Fantastic Beasts and Where to Find Them (2016)

Fantastic Beasts and Where to Find Them is the long awaited film expansion of J.K. Rowling's Harry Potter universe.  The film takes us back to New York City in the 1920s, where we meet Newt Scamander (Eddie Redmayne), who is something of a magical Doctor Dolittle.  When a small mix-up happens at a bank, regular citizen Jacob Kowalski (Dan Fogler) finds himself in possession of Newt's magical briefcase, which contains all of the creatures he's collected in his travels.  To add to Newt's troubles, there is also a strongly anti-magic organization stirring up protests around New York.  Naturally, almost all of the magical beasts get loose.  With the help of sisters Tina (Katherine Waterston) and Queenie Goldstein (Alison Sudol), they set about to recapture all of the missing creatures.  Unfortunately, the Magical Congress of the United States Of America (America's version of the Ministry of Magic) is out to capture Newt Scamander for their own reasons.
For the most part, I found this movie quite enjoyable, with the exception of a few small items.  One issue this film has is the size of the cast.  There are just a few too many characters to give everyone equal screen time, and at times, the plot becomes a touch muddled because of it.  For instance, I think there was far too much time spent focusing on Mary Lou Barebone (Samantha Morton) and her clan of disturbed children for what was essentially a one-note plot point.  Also, there are some barriers for those unfamiliar with the original books (and the Harry Potter source material).  I found myself especially puzzled with Percival Graves (Colin Farrell).  I had very little idea of his exact position within his organization, much less what his title of auror meant, if anything.
Despite these minor complaints, Fantastic Beasts is a lot of fun to watch.  The film takes every advantage when it comes to 3D technology, and doesn't spend it all in the opening moments of the film, like many others have.  The depth of detail and imaginative creature design is wonderful to witness, and adds that extra touch of magic needed for a story as grand as this.  Sadly, I feel that the non-3D version may not feel half as engaging, considering there is such heavy use of effects.  As I mentioned before, I am only familiar with the Harry Potter film franchise, but according to my wife, there are plenty of references, both large and small, for Potter fans to talk about.  As a film-only fan, I did pick up on a handful, but the majority were lost on me.  Interestingly, these references never felt obvious or overdone to me, which is refreshing for a movie that takes place in such a well known world.  Contrast this with the constant name-dropping seen in the Marvel movies, and you'll begin to see what I mean.  Then again, I haven't read the books, so you can judge for yourself.
The cast is solid all around.  Eddie Redmayne is charmingly inquisitive, in spite of his social awkwardness.  Katherine Waterston's Tina provides the perfect match for Newt with her sharp wit and determined attitude.  While Colin Farrell is competent as Graves, Newt's authoritarian adversary, the true show stealers are Kowalski and Queenie.  You can't help but love Dan Fogler as the simple, working man who becomes fascinated with Newt's magical world.  Alison Sudol plays Queenie with an infectious enthusiasm as well as a spark of mischief.  The two play off of each other wonderfully, and exhibit more on-screen chemistry than the main characters, in my opinion.
Fantastic Beasts is an exciting film, full of visual wonders.  A certain level of depth will be lost on those unfamiliar with the Harry Potter universe, but it is still very accessible to any movie goer.  With several sequels in development, now is the time to watch if you want to follow this series!

Home Alone (1990)

