Mequias Reviews

Everyone Says I Love You (1996)

Uninteresting and unengaging.

[3/10 · 12 March 2024]

I love musicals, such as "My Fair Lady", "The Blues Brothers, and "Mary Poppins" but found "Everyone says I love You" to be boring, expository and devoid of comedy. I suppose the draw for this film may be the elaborate dance numbers, because, as a viewer, I felt suddenly thrown into a convoluted and overly mundane set of characters whose situations come off as implausible. This, despite the inclusion of Manhattan's prodigal son, Edward Norton, and an entire cast of recognizable and talented souls. The characters felt superficial and the plot unengaging.

I'm amazed at how this movie is able to retain modest reviews, and disappointed at what seems to be the critics pandering to Woody Allen and the industry. It wouldn't be the first time that consequences occur for not falling in line with Hollywood. I am now, thankfully, removed from that tedious and requiring environment, and in the interests of transparency and honesty, declare this production lame and avoidable.

Mission: Impossible (1996)

An industry defining mystery.

[10/10 · 24 February 2024]

"Mission Impossible" is a flawless masterpiece in many ways. The audio is immaculate, with mostly clear dialogue, the cinematography is spectacular... but what really sets this movie apart from other action thrillers is the script. "Mission Impossible" is the living definition of a mystery movie; misleading the crowd and dropping hints to the viewer, "Mission Impossible" demands that its audience pay attention, while making it effortless to do so. A true classic and a testament to what Hollywood can achieve when it wants to produce valuable drama and intriguing storytelling.

"Mission Impossible" is important because it literally defines how to create a proper Spy Thriller. The audience must be given clues, options to consider, be lead astray by red herrings, and, in conclusion, have the drama be resolved clearly and concisely. Unfortunately, most production companies refuse to allow writers and directors this vast amount of detail and leeway in their creations; a tragic drawback to an industry obsessed with monetary gain at all costs, with little to no soul or need to offer human understanding. We, as the consumer, must demand it.

Asteroid City (2023)

Anderson at his best.

[9/10 · 24 February 2024]

With Asteroid City, Wes Anderson perfects his style: the careful detail, wonderful cinematics, striking color palette, and flawless scenic moments are all hallmarks of a master cinematographer. Perfection does exist in cinema, and Anderson has the meticulous nature required to incarnate it.

As usual, Anderson's excellent script is a great tool to measure a person's intuition and common sense. If you are able to pick up on what the script is hinting at before Anderson makes it clear a few seconds later, then you are a capable social animal. Otherwise, you are probably a dweeb (a socially inept person). As such, most Anderson movies prove to be an excellent litmus test for young ladies to run on prospective boyfriends, especially if they can pause the film and ask the boy for an explanation. This intuition in writing is partly what drives feminine interest in Wes Anderson productions, and is a facet of script writing that far too underused. Requires you to read between the lines.

Very entertaining in a distinctive sort of way, Was Anderson captures the eccentricities of individuals and employs them. What you see occur between the actor and the writer at the latter's home is not exactly what you think, but rather symbolism for the cooperation between playwright and performer. Furthermore, Anderson's characters are straightforward and expository in a charming fashion. He enjoys capturing the enchanting hesitation between the sexes. The singular moment when a young girl smiles at Steenbeck's son, and he responds by getting embarrassed and pretending not to notice, is simply golden. True to life and meaningful in its presentation of mankind, Anderson enriches his universe and allows us to ponder and relish who we are as human beings. "You can't wake up if you don't fall asleep": If you don't experience life and its issues, then you won't really live. So go ahead and give it a go. Let life affect you.

John Wick: Chapter 3 - Parabellum (2019)

A decent but flagging entry into a now Legacy IP.

[8/10 · 24 February 2024]

The Wick universe is one of pain and suffering, where death lurks in every corner. Children are trained late into the night, regardless of their suffering or boundaries. Cities are cement jungles, and everyone must perpetually fight to survive. The brutal world which Derek Kolstad has written is an excellent analogy of our contemporary society: ours has become a sacrificial existence in cutthroat industries which exact ever increasing skill and determination at the cost of our souls. In this reality, you either get the upper hand or you fail and die. Professionals such as ballerinas, actors, executives and even waiters are acutely aware of this unrelenting pressure, and it's true to life.

Perfection does exist in cinema, and numerous Hollywood titles reach this accolade: The first Avatar movie, Ridley Scott's "Alien", "The Fifth Element" and "E. T. the Extraterrestrial" are a few examples. Unfortunately, "John Wick: Chapter 3" fails to deliver the concise and intriguing dialogue of its predecessors, but largely excels in every other detail, making this the third entry in an action movie industry leader well worth watching.

You Don't Mess with the Zohan (2008)

Wonderfully funny and Sandler at his best.

