NOSFERATU Review

Throughout Robert Eggers' interpretation of the Dracula mythos we hear the word "providence" uttered multiple times, most frequently by Simon McBurney’s servant figure Knock (I wonder if he and Nicholas Hoult consulted with one another). Naturally, one would assume the context of such comments would be regarding the protective care of God in a film about a plague-inducing demon, but providence can also be defined as timely preparation for future eventualities. This latter meaning is in fact the outline for what composes much of 2024’s Nosferatu. As much of an impression as Bill Skarsgård’s titular character makes throughout the course of the film it is he who is largely orchestrating said timely preparations (which are sometimes a little too timely) whereas it is Lily-Rose Depp’s Ellen who is the focal point of both the vampire and Eggers’ fascinations. The future eventualities of this particular situation are the unlocking of this young woman’s shame (or sin, as she sees it) in order to find salvation – whether that be her own, the monster’s, or mankind’s is up to the viewer. Initially, Ellen believes she has found such salvation in Thomas Hutter (the aforementioned Hoult), a young man whom she’s recently wed, who she is eager to start a life with, and with whom she believes she can remedy her darkness. We learn, of course, that when Count Orlok, Nosferatu, the vampyr, is stirred from his grave by the afflictions of others, he cannot be sated – satisfied - without fully consuming them which, ironically, feels more like an absolute than the possibility promised by “providence”.

There is undoubtedly an unlimited number of allegorical meanings one could graph onto Ellen’s function, but most interesting about Eggers film is this idea that this central character embodies the facade of the thing she believes she should be yet is seemingly afraid to embrace her instinctual tendencies while Eggers ensures the film itself is the inverse of as much; following his innate, natural inclinations so far past their conclusions that what we’re delivered is not necessarily what we expect from Dracula (outside of maybe the costumes and language), but moreover it authentically amps up and delivers upon the startling terror of what made (and makes) this long-looming figure of the genre so horrifying over a century after his creation. He, Nosferatu, is more than just the presence of a monster but the enigma that fills us with conflict and dread.

POOR THINGS Review

When I was in high school in the early aughts it was the peak of "emo" culture as the wave of pop-punk music and hairstyles had fully enveloped the youth. Punk rock had completely overtaken the music scene that had previously belonged to the pure pop acts at the turn of the millennium. A good portion of what would have previously been categorized as the "mainstream" crowd was now more than happy to sport t-shirts from Hot Topic toasting their favorite bands; the more undiscovered, the better. At seventeen and eighteen this was more than enough to pique my interest in the shifting allegiances and blurred lines of high school cliques in the real world yet the bigger revelation that came out of this was an examination of the "goth" community. Beyond their shared interests in (again) music, I began to question what it was that motivated them to dress so distinctly and so differently. Furthermore, why the need to take it to such an extreme? My initial thought was simply that: to be different. Maybe that's exactly what it was or maybe it served as a signal to those who also dressed that way that they were of like minds. While this was certainly a probable explanation the overarching intent of the intensity of their look was seemingly to stand out and stand apart. This naturally led to internal inquiries of what is exactly different about you if what you're doing to be different is solely for that reason. And then, if there is this whole group of people who dress the same solely to be different then aren't they just another clique themselves? Of course, these social circles are formed due to similar interests, participation in the same activities, churches, tax brackets, and so on but as someone who likes to think of themselves as moderate in every facet of life the difference in "goths" and every other clique went back to the question of intent. Was there meaning behind the mohawks and dark make-up? 

While I never fleshed these questions and ideas out with anyone, this was the beginning seeds of understanding the rather broad (and simple) lesson that how you present yourself physically wasn't the aspect that would ultimately determine what makes you different from someone else. This isn't a slight against the goth crowd either, but more an observation and kind of affirmation that such exterior effort shouldn't be necessary in order to feel seen and valued. There's no shame in wanting to feel singular and validated - high school today must be a thousand times more complicated in these regards with what a mess social media has made in not only feeling the need to stand out in your bubble, but against the entirety of the internet - but if there is nothing beyond the desire to be different than simply being different that is when we enter the territory of someone's entire personality consisting only of being non-conforming because that's what they do. When considering all of this through the lens of high school circles, weird for the sake of weird began to feel as hollow as the goths no doubt assumed most of the jock's heads were. Weird for the sake of being weird is what brings me to Poor Things and whether or not the way it presents itself was simply to set itself apart or if the attempts to subvert and push the envelope were in fact to serve a bigger, more well-rounded series of ideas. That, or at least be in service of lampooning some very specific, but recognizable facet of the world in which viewers could relate to the point their opinion of the film might transcend the intentionally strange, possibly superficial surface.