For those of us who grew up in the 90s, Home Alone needs no introduction.  It was the film that launched Macaulay Culkin to superstar status, and has since been shown on television every Christmas to this day.  Also, Home Alone was responsible for the brief fad of kids carrying around pocket tape recorders, but that's really neither here nor there.
Home Alone tells the story of Kevin McCallister (Macaulay Culkin), the youngest of his large family, often ignored and bullied.  When Kevin's family leaves for a Paris vacation for the holiday season, Kevin is left behind and is forced to look after himself.  At first, Kevin has fun doing everything he's not supposed to do, but soon loneliness makes things scary for the eight year old.  Meanwhile, Kevin's family, realizing they've forgotten him, make efforts to return home on Christmas Eve.  It's at this point that Harry and Marv (Joe Pesci and Daniel Stern), a pair of two-bit burglars enter the picture.  When Kevin realizes they plan to break in and rob his house, he designs a set of elaborate traps to stop the bumbling thieves in their tracks.  The results are hilarious and heartwarming, making for an enduring Christmas classic.
Naturally, we all remember the crazy pranks and slapstick comedy of Home Alone.  What most don't remember is that it was written by John Hughes, the man responsible for such teen classics as Ferris Bueller's Day Off and The Breakfast Club.  This shows in the early scenes especially.  It's easy to imagine Kevin as a very young Ferris Bueller, even down to the creative mannequin usage.  As well, Kevin has a few amusingly grown up moments, such as buying groceries for himself and considering which toothbrush is right for him.  The John Hughes style is evident in the true story Home Alone tells.  When you strip away the comedy antics, Home Alone is a story about trust and kindness.  From almost the very beginning of the film, we are introduced to Kevin's salt shovelling neighbor Marley (Roberts Blossom), who he is irrationally terrified of.  As the film progresses, Kevin learns that he is actually friendly, and nobody to be afraid of, and is ultimately rewarded for taking that first step of trust.  This deftly handled emotional story is what sets Home Alone apart from other films like it, and it is because of the great writing of John Hughes.
Another thing many people forget about Home Alone is that its score was nominated for an Academy Award.  Composed by John Williams, the iconic music reminds the audience of Christmas, childhood fun, and even the fears of being alone as a young child.  If not for the impressive list of John Williams film scores, it's quite likely Home Alone would get more recognition for its music today.
The pure comedy that Stern and Pesci bring to the table added to the sharp performance of Macaulay Culkin make this film a winner from scene one.  The score and brilliant writing solidify these elements into one of the most memorable Christmas films of the past several decades.  

Die Hard (1988)

November is a strange time for a movie viewer.  Halloween has passed, so it doesn't feel quite right to watch horror films.  On the other hand, it's a little to early to watch the traditional Christmas films.  What I like to do during this time is watch movies that are set during Christmas, but don't have a direct connection to the holiday season.  For me, no movie better exemplifies this idea than Die Hard.
In Die Hard, we are introduced to John McClane (Bruce Willis).  John is a hard working NYPD cop, and is visiting Los Angeles to see his estranged wife Holly (Bonnie Bedelia), who has signed on with the Nakatomi Corporation.  The night John arrives, Nakatomi is holding their Christmas party at Nakatomi Plaza, their new (and partially unfinished) office building.  Before John can have a proper discussion and reconcile with his wife, Nakatomi Plaza is taken over by a group of German terrorists led by the cold and calculating Hans Gruber (Alan Rickman).  Interestingly, this isn't a typical hostage situation.  Gruber and his team are really after the valuable contents of Nakatomi's vault.  When he's left separated from the hostages, John McClane does his best to stop the terrorists while the LAPD sits on their thumbs and media crews scramble to get the story.  McClane does have a little help from the outside in the form of beat cop Al Powell (Reginald VelJohnson), the only cop who believes John isn't a threat.  Unlike many other action films, Die Hard is smartly written, and has its share of insightful dramatic dialogue in between the explosive action (and there's certainly plenty of it!).  This is an important reason why it's such a memorable movie, and why John McClane is such a memorable character.
Die Hard was such a popular movie that it spawned multiple sequels, and is still very well liked today.  So, what is it that sets John McClane apart from so many other action heroes?  It's that he's an average person like you or me.  John McClane isn't a crack shot like Rambo, and doesn't have any superhuman abilities like the Terminator.  Even though he has an extraordinary amount of confidence, he's just as terrified of the situation as any of the hostages involved.  He can't fire a machine gun expertly, he gets injured often, and he has to do all of this without shoes!  Bruce Willis uses these elements to create a brilliantly memorable hero.  Every heroic feat John McClane achieves feels that much more dramatic and exciting for the simple fact that he is like one of us.
As good as Bruce Willis is, he would be nothing without a great villain to play against.  Thankfully, Alan Rickman brings exactly the menace required to portray Hans Gruber.  From the moment he is on screen, Hans Gruber has a commanding presence.  Even before we know his motives, we know Gruber means business, and will never take no for an answer.  Gruber is a man who wants control, and as John McClane begins to alter the situation, he begins to lose control over his own reactions.  Alan Rickman plays out these tightly wound emotions beautifully.  We get a real sense of Gruber's frustration and boiling anger underneath his cool exterior.
Is Die Hard a good movie?  Absolutely.
Is Die Hard a Christmas movie?  It's entirely up to you!  

