Year in Review: 2018 on Thomas J! (Part 2 of 2)

In Part 2, we finish up the year (July thru December) in movie reviews, my seventh (technically sixth full-year) since first joining WordPress back in 2011. (Click here or just scroll your happy self to the bottom of this post if you missed Part 1!)

The back half of 2018 found Thomas J putting up 22 new film reviews, plus two more 30 for 30 pieces. Fair warning, this is a MUCH longer post than Part 1 (10 posts total). I probably should have taken into account the two months of NO REVIEWS that I had in the first half, and maybe restructured this whole thing. C’est la vie. Here is what the rest of my 2018 looked like:


July 

I celebrate my seventh year of blogging this month by posting a few thoughts on movies both political and comedic (and in one case, a bit of both). No celebratory post to mark the occasion, though sequels are a hit with me at this point in time apparently, with Sicario 2 and the new Ant-Man installment.

Sicario 2: Day of the Soldado: a sequel that struck me as unnecessary before I actually sat down to watch it. Soldado offers a far more traditional, action-driven film than what Denis Villeneuve supplied in Sicario, a white-knuckle thrill ride that packed a powerful sociopolitical punch. Yet its timeliness what with current border politics, in conjunction with its even more morbid, anything-goes attitude (again, timely) and the return of Josh Brolin and Benecio del Toro made this invitation impossible to decline. A lesser film absolutely, but one with its own unique thrills. I enjoyed it enough to want a third. I don’t say that often when it comes to sequels.

Ant-man and the Wasp: good things come in small packages, and the sequel to 2015’s charmingly diminutive Ant-man is further proof. Timing works in this film’s favor as well, occupying a very special place on the MCU timeline in the wake of the devastation brought on by Infinity War — it still cracks me up that that movie actually made people cry. Yet despite the calculated timing, what makes the sequel refreshing is that, just like the incredible shrinking Pym lab, the drama is very self-contained; there is almost nothing linking this film to the Avengers narrative at-large, with the exception of the constant berating Scott Lang receives from his former mentor and his daughter, Hope Van Dyne (a.k.a. The Wasp). Fun, fast-paced and . . . well, more time with Paul Rudd. Need I say more?

Sorry to Bother You: first of all, was this a dream or did this movie actually happen? Was anybody expecting this movie to be like . . . that? The Oakland, California-set directorial début of Chicago-born rapper and social justice activist Boots Riley epitomized uniqueness. From my review — “Perpetually forward-bounding with gusto and verve, with an intensely likable Lakeith Stanfield leading the charge, Sorry to Bother You is a strange but powerful experience that you really shouldn’t miss out on — even when there is a percent chance greater than fifty you walk away from it feeling something other than purely amused.”

Skyscraper: an amiable action thriller featuring Dwayne “The Rock” Johnson and the perpetually under-rated Neve Campbell that both functions as a throwback to classic action films of the ’90s (Die Hard, anyone?) and gives the former wrestler another platform for demonstrating his not-inconsiderable range. The family dynamic presented in Skyscraper is genuine, likable and creates a surprising amount of tension even as the action bits themselves stretch credulity well past the breaking point. Of the two Dwayne Johnson summer flicks that were on offer this year (Rampage being the other), the glimmering lights of Hong Kong’s impossibly lofty skyline was absolutely the place to be.

August

August is responsible for one of my favorite movies all year, actually a documentary. In stark contrast to that, I also have the misfortune of going against my better judgment and seeing the latest Jason “I act better when shirtless” Statham movie. Sports film coverage also makes a cameo appearance this month with my second (and quite accidentally, final) 30 for 30 review.

Three Identical Strangers: to put it simply, one of the best movies I have seen all year. This outrageous true story about three young boys discovering the true nature of their existence is entertaining, captivating and ultimately disturbing. Where do we draw the line between science and ethics? While there is a great deal of fun and excitement in the first half of the film, the revelations brought to light in the second are stomach-turning to say the least. You just can’t make this stuff up (even if I wish it were made up).

The Meg: yes, I saw this movie. Yes, I’ve seen worse, like Deep Blue Sea. But no, not the kind of ringing endorsement Statham et al were looking for, I can’t imagine.

