Director: Dee Rees
Writers: Dee Rees, Virgil Williams, Hillary Jordan(novel)
Stars: Garrett Hedlund, Jason Mitchell, Jason Clarke, Mary J. Blige, Rob Morgan, Carey Mulligan

Synopsis: Two Mississippi families—one black, one white—must confront a brutal reality in a divided World War II era.

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There’s been a recent trend among films in Hollywood that all wish to cover the substantial weight of racism. We’ve seen these films on numerous accounts and for the majority of the time they all adopt the exact same formula. Above all, they end up being more successful than not in putting on display the prejudice and inhumanity that occurred with this past discrimination. But what makes Mudbound the outlier from this formula? Everyone knows there’s a fine line amidst the thick identities that are love and hatred. Where does one draw the line when those paths intersect? All of these are questions that Mudbound takes initiative of. And rather have the film answer them, it permits the audience to make a choice.

Dee Rees’ proficiency in devising this fertile landscape provides a rather callous ode to classic World War II-esque settings. Feeling almost reminiscent (in terms of stylistic features) to iconic pieces of literature such as Of Mice and Men and The Grapes of Wrath. It’s built and represented in such a way that I can’t put to words. Our characters are so reliantly dependent on the world around them that it only avails to the experience even more outstandingly than anyone could’ve ever seen it being like. Virgil Williams does a plausible job with helping establish this world with Dee Rees by co-writing the script. Rather than conducting an inconclusive resolution, he dignifies the basis how through all of this contempt and disgust, figuratively, this so-called mud just continues to build and build upon our protagonists. And the only way to escape this metaphorical “mud”, is through love. Mudbound essentially, breaks boundaries. In the aforementioned, I stated this film is like none other in its genre. Needless to say, this is why. Rees and Williams don’t shy away from provoking the audience. Perplexing them with what our values of love and hope really mean and it’s unforgettable.

There’s an unnoticed level of fear present to this films atmosphere that becomes interwoven into each grueling performance. The task of portraying citizens in a time where racism and hostility like this was common carries its own extensive weight and pressure on one’s shoulders. Not trying to take anything away from the rest of the supporting cast, but Garrett Hedlund, Jason Mitchell and Mary J. Blige are just a few of the overwhelming standouts. Hedlund continues to build a reputation for himself in his burgeoning career whereas Jason Mitchell proves that his performance in 2015’s Straight Outta Compton was indeed no fluke. As he delivers one of the most gut-wrenching supporting roles thus far in 2017. Mary J. Blige additionally provides more scene-stealing material to the astonishing cast across the board. No lack of depth here, and not much else to express.

Unless you’re desperately unboxing and dissecting this film, it’s tough to find any faults that tremendously hinder the already sublime aspects of the three major components of acting, writing and directing. I suppose the progression of the film isn’t as smooth as people might hope for. It might be perceived as something that starts to become a bit sidetracked before it finds its necessary footing. This could be a big turn-off for audiences but if given the correct chances and context, it shouldn’t matter. Excluding that minuscule flaw, everything we’re given is incomparable.

It’s refreshing to see a film among this genre inflicting such a strong emotional bond between our two main protagonists(Garrett Hedlund and Jason Mitchell). Obviously their companionship is somewhat forbidden in a way due to the era in which the film takes place in, but it’s that sense of real friendship and appreciation that gives some sort of satisfaction to the viewer. That is until we’re exposed to the climax. All that needs to be said is that, there’s never been something so daunting and so emotionally oppressive for a film tackling this subject. The already fatalistic tone takes an unexpected turn for the worst. This is uncomfortable, sweat filled, anxiety inducing filmmaking at its most lethal.

Mudbound consists of such precise filmmaking. It’s inner workings might be difficult to achieve under provision for some but once under the proper direction and they’re thriving on all cylinders, there’s no stopping them. The performances, the tone, the theme, the setting, the cinematography, the script, the story—I could go on for ages, but you get the point. It’s an unpolished, influential message to modern society, but more than anything, it’s an admirable period piece from Dee Rees.

Overall Grade: A

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Director: Martin McDonagh
Writers: Martin McDonagh
Stars: Frances McDormand, Woody Harrelson, Sam Rockwell, Lucas Hedges, John Hawkes

Synopsis: In this darkly comic drama, a mother personally challenges the local authorities to solve her daughter’s murder, when they fail to catch the culprit.