AQUAMAN Review

Look, I get it, Aquaman was never going to be an easy movie to make-especially given the weight of the pressure on the film to make or break Warner Bros.' DC Extended Universe. The losses certainly outweigh the wins at this point, but there was a hope that after the triumph of Wonder Woman and the hurried process of simply getting through Justice League (a movie already in production when Batman v Superman received its backlash and essentially completed when WW turned things around) that James Wan's Aquaman might be able to finally allow this rival to the Marvel Studios cinematic universe to settle on and find its own distinct tone. Aquaman somewhat accomplishes this as the movie certainly settles on its own tone-one that is arguably appropriate for a movie about a man who can talk to fish-but Aquaman also never seems to find its rhythm. Wan, a master of suspense and horror, translated his skills into the bigger, action-oriented realm fairly well with Furious 7, but while Aquaman features some of the best choreographed and executed fight sequences of the year everything around them feels like an exercise in trying to figure out how best to configure an underwater world that the movie still hasn't figured out by the time it reaches its final, climactic battle. So listen, I understand there is only so much one can do with an Aquaman movie, I really do, but while the ambition is there and the movie offers some genuine fun in fits and starts the product as a whole never gels in the fashion that it feels like a complete, satisfactory work. Wan's Aquaman, as penned by David Leslie Johnson-McGoldrick and Will Beall, feels like if the Power Rangers series had decided to grow up with the generation Mighty Morphin premiered with, but never developed mentally past that of an eight-year-old's mindset. Meaning, the only thing growing with the audience was the budget while still retaining the mentality and most importantly, the sense of humor, of that core demographic of fourth and fifth graders. Aquaman is a Saturday morning live-action cartoon on steroids likely meaning a certain, large demographic of the audience will absolutely love and revel in what Wan has put together and to be frank, upon further re-watches I can see how it might become more endearing, but upon first impression Aquaman leaves much to be desired in terms of substance despite indulging its audience in eye candy and overwhelming them with silliness.

Final Trailer for AQUAMAN Starring Jason Momoa

Warner Bros. has dropped the final trailer for director James Wan's Aquaman. The film follows Arthur Curry who learns that he is the heir to the underwater kingdom of Atlantis, and must step forward to lead his people and to be a hero to the world. It feels rather odd we're finally upon the release of the character's solo outing given a year ago at this time we were just getting our first glimpse of the DC hero in the unequivocal failure that was Justice League. Never mind the fact we were only getting our first glimpse of Aquaman for the first time in what should have been an accumulation of individual films, but more that the result of this botched team-up would produce anything resembling hope seemed all but lost after this same weekend last year. And yet, as Warner Bros. announced with the release of this trailer today that fans, specifically Amazon Prime members, can see the film a week early in theaters which prompts one to think they certainly don't plan on hiding this one the way they did the Zack Snyder/Joss Whedon film. And there seems no reason to as this final trailer looks visually stunning. If this clip should suggest anything it is that Wan (Saw, Insidious, The Conjuring, and Furious 7) has delivered an action/adventure film in every sense of the word that looks to be about as fun as a film can be; here's to hoping that the pacing and energy of the trailer are notes that have been taken from the finished film. Aquaman stars Jason Momoa as the titular hero, Amber Heard as Mera, Willem Dafoe as Vulko, Temuera Morrison as Tom Curry, Dolph Lundgren as Nereus, Yahya Abdul-Mateen II as Black Manta, Patrick Wilson as Orm/Ocean Master, and Nicole Kidman as Atlanna. The movie opens December 21, 2018.

SDCC: Official Trailer for AQUAMAN Starring Jason Momoa

Warner Bros. has dropped the first trailer for director James Wan's Aquaman Starring Jason Momoa as Aquaman, Amber Heard as Mera, Willem Dafoe as Vulko, Temuera Morrison as Tom Curry, Dolph Lundgren as Nereus, Yahya Abdul-Mateen II as Black Manta, Patrick Wilson as Orm/Ocean Master, and Nicole Kidman as Atlanna. The movie opens December 21, 2018.