 

 

Alpha: I really enjoyed this narratively simple but deliciously atmospheric survival film about a young Cro Magnon (Kodi Smit-McPhee) befriending a wolf (a Czech wolf dog named Chuck — I am actually not kidding) after he becomes separated from his tribe and father/tribal leader Tau (Game of Thrones‘ Jóhannes Haukur Jóhannesson). The story isn’t very inventive but the filmmakers’ decision to create an entirely new language (comprised of roughly 1,500 words) really helped sell the authenticity of the period. Heartwarming without being overly sentimental.

30 for 30: Mike and the Mad Dog: a bonafide classic, especially for the New York sports fan. Details the relationship between oversized egos/sports jockeys Mike Francesa and Chris ‘Mad Dog’ Russo and their many (many!) ups and downs across a wild 19 years at WFAN 101.9 FM.

 

 

September

Things start to get kind of exciting (unless you are a Tennessee football fan). A new Spike Lee joint that had been sprayed with critical praise during its festival run finally opens to the public (granted back in August, but I wouldn’t get a review up until weeks later), while word-of-mouth about an unusual thriller about a father’s desperate search for his missing daughter starts to really pick up. (And now I see that that movie was also released the month prior. Damn it, I really have been playing catch-up this entire year!)

Searching: I could not — still cannot — believe how tense and emotional Aneesh Chaganty’s first feature film was. This was an absolutely fantastic conceit that became so much more than a gimmick. The story told of a father (an excellent John Cho) having to go to extreme lengths to track down the whereabouts of his suddenly missing daughter (Michelle La) by delving into her social media accounts in a desperate race-against-time, a seemingly hopeless search for the clues that could make the difference between miracle and tragedy.

BlacKkKlansman: this was one wild ride. Loosely based upon the 2014 memoir of the same name (minus that little ‘k’ that writer/director Spike Lee threw in there), it recounted the experiences of an undercover black police officer in the late 1970s, when he cozied up to a local chapter of the Ku Klux Klan in an effort to bring them down from the inside. Despite the foul regions of humanity it must poke and prod around in, BlacKkKlansman proved to be a mightily entertaining movie. It’s intermittently even beautiful, but more importantly it’s alarmingly relevant.

Operation Finale: a film that passed all too quietly, Chris Weitz’ handsomely mounted and smartly-casted Operation Finale takes audiences on a top secret mission into the Argentinian capital of Buenos Aires, following a group of Israeli spies as they attempt to capture a high-ranking Nazi officer who fled Europe at the end of the war to seemingly escape without consequence. While the broader historical significance of the mission objective cannot be overstated, the drama is at its most compelling when it gets personal, when it explores the emotional rather than political stakes.

White Boy Rick: a drama about a wayward Detroit teen (introducing Richie Merritt) and his equally morally bankrupt father (Matthew McConaughey) getting into the coke-‘n-guns business in the Motor City circa the mid-’80s that just fell flat dramatically and really lacked an empathetic hook. I learned in this movie you can feel bad for a person’s circumstances without actually feeling bad for the individual. Barring a few moments here and there, this turned out to be a disappointingly middling effort from Yann Demange, the director of the sensationally gripping war drama ’71 (2014).

October

Even though I am not the biggest fan of horror, I was still disappointed in my lack of horror viewing this year. Particularly in the month of October. I wasn’t interested one iota in David Gordon Green’s retooled Halloween (“Hi, I’m Michael Myers. I have enormous psychological issues and now I am going to take them out on you!”) so I ostensibly skipped the month’s biggest event. Apostle is a Netflix horror that has picked up favorable reviews yet I still haven’t gotten to it; the revamped Suspiria never even ventured into my area and the only thing scary about the Goosebumps sequel was just how silly/geared-to-children it suddenly appeared. Thus:

A Star is Born: one of the true big hits of the year, a doomed love story that’s already been told three times before! The main attraction here was the excellent chemistry between stars Bradley Cooper and Lady Gaga — the latter proving she can be as captivating a performer without all that ridiculous make-up and wardrobe as she can with it. I fell in love with the performances and the music, and apparently so did the world. For romantics, this movie is a must.

