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Reviews
The Addams Family (2019)
POPCORN EMPIRE: The Addams Family
"The Addams Family is... not a disaster, but a missed opportunity. 5.5/10"
The Addams Family is an animated adaption of the 1930's comic of the same name, featuring the voice acting talents of Oscar Isaac, Charlize Theron, Nick Kroll, and more. While the movie does a fine job of reviving the quirky characters and macabre humor, the film strains itself too much to update the material, rather than leaning on its original charms.
Warning: Spoilers Ahead!
On a technical level, The Addams Family is solid. It looks good, it sounds good, and it's style feels unique. The characters are entertaining, and the voice acting is decent all around. Unfortunately, the plot is the anchor that really drags this film down.
Featuring two separate subplots, with neither being very interesting, the movie keeps afloat when it focuses on the Family and their crazy antics. There's some amusingly dark humor for a children's movie, and I laughed here and there. It strongly feels like the writers struggled to string together the gags with a coherent plot.
One story involves a reality TV star who wants to assimilate the entirety of Westfield, New Jersey (even the new name of the town is Assimilation) for her own profit, including the Addams Family mansion. She also controls the population through social media, manipulating them to do her bidding. The second, less interesting subplot involves a coming-of-age ritual called a Mazurka, which Pugsley struggles to prepare for. These two stories clumsily come together in the final act, where the movie goes off the rails and becomes a mess.
There's simply too much pandering to children in an attempt to be modern and relevant, including lots of references to smart phones and social media. By introducing "regular people" into the mix, the movie gets bogged down in pointing out the ways Addams Family are different, instead of enjoying those differences. There isn't much to be said for any deeper social commentary. The film does try to hammer home simple be-yourself and don't-judge-others-for-being-different type lessons, but it's all executed in a very obvious way, and you've seen the same stuff in countless other children's movies.
For a movie that speaks so proudly about individualism and uniqueness, the Addams Family is a decidedly bland and sanitized children's movie. Had it let itself be free of the trappings of modern culture, and dug in more to the macabre, gothic weirdness of the source material, It would have been much more appealing. As it stands, it's not a disaster, but a missed opportunity.
5.5/10
El Camino: A Breaking Bad Movie (2019)
POPCORN EMPIRE: El Camino - Movie Review
If you're a Breaking Bad fan who's been aching for more, El Camino does the trick. 8.5/10
Serving as a direct continuation from the series' finale, El Camino: A Breaking Bad Movie answers a burning question left unanswered for six years: what happened to Jesse Pinkman?
Warning: Spoilers Ahead!
El Camino follows Jesse Pinkman (Aaron Paul) directly where the final episode of Breaking Bad left of, with Jesse speeding away from captivity in a red-striped El Camino. Following Walter White's death, the police are in full pursuit. Jesse has a plan to make a getaway, but he'll need help from some old friends, and a whole lot of cash, to pull it off.
This film feels like a direct extension of the series. Despite looking more like a movie than a TV show, the dialogue, photography style, and overall mood perfectly matches. El Camino plays more like an extended episode than an entity separate from the show, and it's beautifully made.
Despite some distracting aging and physical changes, Aaron Paul and the rest of the cast slip right back into their roles as if no time had passed at all. The performances are great all around, and it's a lot of fun to spend time with these characters again. Paul takes on the hardest challenge, not only carrying the lead role, but also being required to portray Jesse in various states throughout the series' timeline. He pulls it off, and then some.
The film heavily relies on flashbacks to drive its present-time narrative, revealing crucial information, and sharing previously unseen moments with other characters that seem to resurface in Jesse's mind. The structure mostly works, but the episodic nature of it all is a little disorienting for the sake of a feature film.
Regardless, the movie never stops being entertaining, with sharply written dialogue and inventive action sequences. Gilligan plays with tension in a very Tarantino-esque fashion, holding you in suspense for minutes at a time and approaching story beats in a roundabout way.
If you're a Breaking Bad fan who's been aching for more, El Camino does the trick. It's existence isn't 100% necessary, but it's essential viewing for fans who want to spend time with these characters one last time and get proper closure for Jesse Pinkman. It's a well made, tense crime thriller topped off with some fan service that will undoubtedly put a smile on your face.
8.5/10
Joker (2019)
POPCORN EMPIRE: Joker - Movie Review
"(Joker is) a masterpiece, and easily one of the best films of the year." 10/10
Joker is a DC comics film adaptation co-written and directed by Todd Phillips (The Hangover Trilogy) and starring Joaquin Phoenix (Her, Gladiator). The film tells the story of a mentally ill man named Arthur Fleck as he transforms into Batman's most iconic villain, the Joker.
WARNING: SPOILERS AHEAD!
Joker borrows some of the main elements from previous versions of the character, such as him starting out as a stand-up comedian and generally being a social outcast. But the film does away with the vat of acid and instead aims for a more grounded, gradual transformation from a damaged man to the Clown Prince of Crime. For those who might worry that revealing the Joker's origins might undermine the character, ridding him of his mysterious nature, rest assured that this film does the Joker justice and then some.
The film focuses almost exclusively on Arthur Fleck. He's in nearly every frame of the movie. Arthur suffers from a number of mental illnesses (they are never specified, but it is mentioned that he takes 7 different medications). Living with his mother, and working a low-income job as a clown-for-hire, Arthur feels lonely, neglected, and unseen. He gets hit with one turn of bad luck after another, from losing his job to having funding cut for his therapy and medication. Things begin to take a turn when he is attacked on a subway by three Wayne Enterprise employees. Using a gun given to him by a co-worker, he guns down the three men in self-defense (albeit a bit excessively). Things quickly spiral out of control, and Arthur soon becomes the anonymous symbol of an anarchic revolution in Gotham.
