Davis was very much of the state of mind that society should function a specific way, especially in regards to how he was allowed to treat the opposite sex and how they weren't allowed to treat him. One can only imagine Cheadle and screenwriter Steven Baigelman (who also worked on Get on Up) decided to come at Davis' story from a more personal angle due to how destructive he needed to be in order to be inspired enough to create what would become his legacy. Of course, that leaves audiences, or more appropriately Davis himself, to deal with the bigger question of what is worth more in the long run-his present prize or his potential imprint he could leave on culture? In Miles Ahead, Cheadle shows us how one drove the other-how life goes on for Davis long after the thrill of living is gone (one can learn a lot from John Cougar Mellencamp). What was the thrill though? The music or the indisputable love of his life, Frances Taylor (Emayatzy Corinealdi)? The even bigger question is does Davis ever figure this out for himself? Sure, he is now the subject of a motion picture and regarded as one of the most influential and innovative musicians of the 20th century, but how often did he think of Frances and the times they could have shared, the memories they could have potentially made while grappling with a reputation that could go either way? Miles Davis, the man, would have you believe that he didn't grapple with anything as one of his most famous quotes states, "do not fear mistakes. There are none," but it's hard to believe given Cheadle's interpretation that being one of the most influential and innovative musicians of the 20th century came with a price Davis wasn't always sure he wanted to pay.

First Trailer for Don Cheadle's MILES AHEAD

It seems as if Don Cheadle has been working on his Miles Davis biopic for years now, and it's true that the film is something of a passion project for him, but given we now have the first trailer for the film it seems both the time and passion may have paid off in big and interesting ways. If you're familiar with the name, but not sure what role Davis played on the musical scene he was a jazz musician and composer, known mainly for his trumpet skills among many other titles, who is widely considered one of the most influential and innovative musicians of the 20th century. As a lover of musical biopics, but someone who recognizes that the formula has become a bit stale in recent years (thank you, Love & Mercy-I'm looking at you, I Saw the Light) what is most exciting about this project is that Cheadle seems to have embraced telling the story of Davis with as much attitude as the real Davis sported himself. While the number one issue artists who decide to tackle stories of other artists lives run into is their attempt to tell a cradle to grave story it seems Cheadle has already foregone that trope by focusing on the plight of Davis to own all the rights to his music and the end of the six-year sabbatical he took in the late seventies that's jump-started by an interview with David Brill (Ewan McGregor). The trailer promises a movie that is as improvisational as Davis' musical stylings and for this attempt alone I look forward to seeing the big picture. The film closed the New York Film Festival in October of last year to generally good reviews and will open in theaters on April 1st, 2016. Miles Ahead also stars Michael Stuhlbarg, Emayatzy Corinealdi, Keith Stanfield, Austin Lyon, Morgan Wolk, Chris Hahn, Nina Smilow, and Jeffrey Grover.

STRAIGHT OUTTA COMPTON Review

Just to give some perspective on where this particular review is coming from, I was born in 1987. By this time the likes of Eazy-E, Dr. Dre, Ice Cube, MC Ren and DJ Yella were already beginning to make waves in their home town of Compton, CA. In just a little over a years time these five individuals, collectively known as N.W.A, would release their seminal record that shares it's title with the groups new biopic, Straight Outta Compton. Naturally, I wouldn't come to be familiar with either N.W.A or what impact they had on popular culture until much later despite my dad schooling me and my siblings on his favorite old school hip hop records in the early nineties. As I turned into a teenager at the turn of the millennium if I had any connection to Ice Cube it was more for his movie career than anything else while Dr. Dre was having his resurgence (at least from where I was sitting) with 2001 and the discovery that was Eminem. It wasn't until I matured a little further that it became more vital for me to understand a wider range of musical knowledge that would help me comprehend what informed the music I was currently enjoying. Attending a middle school and junior high at the time that contained as many black students as it did white kids like myself, there was an interesting mix of cultures to be observed. One could never hope to comprehend the full extent of other peoples lives due to the circumstances into which they were born at that age, but listening to the same type of music didn't hurt in attempting to at least glean a surface-level understanding of where others were coming from. As myself and my brothers would come to have an increased level of interest in music (especially the funk of the seventies that our mom would listen to) the world became a clearer place where it was easier to figure out where you might fit into the grand scheme of things. Going through what had come before my birth date one inevitably come across N.W.A and through their lyrics alone is able to gather not only where they were coming from at the time of their emergence, but what influence they've had since. And so, I come at Straight Outta Compton as an individual who wasn't able to experience the initial impact of this group, but who finally is able to bear witness to it through the magic of the movies.

DOPE Review

Dope is something of an exquisitely stated thesis with the outer shell of a "drug deal gone bad" movie understated by the culture within where this rather typical (for the area and in the movies) excursion occurs. There is an angle that feels like the drug plot in Dope is necessary to make the movie feel more exciting, but that it actually makes this unique take on black culture all the more generic. Director and writer Rick Famuyiwa (The Wood) smartly uses both of these preconceptions to his advantage by allowing the regularity of a drug deal and the race and culture typically related to such going-ons to highlight the point he is intending to make. The main ideas here are simple: to not sell yourself short and to not settle for what's expected of you; seemingly talking as much about one's predestination due to their inherent preferences as he is the color of their skin. That Famuyiwa is able to somewhat blur this line of not simply defining people by their baseball stats, but for the character they display is what he really wants to explore which he does magnificently by cultivating the affinity we all have for nostalgia to display how we tend to believe it was somehow better in someone else's time despite us really knowing the reality was never as pleasant as the high points in pictures paint. There is a whole treasure trove of ideas and concepts within Dope and some are more highlighted than necessarily explored, but Famuyiwa does a solid job of capturing the essence of what is necessary to get his point across here. This essence is as present in the musical stylings chosen to power the movie along as it is the slang verbiage and dated styles that Malcolm (Shameik Moore) and his co-horts rock throughout. Dope is certainly nothing short of an independent-minded take on a subculture that is more than under served, but as a movie it somewhat lacks that definitive spark that actually sets it apart as something exceptional. There is something muddled and incoherent about the way it chooses to lay out its ideas which is odd because I rather enjoyed the freewheeling editing choices, but walking out and considering what I'd taken away from the film it came down more to the broad strokes than the brass tacks when it would seem Malcolm's genius is in the details.