THE FLORIDA PROJECT Review

There is a sense of uneducation that comes with viewing The Florida Project. It seems as if director Sean Baker (who broke out with 2015's Tangerine, but actually has three prior features to his credit) is intent on showing audiences that the magic of the cinema can exist without the typical three act structure that Hollywood films have conditioned audiences to expect and it's not that other films haven't done the same thing or attempted to prove as much, but this seems a point of real effort and focus on the part of The Florida Project. That isn't to say the picture becomes sidetracked or caught up in this endeavor, but rather that it makes for an interesting take when going into the film. This won't even necessarily hinder expectations, but it is a facet of the film that is to be observed in terms of craft as the film slyly deconstructs our expectation of what a movie is supposed to be by showing that such a product can still be engaging and entertaining while not necessarily delivering an outright objective for our protagonist to accomplish by the time the hour and forty-five minute mark hits. Rather, The Florida Project is a beautiful rendering of childhood on the fringes with the central subjects not necessarily being aware of their surroundings or situations, but more it addresses how the innocence of childhood tends to take away any association of status and instead replaces it with the simplicity of making the most of what one has to work with. In this way, The Florida Project accomplishes the difficult feat of being both incredibly light and fun in the way it elicits smiles from the audience as we witness the preciousness of youth while being simultaneously just as heartbreaking when it comes to the realization of the reality these people are living. It is a testament to innocence in many ways as the film exercises this abandonment of structure by chronicling the adventures of three six to seven year-old's during the summer months as they live just outside Orlando and in the shadow of Disney World-the happiest place on earth. It abandons structure because these children know nothing of such a thing in their lives while what comes to pass is absolutely necessary, undoubtedly for the best, but also incredibly emotional because of the nearly two-hour journey we've just experienced with these characters. It's a chronicling of that transition from innocence to experience in many ways, but this isn't the focus of the film and neither is the backdrop of this poverty-stricken community, but rather it is the wonder and hope that makes childhood universal and, in turn, The Florida Project so affecting.

MURDER ON THE ORIENT EXPRESS Review

You know those times when you think something is unnecessary, let's say for the sake of this format it's a movie, and yet despite those initial hesitations and questions of purpose you come to realize that it's not a complete waste of time, but rather that you actually like certain aspects of this fresh perspective it once seemed was uncalled for. I have never before read the 1934 Agatha Christie novel, Murder on the Orient Express, nor had I seen what is probably the most famous adaptation of this work in Sidney Lumet's 1974 film that starred Albert Finney as one of Christie's most famous and long-lived characters, Detective Hercule Poirot. That was, until earlier this week when I decided to catch-up with what was no doubt much of the reason 20th Century Fox decided it was indeed necessary to bring Christie's work back to the big screen with no lack of prestige in either its talent or production. In doing so, it became clear how much that '74 film serves as a perfect blueprint for the murder mystery venture and while I certainly doubt it was the first film of its kind it certainly is a fine example of how to make this type of movie in an effective, fun, and engaging manner. So, what does Sir Kenneth Branagh do when he gets his hands on such rich material and the opportunity to play as famous a character as Poirot? Well, not much really. Branagh keeps to the guidelines of the genre for the most part while the changes in characters and character arcs in this latest adaptation feel more like attempts to differentiate this version from Lumet's more than they do organic changes that came out of adapting Christie's story for a more modern audience. Sure, there are changes made to certain character's ethnicities and the color of certain character's skin, but beyond these factors serving to be acknowledged as they might have been in the context of 1934 there is no reason to have changed anything about the character other than for the sake of variety and equality, which is never a bad thing, of course, but the hope was that whatever changes Branagh and screenwriter Michael Green (Logan, Blade Runner 2049) made for this latest adaptation they might have been done to either improve upon the story or offer some facet previously unexplored. And yet, this version of Murder on the Orient Express is a safe if not efficient take in the mystery genre that relies on star power for character development and handsomely mounted production values to fill in for substance leaving the experience of Branagh's latest to be perfectly serviceable if not exactly fulfilling.