It can't be stressed enough how incredible Joaquin Phoenix's performance is as Arthur Fleck. He transforms himself both physically and mentally, disappearing into the character. Arthur is an unsettling, strange, and broken man, and Phoenix embodies the character perfectly, elevating the material.
The film offers plenty of other cinematic delights as well, from its gorgeous, moody photography to its haunting score. One highlight is the "bathroom dance", with a chorus of strings hitting mostly on a small handful of notes, creating a tense yet oddly beautiful melody.
The film has a relentless, bleak tone, but the uniqueness of Arthur's character carries you through the story and keeps you locked in your seat. You can't help but be fascinated with this character, wondering where the story will go next. While the movie does use some familiar tropes (guy down on his luck, losing his job, getting attacked in the street) they're well executed and don't feel derivative. A subplot concerning Arthur's mother and the Wayne family also adds some unexpected complexity and weight to Arthur's character development.
Joker is a haunting yet beautiful character study, crafted with ingenuity and an admirable attention to detail. Paying homage to inspirations such as "Taxi Driver" and "The Killing Joke" graphic novel, Joker still manages to stand on its own. It's a masterpiece, and easily one of the best films of the year. It's not only the best DC film, but it's also a fantastic, character driven crime drama all its own.
10/10
Ad Astra (2019)
POPCORN EMPIRE: AD ASTRA - MOVIE REVIEW
"Ad Astra... is a masterfully crafted film, with stunning visuals, profound drama, and a brilliant lead performance from Pitt... 9.5/10"
Ad Astra is a sci-fi drama directed by James Gray and starring Brad Pitt, Tommy Lee Jones, Liv Tyler, and Donald Sutherland. It's a masterfully crafted film, with stunning visuals, profound drama, and a brilliant lead performance from Pitt.
WARNING: SPOILERS AHEAD!
In the near future, Roy McBride (Brad Pitt) is an astronaut working for the U.S Space Command (SpaceCom), following in the footsteps on his father Clifford McBride (Tommy Lee Jones). Clifford had lead a mission dubbed the Lima Project to seek out evidence of intelligent life, but was pronounced dead many years ago after communications ceased. Devastating power surges suddenly start to hit Earth and other planets, causing thousands of deaths. After being nearly killed by one of these surges, Roy is informed by SpaceCom that the surges are originating from the Lima Project, and it's possible his father is still alive. Roy accepts a mission to Mars to make an attempt at communicating with his father.
This film contains a surplus of beautiful cinematography. With its breathtaking shots of space, and it's stylized use of color, Ad Astra is a feast for the eyes. The film also has one of the most memorable scores of this year, with its subtle ambience and electronic elements that compliment the film both in both its visuals and its emotional themes. It doesn't have a lot of "action", but it's always well staged and shot, and the rover chase on the moon is one of the coolest action scenes in a film this year.
The film is partly a character study of Roy McBride. SpaceCom requires astronauts to remain psychologically calm and focused at all times, so Roy suffers from a lot of repressed emotions. We see that this all but ruined his relationship with his wife Eve (Liv Tyler), who feels that he is a stranger to her. Roy does his best to put this aside for the sake of his work, but it's clear that it still upsets him deep down.
Roy's also under a lot of pressure due to the legacy of his father. Clifford is hailed as a hero by the general public, but Roy's personal relationship with him isn't in good shape. Without revealing many details, you get a sense that Clifford was neglectful of Roy growing up. On top of all this, The success of Roy's mission determines the fate of humanity. If SpaceCom fails to stop the surges, they could wipe out all life in the galaxy.
Roy witnesses the deaths of several people throughout the mission, some of which he inadvertently causes when he decides to sabotage SpaceCom's mission. These deaths take a toll on his mind, and his sanity begins to slowly slip away while en route to find his father, until he eventually redeems himself and becomes more optimistic and resolved in the end. After meeting with his father one last time, he finds closure both in that relationship and also within himself. Clifford's data shows no evidence of extra-terrestrial life, and this allows Roy to realize that he should focus on his life at home and not make the same mistakes his father did.
Brad Pitt does a fantastic job selling the internal conflicts of Roy. His subtle facial expressions and body language communicate much more than the dialogue. It's an understated and nuanced performance, and a highlight for Pitt's career. The film is a little heavy on voice-over narration, and it took me out of the movie a couple times (although this is more of an issue with writing and editing than the performance).
While the film revolves around this father-son drama, it also introduces some smart, even urgent ideas about humanity's future at large. Humans have begun to colonize the moon and build space stations on other planets. Travel to and from the moon has become akin to traveling by plane, with space flights taking a fraction of the time that they once did. There are "space ports" on the moon that are nearly identical to airports on Earth. You can even catch a glimpse of Applebee's and Subway signs, as well as other stores and businesses. This has strong implications about humanity's future, and it's implied that we will continue our capitalistic, consumerist behavior even away from Earth. We may have reached new worlds physically, but we are still stuck with the same ideas and behaviors.