Red-Band Trailer for STRAIGHT OUTTA COMPTON

I'm a sucker for movies about music. They combine two things that are individually attractive enough that I fill my life with as much of them as possible so when they come together it is nearly always something akin to a euphoric feeling. I count Walk the Line among one of my favorite films of all time, I think Notorious was largely unappreciated because of its January release date, I still listen to the Inside Llewyn Davis soundtrack on a regular basis, I put Get On Up in my top ten last year and Whiplash at number two if that adds anything to my argument. Needless to say, I've been excited for what director F. Gary Gray (Friday, The Italian Job) might bring to the table with his N.W.A. biopic and if this first, red-band trailer is any indication things look extremely promising. Featuring an introduction from Ice Cube and Dr. Dre this nearly four-minute first glimpse gives us an idea of how far the two hip-hop superstars have come since first starting out and how long our society has left to go. I'm sure it's weird for them to see these iconic moments of their lives recreated as they didn't seem them as much as "moments" when they were living them as they were simply trying to make it, but damn if you can't feel the electricity in this trailer. All of that said, I don't personally have an emotional connection to the group or any of its music, but am of course familiar with it and with the story of the group so while it's not a story I've been dying to see brought to the big screen it is the type of story I love to watch and am optimistic for what is to come. Starring O'Shea Jackson Jr. as Ice Cube, Corey Hawkins as Dr. Dre and Jason Mitchell as Easy-E along with Aldis Hodge, Neil Brown Jr., Marlon Yates Jr, Paul Giamatti, Keith Stanfield, Orlando Brown, Corey Reynolds, Keith Powers and R. Marcus Taylor Straight Outta Compton opens on August 15th.

THE PURGE: ANARCHY Review

Having re-watched the first Purge before going to see this quickly developed sequel I was reminded of what a good premise had been so messily squandered in execution. The idea of focusing in on one situation or opening up the world and giving a more well-rounded view is a difficult dilemma. Had the writer/director of both films, James DeMonaco, done with his premise the first time what he's done here he might have been criticized for trying to do too much. After having seen the sequel though it is clear that with such a layered and complicated world the possibilities might have been overwhelming to DeMonaco who chose to keep things simple the first time around. With the first film becoming a financial success though the studio was quick to greenlight and push into development a follow-up less than a year later which can, presumably, only boost a guys confidence. With that confidence DeMonaco has opened up his slightly futuristic world into what his one lawless night a year might be like not only for different individuals, but different classes of people according to society's structure. Given expectations weren't high for The Purge: Anarchy I'll try not to get too excited about how much better it is than the original while hopefully re-enforcing the fact it's still not a great or exceptional piece of cinema. Instead, this is a film that knows its end goal and accomplishes those goals well and does in fact deliver more on the promise of its interesting premise than its predecessor. From the advertising to the blatant acts of violence described as patriotism these films have always had a commentary in the back of their minds on the class systems of society and where our current situation may lead us. In this vein of thinking these films are more science fiction than horror in the way they preach nonviolence with violence and describe how escalating violence and economic issues brought the country to a breaking point that resulted in this annual event. These are naturally the more interesting aspects of the film and in Anarchy DeMonaco plays each of them up as he highlights the experiences of different groups of people from different ethnic and economic backgrounds creating a more captivating story and strong jeopardy we can all relate to.

SHORT TERM 12 Review

Short Term 12 is a slice of life dramedy that will suck you in immediately and have you engulfed in the world of its timid characters that are doing nothing more than trying to do their part to make a difference in the world with an approach that truly means something to them. This film is one of those rare cases where I walked in knowing little to nothing about what I was going to experience, but I was pleasantly surprised to find a well balanced tone of what mirrors real life the closest. None of us live completely within the bounds of these genres that Hollywood has so conveniently put together so as to garner massive audiences for each one that cater to the dominant attitude one might carry. Despite the fact humans generally tend to gravitate towards specific personality traits or uncontrollable factors that determine how they are perceived the majority of us live a life filled with moments of equal highs and lows. Granted, this range of emotions is usually reserved to be explored in the smaller, less expensive films that tackle more singular subjects and therefor may have a more narrow audience looking for it, when they are done well they can likely appeal to whoever stumbles upon them and it seems Short Term 12 has the potential to have that appeal. Writer/director Destin Daniel Cretton has expanded his 2008 short film of the same name into feature length form and in doing so has given himself room to explore the devastating effects of what mental, physical and sexual abuse have on children and not just in the immediate aftermath but years and years on when you would hope the victim might have been able to look past and move on. It is as much an enlightening and inspirational film as it is a heart wrenching and extremely personal documentation of the individuals who have experienced such disgusting encounters and have had to grow and learn to adapt in a world that often times expects them to get over it without ever being able to accept the fact they might live what most of us would call a "normal life". With a strong script and some purely exceptional performances Short Term 12 turns out to be one of the more affecting films of the year that has probably been seen the least.