Final JUSTICE LEAGUE Trailer

It seems as if this final trailer for Justice League, a mere six weeks prior to the films release, is a little unnecessary given we've already received three major trailers-the last of which was just in July and spanned just over four minutes in length, but alas much has happened with the film in three months since that last trailer dropped with the biggest change of course being that director Joss Whedon was brought in to steer Justice League to its opening day. At first, it was announced Whedon would ony be coming in to help finish up the film as Zack Snyder dealt with issues in his personal life, but since that initial announcement it has become clear Whedon's role is much larger than that as he will receive a screenwriting credit, meaning he rewrote at least a third of the movie. With Patty Jenkins' Wonder Woman becoming the biggest movie of the summer Warner Bros. has put all of their effort into turning the tide on the rest of their heroes and this major overhaul on Justice League looks to only be the beginning of as much. All of that taken into consideration, this trailer looks and feels awesome. What is there not to like? Ben Affleck's Batman is doing his thing, that knowing shot of Gal Gadot's Wonder Woman giving a slight smirk in the midst of battle is great while Ezra Miller's The Flash and Jason Momoa's Aquaman make it look as if either of them could very easily steal the show. The only kind of question mark is Ray Fisher's Cyborg, but I like what we see of that mostly-CGI character here. What's interesting about this movie is that we have to keep in mind it was being planned and prepped long before the backlash received on Dawn of Justice and it is a film that has clearly had a new light shined on it due to those reactions. Ultimately, the film might have a spunkier tone due to Whedon's re-writes, but if this trailer is any indication as to the now movie overall (which it totally could not be) it would seem all those rumors about the level of Whedon's involvement over the past few months would be true. The tone here is much lighter than anything we've seen from the film up to this point, but I'm digging what I'm seeing with cautious optimism. Side note: We get our first glimpse of Henry Cavill here, but not as Superman, so-still pleased with that decision despite the fact we know Supes will be back in some capacity for Justice League which hits theaters on November 17th, 2017. J.K. Simmons, Willem Dafoe, and Amber Heard also star.

SDCC: New Trailer for JUSTICE LEAGUE

With Patty Jenkins' Wonder Woman becoming the biggest movie of the summer Warner Bros. has put all of their effort into turning the tide on the rest of their heroes as they have debuted a lengthy new trailer for Justice League today at this year's San Diego Comic-Con. This trailer looks and feels awesome. What is there not to like? Ben Affleck's Batman is doing his thing, Gal Gadot's Wonder Woman is more or less his second in command while Ezra Miller's The Flash and Jason Momoa's Aquaman make it look like either of them could very easily steal the show. The only kind of question mark is Ray Fisher's Cyborg, but I like what we see of that mostly-CGI character here. What's interesting about this movie is that we have to keep in mind it was being planned and prepped for long before the backlash Dawn of Justice received and it is a film that has clearly had a new light shined on it due to those reactions. If you read any of the set visits from last summer you'll remember the fact WB and Snyder immediately went to work building a more positive narrative around the DCEU and for the most part, that was totally demolished by Suicide Squad. Ultimately, the film might have a spunkier tone due to quick re-writes, but it will still look like and be an epic Snyder film which is what these heroes and gods deserve. I don't mind owning up to the fact I'm a Snyder fan and that I hope his vision for this cinematic universe is seen through to the end even with the recent events of his personal life and the fact Joss Whedon has come in to steer Justice League to its opening day. Side note: really happy they still haven't showed us a glimpse of Henry Cavill's Superman despite the fact we know he will be back in some capacity for Justice League which hits theaters on November 17th, 2017. J.K. Simmons, Willem Dafoe, and Amber Heard also star.

First Trailer for MURDER ON THE ORIENT EXPRESS

I must admit, I’ve never seen Sidney Lumet’s 1974 adaptation of Agatha Christie’s novel starring Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, and Jacqueline Bisset, but I am rather interested in correcting that-especially now that we have seen a glimpse of what Kenneth Branagh’s re-make or re-imagining is going to look like. The cast is certainly just as impressive and make no mistake, this first trailer for the film is very much a teaser despite its two minute runtime. Much of the teaser’s time is dedicated to showing the cadre of big names that do indeed star in the film while the remainder is black screens and neon blue text that looks awfully similar to Bates Motel. Maybe Branagh, or rather 20th Century Fox’s marketing department, thought it wise to hue closely to a similar murder/mystery tone of a rather popular and more recent TV show, but all the mystery and implied deviousness is quickly undone as soon as Branagh introduces himself in the role of Hercule Poirot with what I can only assume is an Imagine Dragons song blasting the background. It is shockingly jarring in how much is shifts what it seemed the intended tone was to something of a comic nature. While it’s always nice to have a balanced sense of humor I don’t think Branagh and the gang were going for the kind of mood this trailer leaves us with. It’s an odd choice, but hopefully (and likely) has no bearing on the actual final product we’ll see this winter. Strange music choice aside, this is still a hell of a cast and though we only get a line of dialogue or so from each of them here I can’t wait to see how they play off of one another and if Branagh can pull of something that is both new and inventive while respecting previous incarnations that are obviously well-regarded. Branagh stars in and directs while Murder on the Orient Express also features Johnny Depp, Michelle Pfeiffer, Penélope Cruz, Daisy Ridley, Josh Gad, Willem Dafoe, Judi Dench, Tom Bateman, Leslie Odom Jr., Lucy Boynton, Olivia Colman, Derek Jacobi, and opens November 10th, 2017.