Doctor Strange (2016)

The latest in Marvel's ever-expanding film universe, Doctor Strange explores the magical side of the Marvel universe.  Stephen Strange (Benedict Cumberbatch) is a gifted surgeon, but has an attitude on par with someone like Dr. Gregory House.  His only concern is maintaining his own renown in medicine and keeping up with his lavish lifestyle.  After his hands are badly damaged in a car accident, Strange is forced to search for alternatives to medicine to cure his ailment.  This search leads him to Nepal, where he learn the secrets of magic and mysticism under a mysterious woman known as The Ancient One (Tilda Swinton).  Meanwhile, Keacilius (Mads Mikkelsen), a former student of The Ancient One, has discovered forbidden knowledge and is acting on it in the most dangerous way.  Together with his teachers, and some clever manipulation of time and space, Doctor Strange must fight the forces of chaos in order to protect the Earth from the destructive entity known as Dormammu.
For comics fans and newcomers alike, Doctor Strange is a great entry in the Marvel filmography.  The story follows the fairly traditional path of classic Samurai films, with a bit of the fantastic added to the mix.  The plot may feel familiar to some, but it's so well done, only the most jaded of movie fans will feel bored by it.  Benedict Cumberbatch plays Doctor Strange very well.  Over the course of the film, we see him change from arrogant to angry, and finally to a man in command and control of himself.  His personal transformation is believable, and it's what drives this film forward.  In particular, his scenes with Rachel McAdams (as love interest Christine Palmer) illustrate this change of character fully.  During the scenes of Strange's training, Tilda Swinton also has some good moments as the wise master figure.
This film has a lot of very cleverly done visuals.  The 3D effects are particularly well executed, with many kaleidoscopic transformations of ordinary settings.  I'm not certain how well these effects translate to non-3D, but they were impressive in the format I saw them in.  One of the things I appreciated most as a comics fan was the film's depiction of Dormammu and his chaotic dimension.  They are shown in an abstract way, yet the evil they represent is made very clear.
Doctor Strange is a breath of fresh air for the Marvel movies, showing the audience something a little different than the usual super-science or simple fist-fighting heroes.  It will be interesting to see how Doctor Strange will fit into a team setting, although one of the post-credits scenes hints at a possible ally.  If you're a fan of the comics, or just bored with traditional superhero films, Doctor Strange is a great way to see a new side of the superhero genre.

Mascots (2016)