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Martin McDonagh continues to prove his versatility in the sub genre of dark comedy by producing some of the most unhinged dialogue of the year in Three Billboards Outside Ebbing, Missouri. However, it couldn’t possibly be a McDonagh film without the severely bleak undertones he presents within the films final act. Quite frankly, I don’t know how he’s been able to pull it all off. All three of the films he’s written and directed have such pessimistic progression which almost every time results in such a horrid, dismal climax. It leaves me and what I’d hope audiences alike perplexed as to where he gets all of the comedic elements from with such dark subject matter. With that said however, Three Billboards is easily McDonagh’s most superior film yet, and is a HUGE contender for this years award season.

There’s a certain level of humanity that’s brought upon each feature film McDonagh has been able to craft. He introduces such absurdist components to his characters and storyline but has this ability to ground everything towards the finale—building such engaging films as he does so. Alternatively, I find it unpleasant that before Three Billboards both of his two projects leave you with some sort of an unresolved denouement between the protagonists and audience that’s enervated from the ambiguity of the climax. If you’ve seen In Bruges or Seven Psychopaths then you know what I’m talking about. Think of it as eating a full course meal but you’re still continuing to be hungry after the situation. It’s that feeling of desiring more than what’s on the surface. And although I was really hoping that wouldn’t be the case here, it takes the same missteps. A handful of movies this year have been suffering from this same problem. Three Billboards does a fantastic job of establishing its protagonists and antagonists while periodically incorporating its erratic tone, but it’s in demand of a more suitable resolution. By suitable, I don’t mean satisfying. I mean something that would persevere with audiences more than ever because of the related topics they’re attempting to tackle.

The film definitely has one of the most superb casts of the year. It’s not just from the pure talent each actor retains (that McDonagh uses to his advantage) but the experience the titular cast features is what authenticates the film and the experience. Frances McDormand puts on display her most earnest performance yet. Showing the regrets she possesses about her daughter’s death but having the audacity to challenge society. She’s absolutely electrifying. She’ll be in the top-tier of an Oscar race for Best Actress with Sally Hawkins. Sam Rockwell continues his streak of playing an amok/dim-witted character. Indeed another hilarious performance from him as the volatile and moronic Dixon. He’s the character with the most prevailing depth and easily has the heaviest arc out of everyone on screen. Woody Harrelson, who despite having limited screen time is worth noting. Depicting a sort of rugged, small-town cop/civilian is what he should pride himself on more. He’s a lot more dominant with these types of roles rather than characters of high figure or power.

The pillars this film rests upon are made up of the already addressed unparalleled screenplay and performances, but another category just as lethal as the other two is the approach taken to how law enforcement handles crimes and incidents. Such as the one given to us in the movie. It’s connection to reality right now for a film like this is as vital as it’s ever going to be. It certainly raises questions of events that are transpiring in modern life today but it doesn’t try to politicize anything by over-saturating that element. It stays applicable to the narrative throughout the exposition and eventually to the last act. McDonagh is in a sense challenging the viewer with everything he’s doing and the way it’s being executed is bloody brilliant.

Even with its lack of a more appropriate conclusion, most of, if not all of Three Billboards is thoroughly enjoyable. The cast is stacked and the script is loaded with McDonagh’s haughty British wit. There’s not much else to be said here besides to look out for it to take home some gold come January and February.

Overall Grade: A-

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Director: Taika Waititi
Writers: Eric Pearson, Craig Kyle, Christopher Yost, Stan Lee (based on comics by)
Stars: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Jeff Goldblum

Synopsis: Imprisoned, the mighty Thor finds himself in a lethal gladiatorial contest against the Hulk, his former ally. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization.

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In the middle of a fight with her younger brother Thor (Chris Hemsworth), Hela (Cate Blanchett) mockingly asks what kind of god is he. Identity was precisely the thing one questioned when the thunderous hammer time in London four years back turned out to be an affair absent of delight or, at the least, fun. As a follow-up, The Dark World was a disheartening one, especially when its predecessor was proof that Marvel can turn its superheroes, no matter how out-there, into enjoyable popcorn-munchers.

Ragnarok, safe to say, is the franchise’s redemption; one that is colorful, in all sense of the word. With funnyman Taika Waititi at the helm, replacing the dullness and even the Shakespearean earnestness is humor—surprising, natural, and diaphragm-bruising brand of humor. The funny bone is targeted almost instantly, with a caged Thor explaining why he’s so to a skeleton. And it continues when he faces his captor, the towering and fire-scarred Surtur (Clancy Brown), dedicating only half of an ear listening to the imminent and inevitable fulfillment of a prophecy: the apocalypse of Asgard.