Official Trailer for JUSTICE LEAGUE

"Fool me once, shame on you; fool me twice, shame on me." It's not hard to see why many fans of Batman and DC Comics' heroes in general might be feeling this way towards the newly released Justice League trailer because if one thing is evident it's the fact the studio and director Zack Snyder know how to cut an impressive trailer. What has also become clear though, is that they can craft an impressive and outright stellar trailer from a weak film. There is no greater example of this than with last years train wreck that was Suicide Squad. While I rather enjoyed Man of Steel and Batman V Superman: Dawn of Justice more than most I can see how such an argument might be made as the trailers certainly indicated something far more exceptional than what we were ultimately delivered. All hopes are riding on Patty Jenkins' Wonder Woman at the moment as all three trailers we've seen from the film have been superb and if that film can prove to be as much when it debuts this summer it might right the ship for the struggling DC Cinematic Universe. All of that is to say that of course this trailer looks and feels awesome. What is there not to like? Ben Affleck's Batman is doing his thing, Gal Gadot's Wonder Woman is more or less his second in command while Ezra Miller's The Flash and Jason Momoa's Aquaman make it look like either of them could very easily steal the show. The only kind of question mark is Ray Fisher's Cyborg, but I like what we see of that mostly-CGI character here. What's interesting about this movie is that we have to keep in mind it was being planned and prepped for long before the backlash Dawn of Justice received and it is a film that has clearly had a new light shined on it due to those reactions. If you read any of the set visits from last summer you'll remember the fact WB and Snyder immediately went to work building a more positive narrative around the DCEU and for the most part, that was totally demolished by Suicide Squad.  Ultimately, the film might have a spunkier tone due to quick re-writes, but it will still look like and be an epic Snyder film which is what these heroes and gods deserve. I don't mind owning up to the fact I'm a Snyder fan and that I hope his vision for this cinematic universe is seen through to the end. Side note: really happy they still haven't showed us a glimpse of Henry Cavill's Superman despite the fact we know he will be back in some capacity for Justice Laague which hits theaters on November 17th, 2017. J.K. Simmons, Willem Dafoe, and Amber Heard also star.

THE GREAT WALL Review

It was funny, as when The Great Wall was to initially be released back in November or December of 2016 (which it still was in China) I imagined it to be Matt Damon's bid for the current Oscar season. Then, we finally caught our first glimpse of the film in late July just in time for Matt Damon's Jason Bourne to return to theaters. From that trailer alone it was clear this wasn't going to be the awards contender I imagined it to be based on the cast and other credentials, but rather that this was going to be something of an homage to the big budget action pictures of yesteryear. That it could potentially be one of those epics where ancient times were explored and mysteries explained via an entertaining interpretation was interesting and irrefutably intriguing. At the very least, the idea was this might be a good bit of fun and/or an inventive distraction that starred one of today's last-standing movie stars making the kind of movie only a true movie star could make. While all of that potential is still present on screen as the actual film unfolds what is not present is the sense of fun nor is the necessary entertainment factor that should seemingly come along with it. Rather, The Great Wall becomes something of a slog at only an hour and forty-five minutes with the film dedicating a majority of its runtime to a subplot that should have been abandoned the moment these mysterious creatures, for which the wall was built to keep out, finally rear their ugly heads and wreak havoc. Instead, the three-man screenwriting team decide to give these creatures a convoluted backstory and point of motivation that is exactly the opposite of motivating-meaning it deters us not only from caring about these creatures, much less their victims, but does nothing to instill an investment in anything that is happening. If anything at all, it only motivates us to look at our watches more often. And thus, it is the script where The Great Wall fails most consistently as director Yimou Zhang (Hero, House of Flying Daggers) certainly has the visual sense to accomplish what the screenplay requires and despite Damon's accent being in and out the cast largely made up of Chinese performers handle the drama and particularly the action well enough-it simply might have been more compelling had they better drama to work with.