[8/10 · 24 February 2024]

In a time when America could still poke fun at itself (yes, we ARE Israeli; we ARE Muslim; we are different races and sexes and creeds, and we CAN have a laugh about it, because we are mature), Sandler and company created a dazzling modern mythology about a talented man who wants a normal life; and let me tell you: in Manhattan, we all eat Baba Ganoush (made from eggplants) and we dip absolutely everything in Hummus (made from chickpeas) despite most of us not being Arabic. What's more, the criticism our protagonist suffers at the hands of his loved ones (for speaking up about his whole hearted yet ordinary interests) is a clear and global example of a very human issue (even down to his father's criticism; a term that is now considered bigoted and banned). As such, "You don't mess with the Zohan" is able to address very real and present concerns that affect every single one of us.

The pain and suffering people feel when they ignore their truth is clearly presented in the protagonist, and in cartoonish fashion. Sandler approaches this issue by making light of it, allowing us to consider our reality while having a good laugh at it. The exaggeration of Zohan's abilities is a representation of the lengths we go to for validation in society; we, especially men, will do ABSOLUTELY ANYTHING in order to be loved, appreciated, and successful. The proof is in the "I feel no pain" routine presented in the film: we are not allowed to yield; not even to our senses. Zohan excels at a job he despises, sacrificing his true calling for the well being of his nation and family. But we can only subjugate ourselves for so long before something gives. In "American Psycho", we clearly see the lengths a man will go to in order to keep the myth alive. Zohan refuses to fall into depravity, and as such, forfeits his life to go on an adventure of self discovery and reconciliation.

Back in my twenties, I scoffed at all of Sandler's work. Having come from a demanding, uptight family, I perceived his films as silly and immature; beneath me. How fitting then, for me to discover, years later, that all this time he's been trying to say something. Adam Sandler often exposes who we are in the face of our issues. In everything from "Happy Gilmore" to "Anger Management" he tries to enlighten us as best he can. Adam Sandler has become my hero; his effort to not only entertain but also connect with his audience is admirable, giving his films a truly American vibe, as well as a wholesome purpose to them.

Big (1988)

A wonderful creative adventure.

[9/10 · 24 February 2024]

A testament to simple and straightforward filmmaking, the true magic of "Big" is in Tom Hank's vivid portrayal of a minor lost in the adult world; everything from a night alone in a hotel, to how he sits in an office swivel chair, the effort Hanks puts into his creation continues to be a shining example of what acting really is. Director Penny Marshall truly put her heart into this production, while writers Gary Ross and Anne Spielberg kept the story unpretentious; to the massive benefit of the film.

Further enriching this cinematic experience is all the pomp and circumstance of 80's upper / middle class Manhattan. What "Big" sheds in plot and script, it more than makes up for in how it cherishes people and setting. This movie is replete with wonderful characterization and attention to detail. It betrays the self-absorbed businessman in favor of the daring, wide-eyed creativity of youth; an aspect that exists in all of us. By the end of the movie, you might even ask yourself, "Who is more immature? The twelve-year-old or the forty-year-old?" If we all perceived the child in each other, we might make the world a better place.

The unrelenting need for validation, the ease with which one takes offense, and the laze and abuse of power that exists in modern man must be stopped. "Big" presents you with the option to enjoy life, and by doing so, witness just how far you can go when you decide to let go.

The Last Airbender (2010)

This beloved title needs to be respected.

[4/10 · 5 February 2024]

Despite a fine cast, decent choreography, and acceptable special effects, "The Last Airbender" suffers from pacing and order issues that render it unable to capture the spirit of the hearty cartoon series it calls its source material. Storytelling in this film is extremely fragmented and piecemeal, divorcing the viewer from a coherent experience. By attempting to summarize a vast amount of narrative, the production sabotages itself; jeopardizing what could have been a compelling plot and preventing any possible sequels from taking shape. Exposition is the death of performance, and "The Last Airbender" spends most of its time explaining rather than exploring. More than a decade later, Zack Snyder would make these exact same mistakes in his movie "Rebel Moon". The result is the same: a hollow production that is uncompelling, frustrating and bereft of experience. The Last Airbender's dialogue is horribly unnatural and a lack of diversity casting fails to respect the ethnicities of the original characters.

The story of the last Airbender is one of friendship in the face of peril, determination under adversity, and tolerance and cooperation among creeds. Like so many beloved titles before it, "Avatar: The Last Airbender" is a tale that demands to be respected. The upcoming Netflix 2024 revival must aptly pay homage in script, dialogue and plot, or suffer consequences that Hollywood is all too familiar with: a poor box office and the backlash of an offended fandom. Sadly, we have learned to expect very little from the corrupt and greedy monstrosity that is today's entertainment industry. You can probably bet that this live remake will be political.