 

First Man: it kills me how contentious a release this became. If you want to live in ignorance that is your prerogative. But we went to the Moon and Damien Chazelle made a pretty jaw-dropping movie about it. I will happily have people disagree with me on that point. More specifically, he made a brilliantly personal film about what it might have felt like to become the first person to have stepped foot on two different worlds. There of course have been more since Neil Armstrong’s historic lunar walk (eleven in fact, four of whom are still living), but Neil was the first. A technical masterclass besides, First Man features one of the year’s most curious and intensely internalized performances from the enigmatic Ryan Gosling. And, as an aside, now that China has successfully planted a lander on the Dark (or much-less-cool-sounding “far”) Side of the Moon, I am sure there are those out there who are going to deny that, too. Go right ahead.

mid90s: an unexpected (not in terms of quality but rather subject matter and style — and yes, okay, a little in terms of quality too!) début for Jonah Hill, the once-pudgy star of such raunchy Judd Apatow-esque (and actual Judd Apatow-produced) comedies Knocked Up, The 40-Year-Old Virgin and SuperbadMid90s creates a fully lived-in environment with its urban setting, natural performances, smartly chosen locations, its street-skating-video aesthetic and eclectic musical choices, simultaneously inspiring whiffs of nostalgia for an era long since passed while never really trying that hard to be about nostalgia. A small but pretty valuable gem.

November 

This month introduces me to some of the year’s best — a small sample size for sure but two films that leave a lasting impression still.

Can You Ever Forgive Me?: Melissa McCarthy at the top of her game, and another potential top-five candidate for this reviewer. My goodness, I loved this movie. The performances are one thing, but the milieu is just perfect. I could smell the leather-bound books in the cute little bookstores dotted around Manhattan, feel the cold harsh of winter breathing down those streets. Smelled the stink of failure (and festering cat poop) within poor old Lee Israel’s dingy apartment. I actually don’t know what it was that prevented me from giving this a perfect score. However, I am not really in the habit of retroactively adjusting my ratings.

Avery: a fun post that found this apparently uninspired writer reviewing a snowstorm FFS. Yellow journalism at its finest.

 

 

 

 

Widows: the new Steve McQueen movie that I had been anticipating for nearly a year, with some trepidation! The British auteur was, until this film, 3/3 in terms of delivering grueling, hard-to-watch dramas about people living in hell-on-earth. Widows, which tells the story about four women having to atone for their husbands’ indiscretions when they rob from the wrong guy, is no slouch either, especially with the twist at the end there, but it isn’t quite as punishing as what has come before. Still, it is a far more robust genre film than you’re likely to get from almost anyone else, packing one hell of a timely message in amongst its gritty action.

The Girl in the Spider’s Web: a far less intriguing but nevertheless worthwhile follow-up to David Fincher’s 2010 hard-hitting The Girl with the Dragon Tattoo, Spider’s Web featured an impressive Claire Foy taking over from Rooney Mara. Heavy on style, much lighter on substance.

 

 

December

And I finish off 2018 strongly with five new reviews. No monthly wrap-up post nor any timely viewings/write-ups of seasonal releases old or new as celebrating the holiday season just, ya know, gets in the way. Again. Even with the best of intentions, I STILL have yet to see classics like It’s a Wonderful Life or Miracle on 34th Street. (I know, I know . . . ) Plus working at a liquor store during the holidays tends to take something out of you.

Assassination Nation: if the popularity of this post was anything to go by, Sam Levinson’s scathing political/social media satire was not exactly the year’s hottest item. I was glad to have been one of the few to have seen it, even if it was tonally uneven and became kinda sanctimonious at the end. Still, you can’t deny the film’s energy and chutzpah. A Salem Witch Trials for our generation, this is one righteously angry film with a lot on its mind.