The discovery that intelligent life most likely doesn't exist outside of humans is an interesting subversion of sci-fi tropes, and it's also a terrifying answer to a question that has only become more and more relevant. Ad Astra tells us that maybe we should focus on growing as a species and look for answers amongst each other, rather than getting lost in the stars.
Ad Astra is a poignant, beautiful, and emotionally affecting film. It excels at storytelling on both the macro and micro level. It's challenging to tell a story with such a large scope, taking place across billions of miles, and still maintain humanity at its core, but Ad Astra sticks the landing and blows you away. It's one of the greatest achievements in the cinema you'll witness all year.
9.5/10
It Chapter Two (2019)
POPCORN EMPIRE: IT Chapter 2 - Movie Review
IT: CHAPTER 2 - MOVIE REVIEW
"With more liberal editing and a tighter script, IT: Chapter 2 could have been the masterpiece that it clearly strived to be... 6.5/10
IT: Chapter 2 is the sequel/second half of IT (2017), directed by Andy Muschietti. Adapted from the Stephen King novel, Chapter 2 reaches for an epic conclusion to the story, with mixed results. While it has a lot of laughs and occasionally packs an emotional punch, the film is bloated and overlong. It also commits a cardinal sin of horror films: it's not scary whatsoever.
WARNING: SPOILERS AHEAD!
Taking place 27 years after the events of the first film, Pennywise has returned to Derry, Maine to terrorize the town and feed on the innocent once again. The Loser's Club, now as full grown adults, must team up one last time to stop Pennywise once and for all. The film follows the adults as they reunite in Derry and form a plan to defeat Pennywise, while also drawing connections to events from the first film, as well as some moments we haven't seen before. While this flashback/flash-forward structure mostly works, and helps the audience to follow certain narrative arcs, it begins to feel tedious after a while.
It's important to note that IT: Chapter 2 has some of the strongest casting of any film in recent memory. Not only do the adult counterparts of the Loser's Club bear an uncanny resemblance to the child actors, but they also fully embody the same individual personalities and quirks. The ensemble cast has great chemistry, and they do a fantastic job of selling the humor, the drama, and the heart of the film, even when the odds are against them. Bill Hader brings a majority of the comedic relief, and delivers a lot of levity and fun to many scenes. Bill Skarsgård also triumphs once again as Pennywise, with his creepy voice, quirky humor, and that iconic goofy-but-terrifying smile.
The film also has some lovely cinematography and creative use of editing. There are several scene transitions which carry an element from the previous shot into the next, creating surreal effects that give the film a dreamlike quality.
It's a shame that other components of this film don't hold together as well. While the script attempts to tackle some of the mythology and themes of trauma from the book, the results are mixed. Certain character arcs feel more resolved than others, and the film gets sidetracked at times. Henry Bowers is revealed to have become a patient in a mental hospital after the events of the first film. Pennywise helps him to escape, and while he does temporarily throw a wrench in our protagonists' story, this subplot doesn't really go anywhere, coming to an abrupt end when he's suddenly killed by Richie.
The structure of the second act repeats one of the biggest flaws of the first installment, trudging through one lengthy jump-scare sequence after another. These set-pieces generally follow the same structure: a character walks into a building where a past memory took place. They then begin to relive that memory until Pennywise twists it into a nightmare, resulting in some goofy CGI monster which chases the character until they retrieve their "artifact". Some of these sequences are fun, but they could easily be shown in any order since they lack an overarching narrative momentum. The scares are so blatantly telegraphed that they often fall flat. Loud noises are startling and all, but none of these creatures come anywhere close to nightmare fuel.
Once our leads finally have what they need to defeat Pennywise, they journey back into the sewers to perform a ritual to kill Pennywise for good. While the final battle is entertaining, it's also underwhelming considering the lengthy buildup. While it's satisfying to see our heroes defeat Pennywise for good this time, it simply takes too long to get there.
Despite being uneven and needlessly long, IT: Chapter 2 is still entertaining and there's a lot to admire about it. It looks amazing, it's packed with great performances, and it has one of the most intruiging villains in horror history. With more liberal editing and a tighter script, IT: Chapter 2 could have been the masterpiece that it clearly strived to be.
6.5/10
Ready or Not (2019)
POPCORN EMPIRE: Ready or Not - Movie Review
"Ready or Not is... a crazy, off-the-wall film that feels refreshing among the many sequels and reboots of this year." 8.5/10
Ready or Not is a horror-comedy starring Samara Weaving, Adam Brody, and Henry Czerney. The film is packed with plenty gory action and dark humor, with a dash of socio-political commentary. it's a crazy, off-the-wall film that feels refreshing among the many sequels and reboots of this year.
Warning: Spoilers Ahead!
When Grace (Samara Weaving) and Alex Le Domas (Mark O'Brien) host their wedding at the Le Domas family mansion, things quickly take a turn for the weird. Once the wedding ceremony is over, Alex explains to Grace that she must play a game as part of family tradition. After Alex's father Tony (Henry Czerney) fills us in on some of the family history, Grace is presented with a small black box full of cards. When Grace pulls a card from the box, the game will be revealed. As luck would have it, Grace randomly selects the one possibility that the whole family was dreading: "Hide and Seek".
This is no ordinary game of hide and seek. Grace must hide within the mansion until dawn, while the Le Domas family hunts her down and tries to kill her as part of a twisted ritual. Arming themselves with old rifles, crossbows, knives, etc. the De Lomas's reluctantly begin their hunt. Grace is not informed of the details, believing this to all be a silly game - until she witnesses one of the maids being killed in an unfortunate accident. At this point, Grace realizes she's trapped in a tense game of survival as she tries to out-maneuver and outsmart the Le Domas family.