And, guess what, it continues—to the point danger and despair become auxiliaries. The “oh no” after Mjolnir’s breakage is replaced with all the “hahas” nestled on Sakaar, the interstellar counterpart of plastic-polluted Henderson Island where its flamboyant ruler, Grandmaster (Jeff Goldblum, gloriously nonchalant), hosts gladiator matches against his champion, Hulk (Mark Ruffalo). Revisits to a desperate Asgard in despair do occur, but they move fast to make space for whatever uproarious antics Thor and Hulk will raise alongside liquor-loaded bounty hunter Valkyrie (Tessa Thompson, oozing confidence) plus recurring mischief Loki (Tom Hiddleston). Apologies, almost forgot Korg the cordial (perishable-)rock warrior, who is a trove of witty lines—a result of being voiced and mo-capped by Waititi.

Don’t misunderstand: laughing is great, particularly when the times are trying and especially when all the performers surprise at timing their funnies. It’s just the hit-after-hit of firecracker gags of sight and of speech undermine Blanchett’s efforts to make Hela sensual-yet-deadly, charismatic-yet-wily. But, as it is so visible on the cast’s faces, everyone is having absolute fun bouncing off each other that nearly nothing matters; often are occasions proving that Waititi’s direction is an improv-encouraged kind. Easter eggs and cameo roles benefit from this as they, say Sam Neill, Matt Damon and Luke Hemsworth, get to (momentarily) blend in as intended rather than a “Hey, that’s Stan Lee!” at the first millisecond.  

With a $180 million budget, safe to say the Ragnarok Comedy Troupe has no worries about them being under-dressed or their production being unimpressive. As with Godzilla’s Gareth Edwards, Waititi’s first large-scale filmmaking brush has zero sign of greenhorn-ery. Action sequences are framed with such mastery from d.o.p. Javier Aguirresarobe that a pause equals a painting for the Louvre—or maybe (insert city)’s hottest roller rink since some of them may be coated with either a perfect needle drop of Led Zeppellin’s Immigrant Song or Mark Mothersbaugh’s playful synth score. Waititi and crew have used all the measures to muzzle the rogue “why no color” commenter…

Or rightfully subject them to What We Do in the Shadows’ really harsh punishment.

So what is Thor the god of again, one may ask—with a jollier tone—when this kaleidoscopic superhero laugh-a-thon is over. Strange things have happened to let the God of Thunder evolve since 2011, and Ragnarok, by presenting the strangest ones thus far, truly move the character forward and keep us from dipping the rest of our toe into superhero fatigue. Villainy continues to be vanilla despite the menacing garb, but one still hopes that it will grow less so. It’s the only way for the MCU to secure a high note at its purported end.

Overall Grade: B+

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Director: Marc Forster
Writers: Sean Conway (screenplay), Marc Forster (screenplay)
Stars: Blake Lively, Jason Clarke, Ahna O’Reilly

Synopsis: A blind woman’s relationship with her husband changes when she regains her sight and discovers disturbing details about themselves.

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With all the stylistic elements in that opening love-making scene alone, director Marc Forster shows that he’s “home,” free from the constraints inherent in helming large-scale productions like World War Z and Quantum of Solace. And that is both a blessing and a curse in All I See is You.

Warping, upside-down, slo-mo and snippets of a Michelangelo-esque, um, orgy, it seems like visual overkill—only if the protagonist isn’t blind. Gina (Blake Lively), however, is; her sight gone after a car accident when young and is now wholly dependent on husband James (Jason Clarke) and her imagination. She uses more of the latter, an act which Forster and d.o.p. Matthias Koenigwieser take advantage of to continually hand out luscious bon-bons for the optics. The ways the world interacts with Gina are downright striking throughout, regardless if their design is simple— faintly colored waves of sounds piercing Gina’s milky vision—or less so—laps in a public pool become an endless swim in a dreamy ocean.

Even when Gina gets to see again, the result of an experimental treatment headed by Doctor Hughes (Danny Huston), the direction remains visual-driven. Sights are now less ethereal, and in their stead are vertiginous overhead shots highlighting the literal bigger picture that Gina remains foreign to. Therein lies the problem, however, as All I See is You’s commitment to be scenic reflects its forgetfulness to be thrilling.

That’s a shame since TIFF categorizes the film as a thriller. The script from Forster and Ray Donovan’s Sean Conway certainly fits the mold— inspecting a couple’s breakdown when mystique is gone and absent is the need for the other person—and yet it unfolds as if sedated. The pages seem to make room for storms when Gina, who hates being treated like an impaired soul by James, has a habit of reducing him to a nincompoop (especially regarding sex), but all are vague breezes when translated into sights to see. Perhaps that is why there is a one-year gap between the film’s release date and its premiere at festival.