 

Free Solo: a documentary of great interest to me given I devoted 10+ years to climbing both indoors and outside. I worked at rock climbing gyms for several years, where I made some long-lasting friendships with some great people. Free Solo exposed the world-at-large to one of the great risk-takers in the game, one Alex Honnold. His goal to climb the world-famous El Capitan in Yosemite Valley without a rope was captured by Jimmy Chin and a team of creative minds that, due to the death-defying nature of the undertaking, had to rethink their entire approach to filming it. Honnold’s 3,000-foot free solo is one for the history books.

Beautiful Boy: I was completely and utterly moved by Timothée Chalamet and Steve Carell, and perplexed by the lukewarm reviews the movie overall received. I thought this was a brutally authentic yet sensitive portrayal of drug addiction that had a well-defined emotional component to it that I latched on to right away. I may be in a minority on this one, but I am completely fine with that. “Everything. Everything.”

 

Spider-Man: Into the Spider-Verse: an incredibly eye-popping trip into the pages of the iconic comic books of Stan Lee and Steve Ditko, Into the Spider-Verse just has to be one of the biggest surprises of the year. Into the Spider-Verse has it all: an incredible visual spectacle, a streamlined but hardly contrived narrative with a big heart and a great sense of humor, a villain with a compelling motive, one heartbreaking reveal and an emotive soundtrack. Best of all, the multiverse doesn’t require an intimate knowledge of what is canonical and what isn’t for you to really get inside it. A rare example of a PG-rated film earning a perfect 5 rating from me (for whatever that is worth).

Mock and Roll: okay, so this was a really cool way to cap off 2018 in movies. I was fortunate to have been contacted by Mark Stewart, one of the writers of this underground film from Columbus, Ohio. I haven’t reviewed a truly independent film in some time, so having this experience was a total refresher. It lit a fire under my ass to do some more digging and find more stuff like this. Silliness and hijinks run amok in this one. Stream the film on Amazon Prime, today!

 


Happy New Year everyone! Shall we do another round?

Month in Review: September ’18

To encourage a bit more variety in my blogging posts and to help distance this site from the one of old, I’m installing this monthly post where I summarize the previous month’s activity in a wraparound that will hopefully give people the chance to go back and find stuff they might have missed, as well as keep them apprised of any changes or news that happened that month.

Non-sports fans feel free to skip these first paragraphs. I won’t feel bad if you aren’t all that interested in reading my little rant over the state of Tennessee football in 2018. Actually, I won’t even know. For movie coverage, head below the thin gray line. (See what I did there?)

Jeremy Pruitt — an x-factor, or just another ex? 

Photo credit: the Knoxville News Sentinel (knoxnews.com)

While movies are constantly being released, the college football season is a fleeting thing. And maybe thank the pigskin gods for that because folks, this year’s gonna be a rough one. At least if you call Rocky Top Tennessee home. The Volunteers are, uh . . . well, it’s a rebuilding year as they say. That means in 2018 preparing for more Ls than Ws, especially when you’re rooted in the Southeastern Conference, arguably the toughest place to play in all of football. And this year it also appears to mean, if you’re Jarrett Guarantano anyway, picking up your mouthguard after getting slammed in the gut after every single play.

For those on the outside, and possibly under a rock: In an attempt to move beyond the mess of the Butch Jones mid-season firing (some will say the Butch Jones era), this year we’ve picked up an Imperial Alabama defector in former defensive coordinator Jeremy Pruitt. He’s the fourth guy in the last decade to give this thing a crack. Since the sacking of long-time HC Phillip Fulmer in 2008, we’ve been Lane Kiffen’ed (7-6 overall; 4-4 in-conference in 2009 before his Houdini act at the eleventh hour left us after one season again headcoach-less), then were Derek Dooleyed (15-21 over three historically bad seasons for a Vol coach with a multi-year deal). Then Mr. Jones, who went 84-54 over four seasons, butchered it all in his 2017 and final season, one in which we didn’t come out on top once against our conference opponents. And, unfortunately through five games played thus far, in which we are 2-3 (0-2 in the SEC), right now it’s looking increasingly more like Jeremy Blewit.