Much of the humor comes from the De Lomas's who, despite being the antagonists of this story, are merely hunting Grace out of obligation. Half of them barely know how to use their weapons (one even takes an extended bathroom break to watch YouTube videos about crossbows), and even more simply want the whole affair over with, silently believing that the ritual is made-up nonsense. This anti-trope results in a lot of back-and-forth bickering and petty insults being passed around, and it's hilarious watching these characters struggle and fail to kill Grace time and time again. While the dialogue isn't always polished, there's plenty of funny lines and situational humor, as well as over-the-top violence and gore. If you have the stomach for both bloody violence and gallows humor, this film is right up your alley.
Grace is resourceful, witty, and charming, and she makes for a very compelling and like-able lead. Many members of the De Lomas family are intentionally portrayed as out-of-touch, clueless, rotten, psychopathic, or all of the above, making it all the more satisfying when Grace gets the upper hand on them. Samara Weaving gives a terrific and layered performance, showing bravery and resolve when need be, but also embodying the trauma and hysteria of the situation at the most crucial moments, especially when the film reaches its (literally) explosive climax. She's an innocent, seemingly harmless bride turned badass "girl power" action hero, and her transformation throughout the movie is immensely satisfying to watch, especially when someone in the De Lomas family gets their comeuppance (in the form of a gruesome death).
Ready or Not clocks in at a tightly paced 95 minutes, having fun with its premise without stretching it for too long. The film constantly has its foot on the gas, keeping its momentum going with humorous gags and well-executed action sequences. The plot is fast paced and consistently engaging thanks to the efficient editing.
This is not a film for everyone, but it's wonderfully subversive and well-crafted. While it's reminiscent of other horror-comedies such as Get Out and You're Next, Ready or Not has a distinct style of its own. It's likely one of the most fun moviegoing experiences you'll have all year.
8.5/10
47 Meters Down: Uncaged (2019)
POPCORN EMPIRE - 47 Meters Down: Uncaged - Movie Review
"Uncaged tries to raise the stakes from the first film, but in turn loses its touch with reality and sinks to a B-grade horror flick... 5/10"
47 Meters Down: Uncaged is the 2nd film in the 47 Meters Down series, directed by Johannes Roberts. This sequel ups the ante with more characters, more sharks, and a higher body count. Uncaged tries to raise the stakes from the first film, but in turn loses its touch with reality and sinks to a B-grade horror flick.
Warning: Spoilers Ahead!
Uncaged begins similarly to the first film. Our main characters are vacationing in Mexico, and are soon talked into going scuba diving. This time around, a larger group of friends dive into an ancient city completely submerged underwater. After an initial shark attack, the only clear exit from the city becomes blocked, and our protagonists have to act quickly to find another way out before their oxygen supply runs out... or they become shark food.
This film is shot in the same slick, flashy style as the first film, and it mostly looks good... when you can see what's going on. Although it's somewhat inherent to the setting, the underwater caves are at times so dark and murky that you'll find yourself squinting at the screen, trying to discern what's going on.
While the first few shark attacks are tense and effective enough, the frequency of them quickly becomes numbing, and the tension deflates until it all but disappears. As Uncaged barrels along through its 90 minute runtime, it gradually transforms from B-horror to self parody, slipping into unintentional comedy as our characters are hit with one turn of bad luck after another. There's a shark around every corner, not to mention blinding debris, underwater currents, and a slew of other hazards. Everything that could possibly go wrong does go wrong, and then some, and you can't help but burst out laughing at some point as you try to process the absurdity of it all.
The film reaches its climax with only step-sisters Mia and Sasha as the remaining survivors. After Sasha is grabbed by a shark, Mia goes full on action-hero, shooting one shark with a flare gun, then stabbing another in the eye with a shark tooth (did someone say irony?). It's a jaw-dropping and hilariously entertaining finale.
47 Meters Down: Uncaged is not a good film, but it is a wildly entertaining one. If you're a fan of watching goofy, so-bad-it's-good B horror flicks, this should be a fun watch for you. If not, you can easily skip it.
5/10
Good Boys (2019)
POPCORN EMPIRE - Good Boys Review
"Good Boys is sporadically funny, but it quickly falls apart due to lazy writing, wonky plotting and repetitive gags... 3/10"
Good Boys is a hard-R comedy directed by Gene Stupnitsky (Bad Teacher, Year One) and produced by Seth Rogen and company, responsible for films such as Superbad and Sausage Party. The film revolves around three 6th grade kids who are invited to a "kissing party". Since they have no idea what they're getting into, the three boys try to do some research and "practice" before the party. This quickly leads to trouble, and each attempt to fix things only digs them into a deeper whole. While the 3 leads have some decent chemistry, there's little they can do to support the thin material they're given to work with. Good Boys is sporadically funny, but it falls apart due to lazy writing, wonky plotting and repetitive gags.
Warning: Spoilers Ahead!
From the opening scene of the film, things seem off. The dialogue is bizarre and forced, especially from Max's father. He comes into Max's room and says he's proud of him for learning to "sexually himself". Yes, this really happens.
In the first act, we get to know Max, Lucas, and Thor. While all three young actors do a solid job with the material, it can't save the thin characterization or repetitive jokes. There's a gag early on where Max brings out his dad's "CPR" doll to practice kissing on, but it's actually a sex doll. Not much later, Thor brings out "weapons" from his parent's closet, but they turn out to actually be sex toys.