Alien (1979)

Flawless cinematography and the standard in Horror.

[10/10 · 27 January 2024]

"Alien" is one of the few shining pinnacles of not only perfect but industry defining cinema. Regarded as one of the top three greatest horror movies of all time, it's a definite contender for first place. "Alien" is exceptional for many reasons, but some notable aspects include an incredible visual landscape that truly gives a sense of atmosphere to the plot; a patient and careful pace thru which attention to detail and a true love of the characters evolves, and, most importantly, a flawless script in which every word is carefully chosen. Plot and subplots are developed and each member of the cast is fleshed out. "Alien" sets many standards; not only in moviemaking as a whole, but also in the Horror genre. This film surprises, deceives, concerns and overwhelms.

It's hard to find issue with any aspect of "Alien" but one shortcoming is the lack of a proper soundtrack. The monster effects are somewhat dated, but can still stand their ground. When a director truly loves his craft, and his producers are smart enough not to interfere, he will attend to every single aspect of a production. When I say that "Alien" is a perfect movie, I truly mean it: perfection in cinema is defined by an experience of effortless acting, correct dialogue, flawless cinematography and next to no errors in plot and film. Many examples of this perfection exist, and its sad to see the industry half-bake most of its creations. As an example, the sequel to this movie is an immediate and very apparent drop in quality, but is still miles ahead of anything being filmed today. "Alien" is a movie worthy of purchase and repeated viewing, and an example of the wonderful art mankind can achieve.

Foundation (2021– )

Foundation belongs to Asimov, not to politics or greed.

[2/10 · 10 December 2023]

Like so many contemporary productions of our time, "Foundation" is not Art; its Politics. The agenda in this television series falls in line with all the others: Display complete hatred and disdain for White men, portray them in a foul, unforgiving light, and make them suffer for the masses, all while unevenly misrepresenting minorities, and presenting women as the key to everything. Creating a show of this magnitude in current day and age is no small feat; all the more reason why David S. Goyer and Josh Friedman have completely squandered the opportunity to express respect to Isaac Asimov (an incredibly accomplished science fiction author, and the world's most prolific writer) or do his wonderful cosmic creation and timely lessons justice.

At first glance, any average consumer or science fiction fan would jump at the chance to watch this adaptation: incredible graphics, excellent audio and cinematography, professional actors, Goyer's writing (he's a well known professional in Hollywood), and the Asimov name should coalesce into a distinct work of art. Sadly, enter the modern day producer: with a complete lack of sense, consideration to the source material, and an overwhelming need to milk existing intellectual property for every cent it can offer! To say that this series is "loosely based" on Asimov is to spit in his face; this bastardization blemishes every single aspect of Asimov's work. Goyer and Friedman, in their arrogance, believe themselves up to the task of rewriting a three time Hugo and Nebula award winner, when, in reality, they should feel dwarfed by his insight and imagination.

"Foundation" is the culmination of greed, pretense and apathy at Apple+. They follow the perfect schedule of pretending to be interested in racial equality, making absolutely no innovation or effort, and making a recognizable and respected work of art into a cash grab with a political inclination. This series has been specifically tailored to draw dollars out of your pockets and nothing else. As such, its not art; its garbage. Help the entire planet overcome the unjust wealth, irresponsibility and arrogance of Hollywood: don't purchase Apple+.

No Hard Feelings (2023)

A horrible waste of a film that could have carried great meaning.

[3/10 · 1 December 2023]

There is no greater or timelier subject than proper communication between human beings. So many meaningful relationships could arise; so many world issues could be resolved; so many wonders could be achieved, if only mankind would be honest, listen and consider. It's a tragedy, then, that "No Hard Feelings" suffers from a lack of common sense and opts to avoid a plot centered around more realistic interactions. This movie could have delivered a deeper understanding of the conflicts between young men and women, a very real problem in our day and age. Instead, the often nominated Gene Stupnitsky, chooses to try and be funny thru unnecessarily complex and often unintuitive "comedy" which largely fails throughout the film.

We all have experience in coming across incorrectly or incoherently, especially to a romantic interest. We all understand the depth and importance of social interaction and the human sexual and emotional needs we carry. Stupnitsky does the entire industry and even the entire World a disservice by ignoring that aching need in all of mankind. His film is flat, incoherent, thoughtless and a cash grab. The lead and wonderful cast are callously wasted in a film that could have addressed real conflict between young people. "No Hard Feelings" should have been a love letter to our next generation, and a guiding light to them, but instead fails to leave the pathetic comedic impression it intends to achieve. This movie is a horrible waste of time, money and effort and we must stand up and make that clear to developers. Expect more from film and television, and make your corner of the Earth a better place.

As Good as It Gets (1997)

The message and Nicholson's performance....