Teaser Trailer for THE GREAT WALL Starring Matt Damon

With Jason Bourne opening this weekend it only made sense that Universal would also release the trailer for their next Matt Damon-led tentpole in The Great Wall. If it seems like you've been hearing or reading about this movie for some time that is likely because you have. At least five years ago there were talks of Edward Zwick (The Last Samurai) directing the film and a number of other actors (inlcuding Henry Cavill) starring in the lead role. As it has finally come to fruition though Universal has cast Damon in the lead and partnered with Legendary who are more or less a standalone entertainment company based in Hong Kong that have positioned themselves to produce films that are as commercially viable in China as they are worldwide (think Warcraft). In partnering with Legendary the studios have also brought in Hero and House of Flying Daggers director Zhang Yimou to helm the project and as far as visuals go this thing looks to be quite impressive. Though it is striking to see as white and as American a male as Matt Damon walking through hordes of Chinese soldiers in his Asian-inspired armor, one has to be curious exactly what the story is here especially given the plot summary only states that it is a mystery centered around the construction of the Great Wall of China. What we see in this first teaser though divulges the film will not necessarily be a strict drama that highlights one characters personal story concerning the construction of the wall as that's what I assumed it might be given it starred Damon and was originally set to be released this fall. Instead, we see that the great wall was built not only to keep out nomadic groups from the Chinese Empire, but apparently gigantic monsters as well. While the jury will be out on the story until after the movie comes out the visuals alone are enough to get me in a theater to experience this thing on the big screen. The Great Wall also stars Jing Tian, Pedro Pascal, Willem Dafoe, Hanyu Zhang, Eddie Peng, Lu Han, Kenny Lin, Junkai Wang, Zheng Kai, Cheney Chen, Xuan Huang, Andy Lau, and will now open on February 17, 2017.

Comic-Con Trailer for JUSTICE LEAGUE

With Suicide Squad opening in just over a week and anticipation higher than ever I certainly expected Warner Bros. to drop a Wonder Woman trailer at this years San Diego Comic-Con, but never did I expect a full trailer for next November's Justice League. Sure, Wonder Woman doesn't hit theaters until next June, but would the studio really miss the opportunity of putting the trailer for their next DC film in front of the one that is tracking to make more than a $125 million opening weekend? Of course not. All of this to say that not only were we given a wonderfully fitting Wonder Woman trailer, but director Zack Snyder also flew in to deliver some footage from his upcoming Justice League movie that has been officially released online by WB. There is something to be said for the course of action the WB is taking as they began releasing trailers online almost immediately after premiering them at Comic-Con last year, but that is for another time. What we have right now is a first look at footage from a movie that is currently still in production and doesn't come out for over a year. It is the first look at a movie that was planned and being prepared for long before the backlash to Batman V Superman: Dawn of Justice and it is a film that has clearly had a new light shined on it due to those reactions. If you read any of the set visits from a month or so ago where Snyder and the studio invited several online journalists to the set of Justice League to check out their process so far you undoubtedly noticed that both Snyder and the studio were on a mission to not only convince those that disliked BvS that they were fixing a lot of their complaints in Justice League, but to also get a more positive narrative going around the DC cinematic universe as early as possible. With the release of this first look at Ben Affleck's Bruce Wayne assembling his team including Jason Momoa's Aquaman, Ezra Miller's Flash, and Ray Fisher's Cyborg as well as the already established Wonder Woman (Gal Gadot) it only stands to reinforce that Snyder and the studio are now moving on to change the narrative with the fans as well and this tease couldn't do a better job of getting me excited as its clear that while the film might have more of a spunkier tone it will still look like an epic Snyder film which is what these heroes and gods deserve. Though Henry Cavill's Superman is absent from the trailer the newly released image of the Justice League (see below) indeed confirms (as if there were any doubt) that Superman will be back in some capacity for Justice Laague Part 1 which hits theaters on November 17th, 2017. J.K. Simmons, Willem Dafoe, and Amber Heard also star.

New Trailer for FINDING DORY

As the summer movie season draws closer Disney and Pixar have decided to share a little more of their follow-up to the massively successful Finding Nemo. Nemo was Pixar at the height of its critical and commercial power and so it is no surprise that as the companies have become more comfortable with the idea of sequels that twelve years down the road we have a sequel to one of their biggest hits. While the teaser we received back in November was exactly that what we have now is a full fledged look into what the story of the film might be as well as being introduced to a few new characters. Pictured above are two of those new characters with Kaitlin Olsen's Destiny (the shark) being highlighted as a childhood friend of Dory's in the trailer. Catch the name? Hint hint. It has admittedly been a while since I've seen the original film and will definitely have to be re-visiting it before seeing this Dory-centric sequel, but this trailer certainly gives off the general vibe I remember from the original with Albert Brooks returning as Marlin and Hayden Rolence taking over as Nemo. We'll be getting Toy Story 4 soon, a sequel to The Incredibles (finally!) and another Cars film (why? WHY?!?!) as well as some original films that hopefully continue to ride the wave of creativity Inside Out created last summer over the next few years, but this summer is all about Finding Dory and, if nothing else, the trailer plays off the indisputable charms of the titular blue tang fish. Ellen DeGeneres returns as the voice of Dory with Michael Sheen, Diane Keaton, Eugene Levy, Ed O’Neill, Idris Elba, Dominic West, Willem Dafoe, and Ty Burrell also starring. Finding Dory opens on June 17, 2016.