Many of the jokes follow this same copy-paste formula: The kids are presented with subject matter/objects that they misinterpret or misunderstand. The audience is more aware than the kids in most situations, so you could drop them into basically any scenario and the jokes practically write themselves. The film coasts along relying on the innocence and ignorance of kids as it's template for cheap punchlines, and it quickly grows tiresome despite an occasionally chuckle-worthy line.
Good Boys reaches for an overarching tone of sentimentality and innocence, tossing in various topics that are common in coming-of-age stories, but they don't amount to much. The film touches on heavy concepts such as divorce, bullying, and self-acceptance, but these concepts are never fully realized or explored. The emotional beats feel unearned and underwritten.
There's a sequence towards the middle where Lucas gets in a slapstick bike wreck and dislocates his shoulder. Afraid to go the hospital, Max and Thor decide to take matters into their own hands. There's multiple shots where Lucas's shoulder is clearly visible, and you can see that someone forgot to reattach the prosthetic prop-arm in between shots. Max and Thor decide to pull on Lucas's arm to fix it as he cries out in pain. As soon as his arm pops back into place, things go back to normal immediately, and Lucas sits upright and says "my parents are getting divorced". The scene changes from slapstick humor to childhood drama in a split second. This sequence is especially sloppy in its execution, with an abrupt, awkward tonal shift.
Comedy has different appeals for everyone, so you may get more out of this movie than me. That said, it's practically indefensible as being a great film. It plays things too safe, doesn't have enough ideas, and none of the emotional beats ring true. There are some funny moments sprinkled throughout (the action sequence involving a paintball gun is extremely entertaining) but mostly, you've seen all of this before in better films. If you haven't, it'd be much more worth your time to seek them out instead of sitting through Good Boys in your local theater.
3/10
Scary Stories to Tell in the Dark (2019)
POPCORN EMPIRE - Scary Stories to Tell in the Dark Review
"Scary Stories to Tell in the Dark cleverly adapts these stories into a cohesive whole, while also remaining faithful to the source material... 8/10"
Scary Stories to Tell in the Dark is a classic, if controversial, children's book series written by Alvin Schwartz and illustrated by Stephen Gammell. The books are anthologies of short horror stories, known for their disturbing, highly stylized illustrations. The 2019 film, directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe), attempts to connect the various stories within a singular narrative. This film took years of development and a handful of writers to put together a complex, layered screenplay. Scary Stories to Tell in the Dark cleverly adapts these stories into a cohesive whole, while also remaining faithful to the source material.
WARNING: SPOILERS AHEAD!
The film uses an overarching plot to connect the short stories. The group of kids explain the legend of a young girl named Sarah Bellows, who was locked away by her corrupt family. While trapped in the basement of her house, she writes stories in a book with the supernatural ability to bring them to life, trapping whichever person she chooses in a waking nightmare.
When the kids decide to break into the Bellows' old mansion, the main character Stella (Zoe Margaret Colletti) finds Sarah's book and awakens Sarah's spirit. After she they leave the mansion, The book appears to be writing itself, and everyone who entered the mansion begins disappearing one by one.
Scary Stories plays into a lot of genre tropes without falling into horror's worst tendencies. Children in horror films can at times feel overwritten and obnoxious, but the leads in this film are likeable and feel like real people. They have a fun dynamic, and their back-and-forth banter brings a lot of laughs.
What really sets this film apart is its beautifully crafted horror sequences. Each story is set up gradually, building the mythos behind each monster before it appears. The effects are extremely well crafted, and the photography is smooth and well framed, resulting in some chilling images. The prolonged silence builds the tension effectively before the sudden jolts, and the "jump scares" are much more effective because they're not overused. The creature designs are detailed and creepy, replicating the illustrations from the source material as closely as possible. The way the effects artists translated the illustrations into a 3D, live-action environment is a noteworthy feat, and it should definitely please fans of the books.
The film's narrative is a story about stories, about how they form beliefs, and how these beliefs in turn shape reality. These themes connect between multiple characters, most notably Stella Nicholls and Sarah Bellows.
Stella's mother left her and her father at a young age, and many people around her blamed her as she grew older. As a result, Stella blames herself for her mother leaving her family. As a parallel to this, Sarah Bellows did not murder anyone as the local legends said. Stella discovers that her family framed Sarah for the deaths they caused with mercury pollution. Eventually, Sarah became so full of rage and hatred that she became the monster her family had made her out to be. Stella realizes what has happened to Sarah as a result of the lies she was told, and this helps her to stop blaming herself for what happened between her mother and father. We also see that this revelation brings her closer to her father, as it is implied in the final scene that she told her father the truth about all of the disappearances that occurred, and he is now helping her find them.
Scary Stories succeeds on multiple levels. It follows through with its themes, has solid character arcs, and delivers on fun sequences and scares. It's a great film for introducing younger audiences to horror, and should satisfy horror fans in general.
8/10
Once Upon a Time in... Hollywood (2019)
Popcorn Empire: ONCE UPON A TIME... IN HOLLYWOOD - MOVIE REVIEW
With Hollywood, Tarantino dives in to many previous genres he's explored, while also painting a vivid picture of late 60's California... 9/10
Hollywood is Quentin Tarantino's 9th feature film. Tarantino has become one of the most hightly regarded auteur filmmakers of this generation. Known for his sharply written dialogue, explosive ultra-violent action, and masterful use of tension and suspense, Tarantino is a one-of-a-kind writer/director. With Hollywood, Tarantino dives in to many previous genres he's explored, while also painting a vivid picture of late 60's California.