[7/10 · 25 November 2023]

As Good As It Gets 1997 John Bailey's frenetic and bland cinematography coupled with Mark Andrus's terrible supporting character dialogue make this title an uncomfortable and frustrating watch for those of us who understand the intricacies of the industry. Many aspects of the plot are confusing or downright out of place. The prowess of a brilliant cast goes almost completely untapped due to horrible editing and a lack of proper director vision. This host of issues plague "As Good As It Gets", making it a poor technical creation.

Despite all these setbacks, the wonderful message of this film, coupled with Jack Nicholson's incredibly honest performance elevate "As Good As It Gets" to overwhelming viewer praise and resounding accolade, with a whopping thirty-four awards and countless nominations. If you have a keen eye and are a stickler for proper production and performance, this title is a minefield. Otherwise, if you are oblivious or can ignore the issues stated above, this movie carries a wonderful and heartfelt example of how mankind can overcome and grow, no matter how far along it is, its place or its time.

Mission: Impossible - Dead Reckoning Part One (2023)

Metaphoric with an important message.

[9/10 · 15 November 2023]

With Dead Reckoning: Part One, Mission Impossible returns to the visual style of its original 1996 remake. This movie's compelling and timely plot and well written script have become extremely rare qualities in film in this age of industry desperation, abuse, greed and partisan political rhetoric. Dead Reckoning: Part One accurately portrays the noble qualities of humanity in juxtaposition with its selfish chaos while simultaneously presenting the very real and rising threat to our entire race in the form of an extremely advanced and, perhaps, unbeatable opponent: Artificial Intelligence.

Lorne Balfe, whose Hollywood credits are endless, delivers a stunning musical score. Perfection does exist in cinema, and many Hollywood titles achieve it. Dead Reckoning comes strikingly close, with clear and concise dialogue, Hollywood's greatest acting talents, and exceptional cinematography from Fraser Taggart. Direction here is astute and timely; moving the plot along briskly and keeping the viewer engaged and concerned. Some pacing mistakes are made as well as hiccups in believability and realism. Overall, Dead Reckoning: Part One continues the tradition of premiere spy thriller excellence in the Mission Impossible franchise.

The little known truth about the Universe, is that its qualities are that of generosity and patience. Our planet has always nurtured life, offering a boundless wealth of sustenance and nutrition. As children of Earth, mankind's nature is also one of giving and forgiving; a fact that so many millions (especially those in power) refuse to acknowledge; deciding to, instead, consume, destroy and exploit for personal gain. How appropriate, then, for this movie to have failed at the box office, despite its incredibly important message and moving performances. Selfishness is truly the root of all evil, and an uncaring, cold and calculating A. I. makes for the perfect villain, as well as a clearly impossible mission.

John Wick: Chapter 2 (2017)

Almost perfect Hollywood. Almost.

[9/10 · 10 October 2023]

The second installment of the John Wick franchise doubles down on its rich universe of danger and intrigue. It further continues the use of its predecessor's carefully placed dialogue, allowing the unspoken to echo in the mind of the attentive viewer. John Wick follows in the footsteps of the Epics of Homer, presenting an endless cast of capable characters, each posing a threat while eventually meeting their fates. Throw in excellent lighting, crystal clear audio, an incredible score and pristine cinematography, and you have what is ALMOST a completely flawless action thriller.

It's very rare to see a sequel outperform its source material, especially in an industry full of idiocy, arrogance, laze and greed. With this installment, Chad Stahelski and Derek Kolstad raise the stakes, unleashing a world of deadly predators on its audience, as well as an entire globe where no corner is safe. "John Wick: Chapter 2" however, falls just shy of a perfect scoring, and I will detail the single reason for this ruling in the next paragraph....

---- WARNING: I have been trained by Manhattan's industry leaders in Stage Combat (professionals that work on Broadway and in Hollywood) and I'm about to reveal the one flaw in the "John Wick" franchise. If you do not want this and future Wick movies ruined, please stop reading here. ----

Despite high praise for its choreographed fighting sequences, the rare, conscious observer will notice counterfeit action at play here: "John Wick 2" shamelessly employs rudimentary fight sequences, in which 1) Excess enemies wait to give Wick one on one melee 2) Shooters close the distance to allow Wick to disarm them or physically engage them 3) Enemies with close range weapons will purposely overreach their target, completely whiffing their attacks. 4) Combatants refuse to employ complete use of their bodies, ignoring the fact that they have two hands, two arms, two legs, and a sense of self preservation. In conclusion, full use of opportunity is never given to Wick's rivals.