Teaser Trailer for FINDING DORY

The team of Disney and Pixar have had some massive hits, but their biggest in terms of initial box office and adjusted for inflation grosses outside of Toy Story 3 is that of Finding Nemo. It was kind of an odd pick as the story is simple: father searches for lost son. And the appeal was simply the branding of what the studio had delivered previously. Nemo was Pixar at the height of it's critical and commercial power-a kind of culmination if you will. It didn't hurt that the quality of the movie was nothing short of excellent. Twelve years down the road and Pixar has experienced something of a rough patch with originals like Brave not stroking the critical fire as highly as expected and sequels like Cars 2 (why? WHY?!?!) and Monsters University (I really enjoy this one, regardless) doing more or less what people expect if nothing more. And so, while Pixar is certainly on something of an upswing after this summer's smash Inside Out and looks to have another hit on their hands with The Good Dinosaur this Thanksgiving there is nothing better than a safe bet and thus why we are now getting a peak at a sequel that was apparently warranted after thirteen years. We'll be getting another Toy Story feature, a sequel to The Incredibles and another Cars film (why? WHY?!?!) as well as some original sprinkled in there somewhere over the next few years, but today is about Finding Dory and, if nothing else, the trailer plays off the charms of the original's three leading characters in hopes audiences will remember how much they loved Marlin, Nemo and of course Dory to the point they're willing to spend a whole lot of money on them next summer. Ellen DeGeneres returns as the voice of Dory with Albert Brooks, Diane Keaton, Eugene Levy, Ed O’Neill, Idris Elba, Dominic West, Kaitlin Olsen, Willem Dafoe, and Ty Burrell also starring. Finding Dory opens on June 17, 2016.

JOHN WICK Review

John Wick is extremely straight forward. Both the man and the movie based around him. It could be said that there may not be a whole lot going on in the minds of the makers behind the film or the titular hero as they machine gun their way through a standard tale of revenge, but regardless of how intelligent or not the film comes off it never effects the amount of fun to be had here. It has probably been six years or so since I've seen Keanu Reeves on the big screen and so it is somewhat of a welcome return this film offers him both in the traditional sense of what he's come to be associated with and as a revival of sorts. What makes John Wick so accessible and fun though is that we can all agree it knows what it is. In knowing the kind of film it is and wants to be, it keeps its ambition in check and goes only for what it needs, never trying to over do it or over-complicate things. There is no means to elicit anything more here than what is presented to us and it revels in that. It is a matter-of-fact film more about the action and how it is conveyed than the story which you could catch onto walking in mid-way through the movie. It is a movie not above being surface-deep and it wears this self-awareness on its shoulder as a badge of honor. There is an almost visceral experience to be had with John Wick as it is the visuals and the bombast that connect with us rather than any intellectual property it brings to mind. Honestly, as I sat there watching the film and as it came to its inevitable conclusion the only think that I actually began to think about was if Wick had really thought about what all his trouble actually achieved. would it bring him real peace? Would he feel vindicated not for the initial death that caused him the most pain, but for the peace that was offered him in the wake of his loss that was stolen out from under him? It is likely Wick didn't think any of this through and simply reverted to his natural instincts of shoot first, ask questions later and over the course of the next hour and a half he puts on full display why that isn't necessarily a bad way of approaching things, especially for eager audiences.