WARNING: SPOILERS AHEAD
Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt) have worked together in the film industry for many years. Rick is an actor known for his role in a western TV show, and Cliff is his stunt double. The film blends the story of our fictional protagonists with historical events which are altered in the script. Rick and Cliff are next-door neighbors to Sharon Tate (Margot Robbie) and Roman Polanski (Rafal Zawierucha), and this comes into play in a major way at the climax of the film.
Tarantino takes a meandering approach to this story, but in doing so, he sheds light on many different aspects of the setting and the characters. We experience Rick's existential crisis and eventual redemption regarding his career, we learn a lot about Cliff Booth and his history, and we spend a lot of downtime with Sharon Tate. Sharon and Rick parallel each other in interesting ways, with Rick on the decline and Sharon steadily rising as a budding Hollywood star. We see both characters revel in their work in different ways. The film often dwells on various aspects of filmmaking and the general culture and lifestyle of late 60's.
As the film moves along, the various subplots slowly click into place, and the focus becomes clear: the Manson Family murders. It's obvious that Tarantino is outraged by what happened to Sharon Tate and company, as many were. He intervenes through Rick and Cliff in this fictional version of the story, saving their lives and giving the Manson family some frontier justice in classic Tarantino fashion.
This is Tarantino's most personal film to date, which is shown in the tender, sympathetic way that he handles the main characters. In a sense, Rick and Cliff both are representative of Tarantino in different ways. He's dreading an eventual obsolescence as a filmmaker, and is coming to terms with his career eventually ending. But like Cliff, he's not here for the fame; he simply wants to do his work and be content with that. The interplay between the two characters seems to reconcile these concerns in a way, and things end on a bittersweet note.
The cast all around give excellent performances, with nuanced characterization and lots of charm. Hollywood is essentially a buddy comedy with a dark streak, packed with gallows humor and hilarious dialogue. There's a lot of laughs, especially in the explosive third act where things get downright gruesome (in a very satisfying way). The action is sparse, but extremely fun when it kicks in, and all of the faux TV and movie clips are very entertaining.
Clocking in at almost 3 hours, Hollywood is slow but never boring. If you're willing to sit back and soak in all of the small details that make this film so rich and entertaining, it's very much worth your time, despite being a tad overlong. It's not Tarantino's best, but that's hardly a criticism. If you've remotely enjoyed any of Tarantino's previous work, definitely catch this one in theaters.
9/10
The Collector (2009)
Popcorn Empire - The Collector Movie Review
THROWBACK THURSDAY: THE COLLECTOR - MOVIE REVIEW
The Collector is a high concept horror film that's slick, inventive, and entertaining. 8/10
The Collector is a 2009 horror film from the writers of Saw 4-6. The film was poorly received upon release, being panned by critics and receiving mixed reviews among general audiences. This film that was released at a time when the "torture porn" genre had worn out its welcome, and consequently was misunderstood and dismissed. While it isn't wholly original, The Collector is a high concept horror film that's slick, inventive, and entertaining.
WARNING: SPOILERS AHEAD!
Clocking in at 90 minutes, this film has a very efficient script. Within the first 20 or so minutes, the movie gives out all the information you need before diving in to its gruesome concept.
After a short opening sequence, we're introduced to Arkin (played by Josh Stewart), a man hired to do house work for a rich family before they go on vacation. He cases the house while simultaneously getting the know the family. After he leaves work, he visits his ex-wife and daughter. His ex-wife owes money to an unspecified party, and she explains that they'll come after them if she doesn't have the money by tomorrow. It's revealed that Arkin is an ex-con and a jewel thief. He teams up with his old crew and forms a plan to rob the house the same night, unaware that another uninvited guest is already there.
What was once a normal family home becomes a house of horrors, containing a masked serial killer and a number of deadly traps. Arkin must find a way to escape with his life... and the lives of others he finds trapped inside.
The concept is elevated with its stylish and creative execution. The camerawork in this film is slick and inventive, from the aerial shots of characters sneaking room to room, to the use of lighting and quick-cut editing which suddenly reveals booby traps throughout the house.
The use of sound is also crucial. Long stretches contain little or no dialogue, and Arkin must sneak around the house quietly to avoid being detected. Every creak of a footstep, or a horrific scream from the basement builds the sense of tension and unease. The thunderstorm that takes place during the night plays a major role, as Arkin uses the cracks of thunder to conceal his louder actions, such as breaking a window.
The torture/gore isn't constant, but this film does have some very gory scenes and is not for the squeamish, but the violence is not exploitative in this way; it adds to the terror and intimidation factor of the antagonist.
The concept for this film is in and of itself scary, twisting the home invasion subgenre in a unique way. The idea of your own home becoming a death trap is unsettling, and the Collector himself is very creepy. The film leaves off on a sort of twist/cliffhanger which sets up the second film, The Collection, which might get a review in the future. If you're a horror fan, this film is definitely worth checking out.