If it seems like I am prematurely hitting the panic button, consider that our newly minted Coach was seen kicking a whiteboard on the sideline when things went sideways in the 2018 Great Florida-Tennessee Debacle — the 47-21 final score not all that indicative of the farce that unfolded that day. Consider the leadership role he’s fulfilling and the optics of him flipping his shit in his very first meaningful game, one that also happened to coincide with the 20th anniversary of the 1998 victory over the Gators. This meant that while he was out there going all Terence Fletcher on his players, members of that championship team were bearing witness to it all from either the stands or the sidelines. Consider that, to his former boss Nick Saban, the undisputed master of the modern collegiate game, Pruitt is now officially a part of the Rebel Alliance and must be destroyed. On Saturday, October 20 watch as the Evil Empire of college football, the Alabama Crimson Tide, rolls into town and reminds him of what he’s left behind.

To me, it isn’t that Pruitt needs to prove he’s got this big, winning personality — that would be a nifty plus — he just needs to show he’s capable of being an x-factor. That some of that Alabama Toughness can rub off on us. (Maybe that’s what he was trying to impart there with the white board incident. The board sure held tough.) For all that we have gone through, and are about to go through in this daunting schedule, let us hope he at least has the composure to make some of these nasty SEC clashes interesting. Interesting in a GOOD way. I don’t hold any pretense of him being our Nick Saban, or even a second coming of Phil Fulmer. But is it too much to expect a better end to the season than the quite frankly embarrassing way in which it has opened up? I don’t think it is.


New Posts

New Releases: Searching; BlacKkKlansman; Operation Finale; White Boy Rick


Around the Blogosphere 

First, a side note. How many of you are currently using the new Gutenberg editor WP has just started to roll out? How have you been liking it? I’m a creature of habit and haven’t really experimented with it but the block-style formatting seems pretty convenient.

As to blogging itself — man, there has been a flurry of activity from two of my go-to sites recently, Cinema Axis and Assholes Watching Movies. Both have provided extensive coverage of the 2018 Toronto International Film Festival. There are so many titles that I have just been introduced to I’m honestly kind of intimidated. I can’t even name two titles that I most want to see.

Meanwhile, Ryan has updated us on this month’s batch of horror releases. It’s October, so you know the pickings have to be pretty good. Head on over to his site here and have a look at what’s coming to theaters near you as well as VOD.


Recent (Re-)Viewings 

Rogue One: A Star Wars Story (review here). I was way too harsh on this film when I first saw and reviewed it. The essence of that piece boiled down to me perceiving an “excess of fan service.” I was kinda right, but at the same time wildly swinging for the critical fences. Well aware of its rather simple and generic plot, I am nonetheless finding myself being gradually more persuaded by the Force thanks to regular re-watches of this 2016 spinoff in recent weeks, twice in September alone. Despite my less-than-five-star review, I’ve really come to love a lot about this movie — perhaps more than anything the casting, from Felicity Jones’ Jyn Erso and Mads Mikkelsen as her Imperial scientist father to Alan Tudyk voicing the highly sarcastic droid K-2SO, to Ben Mendelsohn as the slimy Orson Krennic and his ridiculously OTT “FIIIIIIRE!!!!!!” commands. That said, I am still less sold on Forrest Whitaker in the Star Wars universe. That’s right up there with Benecio Del Toro appearing in The Last Jedi. But the spirit of this adventure (and eventual suicide mission) and its significance in the grander scheme has really made a Star Wars fan out of me. About time, eh?

Sunshine — Danny Boyle, 2007.

A fellow blogger might recall reviewing this for my site way back in the day, when I was running a feature called Bite Sized Reviews (rest in digital peace). I told her after reading her take on it that I couldn’t wait to check it out. My Bite Sized Reviews thread has been defunct for over three years. Oops. But better late than never, because this might be at the top of the list when it comes to favorite Danny Boyle movies. 28 Days Later is great, but so the fuck is Sunshine. From the soothing yet terrifying solar flare-steeped visuals to the swelling, gorgeously ambient score — melancholic, but never depressing or too down-beat — to the mind-bending twisty science-fiction stuff at the end, Sunshine is a movie you don’t just watch, you feel it.


Go Big 🍊 !!!