Each of the above concerns has more than one industry solution, and production saw unfit to employ any of them: This issue of excess enemies can be solved by slowing the engagement slightly, allowing the actor time to coordinate more blocks and strikes, and then speeding up replay. Distant shooters are handled by a more agile and dexterous scene, with pronounced use of cover and props. Overreach in melee is simply a matter of having Wick walk away from or towards an engager, instead of having his rival miss the mark, and finally: richer, more detailed fight sequences are not difficult to resolve, only requiring more thought and consideration. Countless martial arts schools are overlooked in the creation of this film, and the cast could have benefitted from the guidance of a master in Jiu-Jitsu, just to offer one example. Despite the above, "John Wick: Chapter 2" is a shining example of excellence in the action film industry, and deserves your time and patronage.

The Fifth Element (1997)

France's greatest Sci-Fi creation.

[10/10 · 18 September 2023]

France's most expensive and highest grossing film for a whopping fifteen years, this masterpiece by Luc Besson gained its fame and fortune mostly off the back of poking fun at itself. This movie has a wonderful, to-the-point script, with an excellent pace and adorable, lively characters. It's ability to create setting thru stunning sets, props and amazing wardrobe is only surpassed by its charming wit and playful attitude. Such a pity, then, for Besson to have not learnt his lesson: when everything mattered most, (at the inception of Valerian and the City of a Thousand Planets) he chose a wordy, toothless script, a pompous, show-off screenplay, and no sense of levity in the film whatsoever. His choice to try and intrigue visually without employing meaning or depth, cost him his entire fortune and his future as a producer (remember that even Avatar had an engaging plot and a unique mythology).

This Sci-Fi Opera Comedy (a genre created by the late and wonderful Douglas Adams) was heavily criticized by radical feminists for flat and sexist portrayals of women, despite the protagonist being THE prototype flawless female, "key to everything" that is so prevalent in today's political and social rhetoric. "The Fifth Element" transcends typical dramas by juggling spectacle, humor and heartfelt emotion, and thru its morale: men and women need each other, we can support one another, and by presenting the incredible value of being loved.

The Wheel of Time (2021– )

Not an adaption, but rather a bastardization.

[2/10 · 8 September 2023]

As "Star Trek: Picard" would put it, the "sheer f.....g hubris" of a table of screenwriters is immediately apparent in Season two of "The Wheel of Time". How can a handful of upstart, unexperienced, Woke activists have the guile or the audacity to think themselves better than A HUGO AWARD winning Science fiction author in Robert Jordan? Well, to the detriment of all of humanity, they did; and thus was launched "The Wheel of Time", a contemporary television series that serves as vehicle for an inhuman political ideology and a desperate cash-grab; both of which are typical of this generation of Hollywood.

This production undermines every single plot choice, every character nuance, and every world building consideration that the late Robert Jordan weaved into his writings. Furthermore, the cast and access media are willing to shill for this ghastly lack of respect to the source material; going as far as claiming that its an improvement on the original books; an absolutely ridiculous claim that is so far fetched, its akin to saying that a dog could paint a mural better than Michelangelo... and NO, I'm not talking about the Ninja Turtle....

I've seen the physical pain that is show inflicts on friends and family around me. It's hard to see something you love be disdained, abused, dissected and exploited, with absolutely no care given. The Wheel of Time is a legacy narrative! There are people who see Robert Jordan's writings as pivotal in their lives; whether it be inspiration, relaxation, or higher meaning. This production delivers no such depth, and is a spiteful bastardization of what Jordan wanted to transmit to his audience. As such, I ask you to not support this series, and to expect more from Hollywood, and require more from your dollar.

Sneakers (1992)

A wonderful fun flick. A must watch.

[9/10 · 29 August 2023]

A charming cast, an interesting premise, and a well written script come together to create an exciting and engaging film. No violent conflict, no super powers and no far-fetched themes are needed in this down-to-earth, plausible story of friendship and gumption. "Sneakers" is a tale of intimacy: it's about the heights we can achieve when we work together as well as the consequences if we obsess over attention. Being intimate involves revealing secrets, often against our will as well as often going out of our way for each other.

"Sneakers" is a testament to the incredible character construction Hollywood is capable of. Each personality in this film shines, giving the entire movie a reassuring, holiday, family vibe; one of peace and security. As Ben Kingsley put it, "It's the relationships in the film that give it the humanity". Pay close attention to the roaming eye of cinematographer John Lindley, and sit back and enjoy the relaxing vibes of the late composer, James Horner. This movie is an obscure classic.

Judge Dredd (1995)

A poorly considered title that could have faired better.

[9/10 · 27 August 2023]

2012's "Dredd" lacks the creativity and depth required to create a compelling villain or antagonist. This same flaw interferes with proper world-building. That, coupled with the "shot in home video" feel of the cinematography in this movie, leaves "Dredd" unable to deliver a true science fiction, action thriller. The result is a rather mundane, and basic modern day crime drama; one that a "made for television" crew would have better delivered. Narrow corridors are the cheapest to film, and if I didn't know better, I'd say this movie was made with little care for quality.