8/10
The Lion King (2019)
Popcorn Empire - The Lion King: Movie Review
"The Lion King... is cutting edge on a technical level, but it fails to recapture the energy, charm, or magic of the original." 5/10
The Lion King (2019) is a "live-action" remake of the 1994 animated film of the same name. The original film is considered a Disney classic. With it's beautifully rendered animation, top-notch voice performances, and stirring drama, the film easily holds up as a classic even today. This new remake, directed by Jon Favreau, attempts to retell the story with photo-realistic CGI visuals and a (mostly) new cast of voices. The result is cutting edge on a technical level, but it fails to recapture the energy, charm, or magic of the original.
The Lion King (2019) takes a "don't fix what ain't broken" approach to its source material, and the resulting story is essentially the same. I won't be reiterating the plot here, as most people are familiar with the original film (and if not, you're probably familiar with 'Hamlet'). But just to be safe...
WARNING: SPOILERS AHEAD!
One of the main draws of this film, aside from nostalgia, is its CGI visuals. It's hard to deny that this film is beautifully animated. The animals have a life-like appearance, with true-to-life physics and movement, and fur so realistic you want to reach out and touch it.
While this film pushes the limits of what digital animation is capable of, it also outlines its limits as a storytelling tool. As one would expect, the animal characters in this film are limited in their expressiveness. Facial movements efficiently match the voices, but are jarringly stiff and lacking emotion, making it difficult to connect with the characters.
The voice performances are a mixed bag. James Earl Jones returns as Mufasa, and his performance is captivating. A few cast members do what they can with the material, such as Donald Glover and Beyoncé Knowles, but they ultimately feel miscast. Pumbaa and Timon add some levity and meta-humor, but the jokes are hit-or-miss, and the talky dialogue borders on annoying at times.
The film is intermittently cute, funny, and exciting, but the pacing is clunky. Things rarely kick into high gear, aside from a couple fun action sequences. The drama is often times undercut by the film's stubborn adherence to realism. The life-like visual style may have its own appeal, but it can't match the expressiveness of the 1994 film's bright and stylish animation. Ironically, the original film feels more alive than this "realistic" remake.
The plot of this film is as predictable as ever. It's also roughly 20 minutes longer, and noticeably so. This film drags during its second act, and I found myself wanting to hurry along to its inevitable final showdown between Simba and Scar. Even then, the result is underwhelming, and the film's perfunctory conclusion is more of a whimper than a bang.
The Lion King (2019) succeeds much more as an expensive piece of machinery than as a film. It's a testament to the power of technology, but not so much to the power of storytelling. It's a safe, mildly entertaining film for all ages, but if you're looking to introduce newcomers to The Lion King, you're better off watching your old VHS or DVD copy of the 1994 version at home.
5/10
Spider-Man: Far from Home (2019)
Popcorn Empire - Spider-Man: Far From Home review
"Far From Home continues Marvel's win streak with another charming, energetic, and fun action film... and the best live action Spider-Man adaptation since Spider-Man 2... 9/10"
Spider-Man: Far From Home is the second solo Spider-Man film in the Marvel Cinematic Universe. Coming off the cusp of Avengers: Endgame, this film begins to transition us into a new phase of the MCU, and continues to develop Peter Parker as a character. Far From Home continues Marvel's win streak with another charming, energetic, and fun action film... and the best live-action Spider-Man adaptation since Spider-Man 2.
WARNING: SPOILERS AHEAD!
Following the death of Tony Stark, Peter Parker comes into this film with a lot of weight and grief on his shoulders. He seeks guidance from whoever he feels comfortable talking to about his struggles in balancing his two lives.
Mysterio becomes one of these figures, offering wisdom to Peter Parker, but he ultimately betrays his trust and complicates Peter's situation more than ever, endangering his friends as well as many innocent people. Peter makes big, difficult decisions throughout this story, but the film concludes with Peter striking a balance between being Peter and being Spider-Man. Things seem to finally be working out... until the film comes in with not one, but two knockout twists in the very end that will have you holding your breath for the next installment.
While the plot of this film isn't revolutionary (if you know anything about Mysterio from the comics, you'll know something's fishy from the very start), the characters, both old and new, are very well handled. Once Mysterio's true identity and intentions are revealed, the story twists and turns in fun, unexpected ways. The effects are inventive and mind-bending, reminiscent of the reality warping effects of Doctor Strange. Mysterio is excellently portrayed here, and Jake Gyllenhaal plays a madman like no other in this role. He's intimidating not because of an imposing presence or some sort of superpower, but because he's a manipulative, unhinged sociopath with way too much power in his hands and a twisted sense of morality.
While the "good vs. evil" plot drives the Spider-Man side of the film, what drives Peter Parker's Story is the awkward romance between Peter and MJ. Tom Holland and Zendaya have great chemistry, and they really sell the relationship and make it believable. The performances are great all around, and Tom Holland does an excellent job of embodying the anxieties and inner turmoil that comes with being Spider-Man, without sacrificing the charm and humor that also comes with the character.
The movie is also really funny. The awkwardness between Peter and MJ puts a smile on your face while also making you cringe (in a good way), and comic relief characters like Ned and Mr. Harrington have a lot of hilarious one liners.
What elevates the Marvel films, and is especially present here, is their sense of self-awareness. Mysterio's entire plot revolves around playing into the tropes of superheroes. He knows what cliches to follow to put on a convincing show, and because of this, the film itself pokes fun at these cliches. There's a lot to appreciate in the meta-humor and twisting of genre conventions, especially for die hard fans. Speaking of which, MCU fans will also appreciate the tie-ins of minor characters from the Iron Man trilogy. The way Marvel has been carrying over characters from previous films helps make the whole universe feel lived-in and thoughtfully executed.