Operation Finale

Release: Wednesday, August 29, 2018

→Theater

Written by: Matthew Orton

Directed by: Chris Weitz

Operation Finale takes audiences on a top secret mission into the Argentinian capital of Buenos Aires, following a group of Israeli spies as they attempt to capture a high-ranking Nazi officer who fled Europe at the end of the war to seemingly escape without consequence. While the broader historical significance of the mission objective cannot be overstated, the drama is at its most compelling when it gets personal, when it explores the emotional rather than political stakes.

In 1960 the whereabouts of SS Lieutenant Colonel Adolph Eichmann, the man responsible for deporting hundreds of thousands of European Jews to ghettos and extermination camps 15 years earlier, had finally been confirmed. Having bounced around the region in the immediate aftermath of the collapse of Nazi Germany, Eichmann eventually obtained the necessary emigration documents and under his new identity “Ricardo Klement” he eked out a quiet existence in South America from 1950 until his arrest a decade later.

This is where we pick up on the trail. We follow closely behind members of the Mossad, the Israeli intelligence agency, as well as those from Shin Bet, the internal security service, as they decide to finally pursue a lead that surfaces in Buenos Aires, fearing a public outcry if they don’t. They are tipped off to a young Jewish refugee named Sylvia Hermann (Haley Lu Richardson) who has become intimately involved with a Klaus Eichmann (Joe Alwyn). Her father becomes suspicious of Klaus’ background and bravely alerts the proper authorities. Shin Bet’s chief interrogator Zvi Aharoni (Michael Aronov) soon confirms the identity of Klaus and his father.

Complications arise in part due to environmental factors, with a rising Nazi sentiment gripping post-war Argentina (represented by Pêpê Rapazote’s intimidating Carlos Fuldner) leaving the team with little support from local government. In fact the film draws most of its tension from the air of secrecy in which business is conducted. There’s also a lot of emotional baggage to check at the door. Even though the war ended more than a decade ago, the knowledge of what Eichmann did is a constant burden, one that threatens to undermine the team’s professional objectivity.

The respectfully told story is bolstered by a strong ensemble that includes the likes of Oscar Isaac, Mélanie Laurent, Sir Ben Kingsley and a refreshingly solemn Nick Kroll. The international cast also includes Lior Raz, Ohad Knoller, Greg Hill, Michael Benjamin Hernandez, Greta Scacchi and Torben Liebrecht. While each is given a juicy supporting role, replete with moments of earnest introspection, the bulk of the film’s psychological and emotional weight accrue to two thespians who are in seriously high performance mode here.

Matthew Orton’s very first screenplay takes a humanistic approach to creating characters on both sides of the equation. On the side of the good guys you have Isaac‘s highly-qualified but just as vulnerable Peter Malkin, whose mind keeps taking him back to what he lost in the Rumbula Forest, where Eichmann personally oversaw the mass shootings that took place there in November and December of 1941. Opposite him sits (often literally) a disturbingly convincing Kingsley as the notorious war criminal. Sure, he physically looks the part, especially in make-up-heavy flashbacks, but it’s when he speaks lucidly on matters related to his past that confesses to the depths of his depravity — his “aw, shucks” reaction to labels like ‘architect of the Final Solution’ being particularly difficult to process.

As we progress through this deliberately paced timeline, one thing becomes increasingly clear about Operation Finale. This isn’t a flashy production, though it certainly looks good from a costuming and, occasionally, cinematographic perspective. While its lack of action punch may be a sticking point for viewers seeking a more immediately gratifying thriller, and the climactic chase sequence at the end threatens Hollywood cliché — that which the film thus far has done an impressive job of avoiding — there’s no denying the film carries the weight of history responsibly and gracefully.

Recommendation: A product of emotive power, Operation Finale adds further proof of the talents of Oscar Isaac and Ben Kingsley. Equal parts heartbreaking and inspiring, this is historical drama done right. It feels organic, earnest. Quietly profound. 

Rated: PG-13

Running Time: 122 mins.

Quoted: “My job was simple: Save the country I loved from being destroyed. Is your job any different?”

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Photo credits: http://www.impawards.com; http://www.imdb.com