More importantly, the pace of this film fails to keep its viewers' attention; an issue whose roots lie in the lack of a compelling story and a poorly prepared plot. The magic behind the Dredd universe is chiefly its protagonist and his "Batman-esc" gadgets. The technology of Dredd's era needs to be showcased against a foe with similarly matching power. Sadly, this production failed to consider letting "Slo-Mo" give its users superhuman reaction times. Without endearing, life threatening, or peculiar henchmen, this movie devolves into a lazy popcorn flick. In conclusion, "Dredd" is a lesson in the value of meaning in film: a production must offer the viewer a cathartic experience, or suffer the consequences at the box office.

Suicide Squad (2016)

Not much.

[5/10 · 24 July 2023]

Despite its incredible cast and an intriguing premise (of putting superhuman villains to work for a greater good), "Suicide Squad" fails to spark interest in characters we do not know against a bland and meaningless foe all while failing to properly navigate character arch and development. The result is a poorly plotted and uninspired popcorn flick best watched high or while making out.

I wish that quality and effort in Hollywood would guarantee results, but they don't; and many a lousy production walks away making massive profits. Until consumers have a stronger say and develop taste and personality in their selected product, this will not change for the better.

Oblivion (I) (2013)

You are part of the problem.

[7/10 · 24 July 2023]

Primarily a tale of disinformation, "Oblivion" tackles myriad issues that are relevant to our time: Do you know who you are? Who do you trust to inform you? What is true intimacy? And will Artificial Intelligence rule over mankind? To be frank, the true great villain in "Oblivion" is the human race itself: We are enslaving our own people, destroying our own planet and exterminating each other. But, to be even more precise, the true villains are the people in wealth and power (as portrayed here by sentient artificial intelligence). The millionaires and politicians are the ones who pay to keep us in the dark and on our hamster wheels, feeding them resources at the cost of all life on the surface of the Earth. In our reality, just like in the movie, mankind is engaged in repetitive tasks, staying alive and oblivious to its truth; living in superficial relationships with no real love and allowing the planet to be consumed. As such, you and I ARE the protagonist in this movie: A puppet on strings, fighting against itself and serving an evil, selfish and vampiric power that is corrupting the planet. We are living in the clouds and need to touch grass.

To get the plastic point across, Director Joseph Kosinski employs wonderful vistas of our planet. The photography and prop design in this movie is truly something special (thank you, Claudio Miranda). The color palette also gets the plot across by driving in the difference between conscious and unconscious, earthly and artificial thru black, brown and green versus cream and grey. Thru an exaggerated script, (one which can be frustrating, especially during the first minutes of the film), we see that the ideal life our repairman leads is both luxurious and supposedly meaningful... but something is afoot; it doesn't feel natural! Our protagonist has been fed false information, the same way we are told whatever suits the agenda of today's media outlets. We notice in the movie that those who cannot accept the truth, refuse to engage with the planet; they live in the sky and are not "down to Earth". These people exist in real life, and can usually be found in wealthy circles who are far removed from any struggle, conflict or life difficulty. Because of this, they perceive others as inhuman or below them, when the truth is the exact opposite.

In conclusion, whether it was Joseph Kosinski's intention or not, "Oblivion" asks you to wake up and realize: You are overseeing the destruction of your human soul and are participating in the looting of planet Earth. But what do you do now? The film offers no other solution to this issue of the machine, other than to join a Jihad and bomb the system to kingdom come. As such, "Oblivion" may strike some users into consideration, but mostly passes off as a good time and is quickly forgotten in a sea of other consumables.

Tomorrowland (2015)

Disney filmmaking at its best.

[10/10 · 4 July 2023]

Hilarious, exhilarating and action packed, "Tomorrowland" is your quintessential sci-fi box office bomb. The movie failed to make a profit, but, like so many titles before it, this film presents the beauty of cinematography and the imagination of mankind at its best. This movie has all the trappings of a peak Disney family feature; a time when that company promoted friendship, faith and good will to all men. As such,"Tomorrowland" embodies the hope, excitement and wonder that so many of us feel during childhood. More importantly, it speaks of true love: that, despite our constant arguing, differences and conflict, our friends and family still care, no matter what. Finally, "Tomorrowland" teaches us that we need to let go of, not only our doubts, anger and resentment, but also let go of our emotional dependence on others. That way we can all move forward into the future.

This movie has me smiling wide-eyed and honestly crying at its uplifting message and excellent pace. It has me glued to my monitor in a trance that almost no current Hollywood production can do any longer. Brad Bird and Damon Lindelof: I received your wonderful message and it lives and breathes in my heart. As for you, reader: go with the understanding that, if you keep faith, that the future will choose you. The good people of the world unite to create it.

John Wick (2014)

Excellent action sequences with proper writing.