And right when the tame interpersonal matters show a much-needed sign of bubbling, the film turns off the heat by introducing Gina’s sister (Ahna O’ Reilly) and her over-energized husband (Miquel Fernández). While their presence adds another layer to Gina’s unfulfilled need for graphic intimacy, this subplot is ultimately resolved with a barely-there whimper that fails to justify its inclusion. One can think the same of James’ continual revisits of a botched BDSM session on a night train. In Forster’s eyes, however, these moments are opportunities to introduce more beautiful scenery, to satisfy the inner visualist. Viewers, meanwhile, need him to focus on the story.

Slightly wasted then are the players, particularly Lively and Clarke who display believable chemistry. Lively’s sultry turn here adds another special note to her post-Gossip Girl filmography; Gina is magnetic—always—at a new low due to her weakened sight or at a damaging high from wanting her life to look like others’. The actress is also why we stay seated even when the film abruptly locks itself in an operatic trance to wrap things up after drowning in slowness for two-thirds of its runtime. There, though, (and again) does Forster find “more style” as the reason to push on, which to us reflects his blindness to what makes All I See is You truly functional.

Overall Grade: C

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Director: Richard Linklater
Writers: Richard Linklater, Darryl Ponicsan (novel)
Stars: Steve Carell, Bryan Cranston, Laurence Fishburne

Synopsis: Thirty years after they served together in Vietnam, a former Navy Corpsman Larry “Doc” Shepherd reunites with his old buddies, former Marines Sal Nealon and Reverend Richard Mueller, to bury his son, a young Marine killed in the Iraq War.

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If you’ve never experienced the hardships of losing a family member, especially a sibling or child, then Last Flag Flying will fearfully give you that unwanted state of recession. Not just for the film, but also relating to reality, having someone incredibly close to you pass away is essentially a never ending, abhorrent dream that’ll continue to engulf anyone long after their loss. What makes Last Flag Flying distant from what could’ve been a repulsive 124 minute movie of unexplored grief, it’s the deep culmination that brews when following all of the decisions that come with loss while also establishing and questioning the viewpoints of apposite real world issues.

Richard Linklater’s range of filmmaking is rather unexpected when taking into consideration the broad spectrum of genres and personal techniques that he induces in to his earlier projects. He’s obviously made a name for himself by specializing in those low-budget, feel-good films like Dazed and Confused and The Before Trilogy but can deliver projects clear out of the blue like Boyhood or Bad News Bears. Last Flag Flying falls somewhere right in the middle. Even with its adaption from the novel and time period of the early 2000s in which it takes place, it feels more significant now than it ever could have possibly been without Linklater attached. Not just solely because of him, but also because of the absolutely exceptional ensemble cast he’s equipped his film with.

This trio of actors that each hold a spot as a main character, have some of the most riveting details when they spend time reflecting on the past and future. Each actor coming from such diverse filmography but successful backgrounds make this film simply, so real. Linklater pens the development of each persona in contrast to Carell’s character. Cranston is the free spirit, whereas Fishburne is the voice of reason. It’s when the difficulty that Carell’s character occurs that Cranston and Fishburne undergo their own significant development. They’re all simultaneously building this grand emotional arc between the three characters just in different ways they can each cope with it. We know the feeling between each character is mutual, but the pure talent Linklater has from page-to-screen feels like they’re all going through different changes albeit being similar.

Before moving on, I feel obligated to bring up why Last Flag Flying, even with its near-perfect execution, suffers from a shortlist of virtually uncontrollable faults. For one, in the midst of the emotional depth being built, there’s a short patch in the aftermath of the exposition where you’re not exactly sure where the film’s heading. There’s a couple of scenes that bring this element of how the film feels like it’s just going to be a short forthcoming of our central characters, putting to rest all of the unmatched potential you can see it achieving. Eventually and thankfully, crucial events are finally set in motion to put the film on the right track. I suppose this is also just a personal nitpick, but after the final presence of the climax, I suppose you can say I just wanted a bit more of solidity of what were given from Steve Carell’s character and from everyone else in general. It’s probably something that depends on the type of audience and frankly just who’s watching it but sadly for me it felt a bit unmatched.

The lack of fulfillment from the resolution is made up in the department of character development and tone. Although mostly serious, for its own good it’s comedic at perfect moments. Not just for scenes in need of comedic relief but also in just scenes of dialogue with characters interacting with on another. There’s one scene in particular where all three laugh constantly at the stories they’re reminiscing on which only makes the audience laugh even harder. But disregarding the flawless tone and development, it’s the spectacular performances across the board that make the film thrive so well.

Even with the discrete yet small number of flaws it suffers from, Last Flag Flying is brilliant. Every category that exists within it is impeccable in terms of how it’s being portrayed. It’s definitely one of Linklater’s most solid pieces of work as of late. I think it has the chance to leave an even bigger mark over time if given the right chances and audience.

Overall Grade: B+

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