A MOST WANTED MAN Review

Anton Corbijn's A Most Wanted Man is one of those movies I can appreciate, but will likely never have the desire to sit through again. Funny enough, you could say the same of his previous film, The American, which was my introduction to the filmmaker. The American was a surprisingly restrained film in almost every aspect of its being-from the images we saw, the music that complimented them and on to the central performance from George Clooney. In many ways it was a break into the studio system for Corbijn while showing the suits he very much had his own way of telling a story. If A Most Wanted Man does anything with this kind of power it actually plays more in tune with what we have grown accustomed to in the genre of spy thrillers while still keeping the pacing at a slow boil and the action to a minimum. There is absolutely nothing wrong with this of course, especially when you have the source material of John le Carré (Tinker Tailor Soldier Spy) to work with and as well pedigreed a cast as is on display here. By virtue of its cast and credentials alone this would strike most as an interesting film, but as a mature audience you come to actually appreciate the film for the line of thinking it promotes. It is a slow, methodical film that deals as much in the details of its plot as it represents the perceived perception of man in his many different incarnations. This theme, while heavily influenced by the title, is demonstrated in Corbijn's film by how individuals may be portrayed in certain circles as perfectly respectable, harmless even yet in others are wanted for possible terror motives. Obviously, the film depicts an extreme case of this nature, but it still conveys the necessary needs to see the bigger picture and describes how recognizing the smaller aspects might compliment said bigger picture rather than going bullet by bullet and crossing them off. It is an intriguing approach and one that makes you consider the nature of absolutes while never painting any of its multiple characters as necessarily bad or evil, but simply as people trying to do a job and come off as successful as possible. It is impossible to facilitate a fair and unbiased opinion in every situation, but A Most Wanted Man's characters strive for this ideal in each of their actions.

Favorite Films of 2014 So Far...

There have been plenty of solid films come out this year already and we are only halfway through it. I say solid, but in no way does that mean many have been exceptional. It's funny really because in terms of quality this has been one of the better summer movie seasons in recent history. From the straight up, brisk nature of Neighbors to the full on-lampooning of sequels in 22 Jump Street this summers comedies have delivered while both Captain America: The Winter Soldier and X-Men: Days of Future Past have proved to be fine diversions in the super hero genre that seem to be breaking away from the formula that has become standard in the Marvel Cinematic Universe (here's lookin' at you, Thor). We've of course had smaller films that I have garnered a good appreciation for including Jon Favreau's return to small-scale movie-making in Chef and Nicolas Cage's return to actual acting in Joe, but the real surprise has been the typical (Godzilla, Edge of Tomorrow) and atypical (The Fault in Our Stars) summer fare that has really made this year a breeze so far. The two major animated releases have both come extremely close to that exceptional mark as The LEGO Movie is downright hilarious and has a unique take on what could have been a giant commercial while How to Train Your Dragon 2 is a beautifully realized continuation of Hiccup and Toothless' story that deserves to be seen on the big screen. I rather enjoyed Noah as well and look forward to re-visiting that film when it hits home video much in the way I enjoyed Snowpiercer which I saw and reviewed yesterday and you can read about here. Don't get me wrong there have still been plenty of mediocre to less than stellar films this year both in mainstream and arthouse releases (Pompeii and Under the Skin could crawl away and die for all I care), but the following five films are what struck me as either fascinating, substantial or flat-out awesome as I left the theater. Hit the jump to check out my top 5 of 2014 so far...

THE FAULT IN OUR STARS Review

What makes The Fault in Our Stars such a massive yet precise story is that in its universal themes we find the story of young love. You can call young love universal as everyone's lives have no doubt been touched with some slight experience of it. To couple that young love with the less innocent, more universally crushing realities of knowing someone who suffers from the malady we call cancer make it all the more affecting. The Fault in Our Stars, a film based on a young adult novel that features a different kind of lead female heroine is not so much a story intent on making you cry, but at the very least intent on making you realize. As written by John Green we experience the trials and tribulations of being a teenager with cancer through the eyes of Hazel Grace Lancaster. Hazel Grace, as she is so lovingly and consistently referred to by the great star-crossed love of her life, is a highly articulate and intelligent young woman whose diagnosis (because to say battle or fight would be to label the situation as something it so clearly isn't in the way we typically think of those terms) has allowed her serious perspective for her age. For Hazel everything is about perspective and everything that consumes her life is a measure of leaving as little hurt as possible behind when, not if, she dies. This selflessness is admirable and we understand her reasoning despite the fact our natural tendencies are to make sure we leave some kind of legacy, but it is this string of thought, and this need to feel substantial that comes to form the backbone of the relationship that develops between Hazel and Augustus Waters. As a film, this story is still able to exist solely within the view of Hazel and how she appropriately approaches her world. As she tells her story there is never a sense of pretension or ingenuity that would strike one of expounding these ideas on others solely for the satisfaction of the attention it might receive. Hazel's ideas instead simply relay a story that meant a lot to her as Peter Van Houten and his novel, An Imperial Affliction, did for her. She doesn't need the acknowledgments or the congratulations to know she and her love story are appreciated. It is in the power that has come in the form of the real-world reaction to this material that we believe in Hazel Grace and that the tears she causes come from the most sincere of places.