[8/10 · 26 May 2023]

In what is now a legacy intellectual property, thanks to breathtaking and premiere fighting sequences, "John Wick" is the first installment in a series of action movies revolving around a retired hitman done wrong. Believe it or not, a lot of thought has gone into the construction of this tale of atonement; everything from setting up value, leaving key details ambiguous, and a very astute script; one which absolutely adds weight to the esteem of the titular character. "John Wick" is not your average shoot-em-up, and it's no surprise that the series has continued success.

Direction of "John Wick" has wisely been kept in the capable hands of Chad Stahelski, and its future may very well hinge on it. Producers sticking their crooked noses into development of Hollywood material is nothing new, but in the case of this series, Basil Iwanyk and his peers either know better or do so discretely. Derek Kolstad was already a successful screenwriter before this film, and his talent is notable. In the script: when a policeman comes knocking on Wick's door and notices commotion, your typical, horrible, Hollywood screenwriter would have had the man get involved immediately. A decent writer, instead, would have had the officer simply offer help. Kolstad goes beyond any typical thinking and has the policeman recognize Wick and immediately bow out! The absolute brilliance of this take cannot be understated, as writing this simple moment cements in the viewer the depth of respect Wick has achieved in his profession. Similarly, when Aurelio, at the car shop, notices something is wrong, he doesn't reveal the details of the issue to Iosef Tarasov; any average writer would be itching to splurge all the minutiae to the audience immediately. Kolstad, instead, withholds information, enriching his characters and deepening the value of the screenplay.

A host of colorful characters, sudden twists and turns in the story and all the trappings of flawless Hollywood combine to make "John Wick" an American action classic.

Talladega Nights: The Ballad of Ricky Bobby (2006)

A wonderful and humorous romp that you can revisit.

[7/10 · 26 May 2023]

At what was the height of his career (despite him doing better after), Will Ferrell perfected his patented take on the legendary Saturday night live format: humor based on sketch comedy. Every moment is golden in this movie, able to keep viewers glued to their seats wondering what crazy antic will happen next. Despite its tongue-in-cheek, there is true American pride in this film. It even contains undeniable evidence of the American spirit in the form of a cast with Southern accents. The identity it portrays is still rather accurate, and that's okay, because we are human with flaws and faults and a lot of beauty. The dad jokes, slapstick, farce and wordplay by themselves engender a smirk or two, but together result in a freight train of fun that makes "Talladega Nights: the Ballad of Ricky Bobby" a worthy evening's entertainment, and one you can easily return to with close friends.

E.T. (1982)

Flawless Hollywood.

[10/10 · 21 May 2023]

The ancient Greeks created drama to heal the soul, especially that of soldiers returning from war who had trouble reintegrating into society. The purpose of drama, then, is to cure our spiritual wounds; to enlighten and relieve the viewer of his burden. A beloved tale that has been received as one of the greatest films of all time, "E. T. the Extraterrestrial" is a movie with true heart. Steven Spielberg's classic is wonderfully shot, perfectly plotted, and includes his legendary timing, which he turned into a storytelling science. "E. T." carries true depth in its screenplay, as it presents the value of childhood traits that we often lose as we mature. Please see the movie before reading this review, as I will endeavor to explain its meaning.

"E. T." is a clear reminder that miracles happen to those who reserve judgement in exchange for a lack of bias. A portrayal of the quality of innocence, it would absolutely take the love and imagination of a child to be able to befriend a stranded extraterrestrial; a feat that any normal adult would never achieve, as they are usually engrossed in their massive egos and the minutiae of their status in society. This movie is about relating to someone incredibly different, and John Williams' legendary touch calms the mind and the pace of what would otherwise be a horror flick, especially for younger viewers. His score creates a bond between the audience and the monstrous extraterrestrial, which allows us to empathize without prejudice.

Using the truths that difficulty brings us together and that the people we love are the paramount experience in our lives, Spielberg demonstrates vividly how important meaningful relationships are, especially when we are isolated. The extraterrestrial in "E. T." embodies the same passion and innocence which nurtures him, and there is great symbolism in his turning deathly ill: the purity of childhood cannot survive without support; without the structure of a "Home", which "E. T." constantly cries out for. His death while under adult supervision is deeply meaningful, and a slap in the face of so many heartless adults across the planet. Fortunately, the protagonists' declaration of unconditional love basically resurrects "E. T.". The boy's acceptance of death and separation frees his spacefaring friend spiritually, symbolizing an overcoming of his prior, incessant clinginess. This act heralds the discovery of self-esteem in Elliott at what is probably the saddest moment in his life. This newfound faith in himself allows the purity of childhood to transcend his sprouting maturity, no longer forcibly, but now organically.