Marvel Studios is somewhat of an anomaly in Hollywood, pumping out blockbusters like there's no tomorrow... and yet they still manage to stay fresh, inventive, and of high quality. The Infinity Saga is an unprecedented accomplishment in cinematic history, and it's clear that Marvel has no plans of losing their momentum with Phase Four. Marvel fans, (especially Spider-Man and Mysterio fans) should have a lot of fun with this entry, and walk out of the theater anxiously anticipating what Marvel Studios has in store for us next.
9/10
Annabelle Comes Home (2019)
Popcorn Empire - Annabelle Comes Home review
"Despite solid performances and sporadically interesting camerawork and special effects, this film falls flat." 4/10
Annabelle Comes Home is the third film in the Annabelle franchise, which is part of the larger Conjuring Universe. While the Conjuring films themselves have been a sort of renaissance for supernatural horror, the spinoffs (Annabelle, The Nun, The Curse of La Llorona) have consistently paled in comparison. Annabelle Comes Home is no different.
WARNING: SPOILERS AHEAD!
The film starts out promisingly enough, picking up from the scene in The Conjuring where the Warrens receive the Annabelle doll. On their way home, their car mysteriously breaks down next to an old cemetery. The Annabelle spirit calls out the souls of the dead (acting as a "beacon" as Lorraine puts it) and the tension builds UNTIL - Ed gets shoved to the ground, and the scene ends. Strangely enough, this is just about the most harm any character in this film endures. I'm not kidding.
The Warrens quickly exit the film, and it takes a nosedive from there. We meet the Warren's daughter once again, as well as her babysitter and a couple of her friends. These characters are fine enough, but the only one with any real investment in the plot is Daniella, who is grieving her dead father. She attempts to communicate with him through the evil spirits in the Warren's forbidden room. If that sounds dumb to you, that's because it is (why not just ask the Warrens for help instead?).
Following the first act, Annabelle is let out of her cage to cause some mayhem, unleashing every evil entity the Warrens have ever collected. The result is - underwhelming. Things quickly devolve into a series of jump scares, and the thinness of the plot really becomes apparent. Despite a couple inventive set pieces, these sequences quickly become tedious. The film follows this rinse-and-repeat structure until the doll is finally locked away again, and everything immediately returns back to normal.
At some point, it becomes clear that these children are in no REAL danger, protected behind a shield of timid writing. Whether this is an attempt to appeal to a wider audience, or just out of reluctance by the writers, this movie barely earns its R rating.
With each Annabelle film, it's only become more and more confounding as to why the Annabelle doll is held in such high regard. The stakes are always relatively low in these films, and the consequences of this doll's existence have been fairly minimal. With this third film, the stakes are puzzlingly lower than they've ever been. No one gets killed, let alone hurt, and Daniella is the only character in the entire ensemble that has anything resembling an arc.
Despite solid performances and sporadically interesting camerawork and special effects, this film falls flat. Unless you go to horror films looking for an amusement park "haunted house" type of experience and nothing deeper, than this film will likely appeal to you. But if you're a horror fan looking for some true terror and a satisfying story, don't waste your time with this one.
4/10
Toy Story 4 (2019)
Popcorn Empire - Toy Story 4 Review
"... Toy Story 4 is a near perfect entry in one of the strongest animated franchises of all time" 9/10
Toy Story is a series of Pixar animated films that have been entertaining audiences of all ages for over 20 years. These films have consistently been on the cutting edge of animation, full of charming characters and fun stories. With each film, the stories have become more and more emotional, dealing with the existential crisis of toys and their purpose. Pushing these themes further than ever, Toy Story 4 is a near perfect entry in one of the strongest animated franchises of all time.
WARNING: SPOILERS AHEAD!
In this film, the story more heavily revolves around Woody than in previous entries. He still struggles to move on from Andy, and because of this he projects his loyalty onto Bonnie.
When Bonnie makes Forky during her preschool orientation, Woody immediately notices how much Forky means to her. He becomes determined to a fault to keep Bonnie and Forky together. Things become complicated when Forky tries to run away during a family road trip, and Woody chases after him. When Woody gets sidetracked looking for Bo Peep, who was separated from the group years before, the rest of the gang begin to look for him and Forky. What follows is zippy adventure with fun action sequences, lots of laughs, and most importantly, a lot of heart.
Many new toy characters are introduced, all of which are funny and entertaining. It's very hard not to smile just from the sheer amount of charm in the entire cast of characters, both old and new. The humor is as goofy and hilarious as ever, especially with the new character Forky, voiced by Tony Hale. His existential nightmare causes all sorts of antics, and his childlike worldview is endearing and unique.
One minor drawback is that we don't get a lot of screen time with some classic characters such as Rex, Slinky, and Jessie. A large number of toys are left to sit in an RV for most of the movie, while Buzz and Woody run around with new characters. But this is a minor complaint when what we do get is so much fun.
While the plot does rehash some ideas from previous films, what makes this story work so well is its strong emotional core. Woody learns to let go of the past, accept that his life as a child's toy is over, and begin to pursue the life he really wants.
The voice performances are top notch all around, giving this movie a lot of personality and charm. The animation is vibrant, detailed, and beautifully rendered. Overall, this is a top-of-the-line animated film, and it delivers just about everything you could want from a Toy Story sequel.
9/10