Christopher Guest's Mascots premiered at TIFF earlier this year, but is now available to stream exclusively on Netflix.  This time around, Guest takes takes aim at the subculture of mascot performers, with the action focused around the annual 'Golden Fluffy' competition for excellence in the mascot field.  For those unfamiliar with the Christopher Guest style, the film takes the form of satirical documentary (or 'mockumentary', as it's commonly known), following the various characters through their journey in the competition.  If the film can be said to have a main character, it would be Owen Golly, Jr. (Tom Bennet), a British soccer mascot who is desperately trying to get out of the shadow of his father, who used to perform the same character.  In addition, we are introduced to people like Cindi Babineaux (Parker Posey), a woman who takes what can only be described as a unique approach to being a mascot.  Various others round out the cast, but the story, such as it is, focuses mainly on these two.
As mentioned above, this film is more a series of amusing, semi-improvised events than a true story of any kind.  In a purely comedy driven sense, this works well, but those expecting more in the way of story may be disappointed.  That being said, the cast works well with what they're given.  Past Christopher Guest veterans Euguene Levy and Hank Azaria are sadly not included in this outing, although many others (Bob Balaban, Jane Lynch, Chris O'Dowd) are present, mixing with newcomers such as Zach Woods (formerly Gabe on The Office) and Sarah Baker.  For me, these two provided many of the laughs as a dysfunctional couple who both work as mascots, resulting in a disastrous performance at the competition.  Strangely, some of the most amusing things about this film are purely incidental, throw-away moments.  Things like fully dressed mascots working out the logistics of using the bathroom, or outlandish looking characters playing cards to pass the time.
Not every joke or character in Mascots is perfect, but it's a very enjoyable, funny movie.  I don't feel it quite reaches the heights of Best In Show or This Is Spinal Tap, but it's certainly worth a watch, especially for Christopher Guest fans.

Read This! - Letter 44 (Vol. 1)

Read This! is made possible by The Gauntlet Comics and Games

Published by Oni Press, Letter 44 is tells the intriguing story of President Stephen Blades.  Shortly after his inauguration, he finds a mysterious letter in the Oval Office.  The letter, written by the previous president, tells Blades about a secret government space mission.  This mission has had next to no contact with Earth for the past several years.  While Blades goes about taking the steps to contact and learn more about the team of soldiers and scientists, the crew of the Clarke has more immediate things to deal with.  The discovery of a gigantic alien vessel complicates things, as does the pregnancy of a key member of the team.  Meanwhile, certain groups are aiming to keep the president in the dark about what's going on, and are taking drastic measures to make sure the public doesn't know.
Charles Soule (current writer of Daredevil) does a great job with this story.  It's well balanced between the space exploration and the political cloak-and-dagger tale.  Soule has a knack for tension and keeping the reader guessing.  As a reader, you're never quite certain you have everything figured out.  When you feel as though you have a handle on the situation, something completely unexpected will happen, leaving you to puzzle over how these new events fit into the bigger picture.  The art style of Alberto Jimenez Alburquerque fits quite well with the story.  Each character design is distinctive, so it's always clear who's who, which is very important with the sizable cast Alburquerque has to work with.  As well, his attention to facial expression helps to humanize the characters.  The art of the space scenes is especially well done, and communicates the feeling of zero gravity better than any space comic I've read in a while.
If you or someone you know is into science fiction and/or political thrillers, this is exactly the book you're looking for.  There are a few other volumes in this series as well, so now's a great time to get that Christmas present for the comics fan on your list!  The Gauntlet Comics and Games has got what you need.  Tell them Dave sent you!

Inferno (2016)