Because the actors in "E. T." genuinely feel and honestly live the moments in this movie, they allow us, the viewer, to empathize and even cry. This is a feat of true drama which we see rarely nowadays. Notice, also, how the movie truly has no villains: the ability to portray characters as human and flawed, but not inherently evil was the achievement of our grandfather's generation, and can be seen in countless plays from before the seventies. The "evil" government agent, who chases "E. T." throughout the movie, is effectively searching for his lost, magical childhood. Despite his best efforts, he ends up killing it in captivity, because, a jaded adult cannot reignite lost innocence. He is, nonetheless, redeemed by Elliott, as the boy revives the spirit of youth, not only in his siblings, but also his mother and the teenagers of the community (as presented in their witnessing the UFO).

The conclusion is that we can all foster the wonderful and energetic innocent in our soul, no matter how old we get. Acceptance of that spirit hands us immense power, and the "E. T." car chase in the film embodies it: a race to experience childhood before it gets taken away. "E. T. the extraterrestrial" teaches us to love indiscriminately; a lesson of paramount importance, especially in a time of incredible hatred, distrust and prejudice. Regarding Neverland: We can never really return to that paradise, but we have the responsibility of fostering it in others.

Chupa (2023)

Better for Spanish speaking audiences, but also intruiging if not.

[8/10 · 1 May 2023]

"Wholesome" is a term my generation uses to describe meaningful and well-intentioned experiences in our lives. As we've grown up, there have been fewer of these moments, as mainstream media has become littered with self-centered and radically opinionated narcissists. Every now and then, a gem of valuable human effort can be found in our society, and "Chupa" is an excellent example. This movie has all the hallmarks of flawless Hollywood: great casting, a well written script, beautiful cinematography and a good plot. Its focus is on younger viewers, and it excels in providing wisdom, emotion and entertainment to that specific audience.

This wonderful film contains none of the divisive content that has come to litter our media in every form and fashion, and thus remains one of the few experiences today that parents won't have to worry about presenting to their children. Controversial issues such as race, sexuality, identity, and their endless political stances are ignored in "Chupa", a moral choice by director Jonás Cuarón, which is becoming rarer and rarer in an industry hell bent on either lecturing you or leaving a good social impression. This movie will be more comfortably received by Spanish speakers, as nearly half its lines are in that language. However, those intrepid viewers who are willing to overcome the frustration of subtitles are rewarded with the quintessential Mexican experience: everything from scenic views, socials interactions and the delicious food of Mexico and its people.

In conclusion: if you want to reminisce about the wholesome films of your childhood, but also see something new, or maybe you have kids and want to take them to the movies, or safely plop them down in front of the television (without having to give an hour lecture about race or gender afterwards), then this film is for you!

The Fisher King (1991)

The writing completely destroys this otherwise wonderful movie.

[6/10 · 28 April 2023]

Originally an allegory of how humanity is waiting for its savior, "The Fisher King" is a story about a man so driven by fame and power, that he can't look past his own nose. The protagonist, Jack, is unable to consider the thoughts or feelings of others, until an un-empowered man (the Fisher King is a representation of those of us who are "castrated" and unable to produce or fend for ourselves) enters his life, giving him the opportunity of redemption. The movie is, in itself, a creative and meaningful adaptation of the mythological tale, but is very poorly scripted, often leading the viewer into frustration, annoyance, apathy and disregard.

Robin Williams was an incredible talent; his mind was constantly creating in an incessant unease; possibly brought on by a feverous need for acceptance and meaning. Like for many of us, comedy was a mandatory survival tactic for Robin, but he went further, eventually thriving upon it. Sadly, "The Fisher King" fails to tread the delicate balance between drama and comedy, and understandably, since the two are incredibly different. Robin's relentless energy is misplaced and poorly directed, often presented at pivotal points of emotion or danger, instead of properly and timely at appropriate moments in the plot. Terry Gilliam fails to temper Robin's antics, shape a proper homeless lunatic, or present believable social interactions. This movie definitely did not merit award, but was still able to pull off many, including the Oscar, eventually becoming the only so honored movie in Gilliam's repertoire (how did his movie "Brazil" not get noticed?).

Despite the intriguing premise and exceptional cast, "The Fisher King" is unable to rise above mediocrity, weighed down heavily by its horrendously wordy and meaningless script. Writer Richard LaGravenese either allowed the actors free reign or butchered the dialogue. Other aspects of the film are basically flawless, such as Roger Pratt's unique cinematography, as well as sound, music and editing. Depth and meaning are also presented correctly in the film. For example, the fact that Jack wears Parry's clothing in order to retrieve the grail is symbolic of his triumph of being able to walk in Parry's shoes. A massive achievement for Jack, who was unable to respect or understand others before this friendship. In conclusion, "The Fisher King" is probably a movie worth watching in the background, while doing something else.