Based on the best selling book by Dan Brown, Inferno is the latest entry in Ron Howard's suspenseful film series.  This installment finds Professor Robert Langdon (Tom Hanks) in an Italian hospital, victim of a mysterious head wound and amnesia.  Soon, a few pieces of a larger puzzle are revealed, as Langdon and his attending physician Sienna Brooks (Felicity Jones) are chased across Europe by police officers as well as agents of the W.H.O.  Add to this the mystery of a deceased billionaire with a dangerous philosophy, clues surrounding the work of the poet Dante, and a hidden biological weapon, and this becomes a recipe for danger-filled adventure.
One of the first things that struck me about Inferno was the departure in tone from previous films in this series.  The film immediately grabs you by the neck and shakes vigorously.  With some expertly done editing and makeup/effects work, Inferno displays a nightmarish world that is at once shocking and confusing, reflecting the current state of Robert Langdon himself.  After this, things calm down a bit, and we begin to see the different pieces of the puzzle that has been prepared for our hero.  Interestingly, this puzzle solving format only seems to last for about half of the movie.  After this, the characters become as puzzling as the clues that have been followed.  In fact, I found myself so wrapped up in piecing together the clues hidden in Renaissance paintings and art objects that some of the biggest plot reveals took me completely by surprise, which is exactly what this type of movie should deliver.  Director Ron Howard makes great use of authentic locations in the film, which makes for an incredibly beautiful viewing experience, as well as reinforcing the feeling of secret history being discovered.
For the most part, I found the cast did an excellent job.  However, I found the performance of Felicity Jones a little on the flat side.  It wasn't necessarily bad acting, but I felt that Sienna Brooks was simply there to facilitate the plot movement, and didn't feel like a fully rounded character to me.  That being said, the performance of Tom Hanks and the rest of the cast make up for it.  In particular, I enjoyed the work of Ana Ularu as a trigger-happy police officer, and Omar Sy as a determined W.H.O. agent.  Also, Irrfan Khan is worth a mention as the professionally dangerous company man, Harry Sims.
I don't remember the previous films in the series very clearly, so I'm sure a few moments were lost on me, but I still found Inferno accessible to an essentially new viewer.  There are only a few small callbacks, but it's enough to make one want to go back and watch the previous movies.  If you're into mystery, history, and suspense, Inferno is a perfect movie for you to check out!        

House On Haunted Hill (1959)

Prior to this writing, my only experience of this film was the 1999 remake, which I saw around this time some years ago while recovering from dental surgery.  I remember it being serviceable, but not particularly good or memorable, as is the case with many remakes.
The original House On Haunted Hill begins in a jarring, but effective way.  A black screen is presented, followed by a number of sounds, such as rattling chains, and blood-curdling screams.  Then, out of the blackness appears the head of Watson Pritchard (Elisha Cook Jr.), warning the audience of the harrowing experience that awaits them.  After this, we're introduced to the rest of the cast, via the narration of eccentric millionaire Frederick Loren (Vincent Price).  Loren has offered five guests a chance at ten thousand dollars if they are willing to spend the entire night in a haunted house, along with him and his wife.  Of course, things aren't quite as simple as this, as Loren's wife Annabelle (Carol Ohmart) is planning to murder her husband that night.  The guests are each given a gun 'for protection', and are left to defend themselves from the threat of the supernatural, as well as each other.
Technically speaking, House On Haunted Hill was ambitious for its time, but the effects are laughable by today's standards.  Thankfully, the film takes a greater focus on the paranoia caused by the hauntings, rather than the spirits themselves.  There is a great deal of storytelling surrounding the house's dark history that serves to build atmosphere and builds the tension for the scares that follow.  The cast does a good job of performing the terror of the situations, but it's clear from the beginning that Vincent Price is the star.  His scenes with Carol Ohmart are particularly good.  Price has a way of reading a line that might seem romantic drip with murderous subtext.  Ohmart provides the prefect foil for his sinister character, and responds in kind with a coldness and dark subtext of her own.
I didn't find myself particularly surprised by any of the film's events, but I think this is a case of personal context more than anything else.  House On Haunted Hill uses several horror tropes that by today's standard seem cliched and common, but in 1959, these were likely a little fresher to horror audiences.  For that reason, I think it stands as one of the more important films in the 'haunted house' sub-genre of horror.  If you don't mind a few campy effects and are looking for a decent scare leading up to this Halloween, this is a good place to start.

The First Three - Luke Cage (2016)

Statistics have shown that it takes a few episodes for a viewer to get hooked on any given series.  On average, the number of episodes is three. (thus my title) With this in mind, I welcome you to the first in a series in which I will review shows based on the first three episodes.  In this first edition, I'll be looking at the new Netflix original, Luke Cage.
To those unfamiliar with the character, Luke Cage (sometimes known as Power Man) is a Marvel Comics character who has been around since the 1970s.  The new Netflix series, produced by Marvel and ABC Studios, brings Luke Cage into the here and now, sharing the TV universe of other heroes like Daredevil and Jessica Jones.  Although Luke Cage's powers include super-strength and unbreakable skin, he tends to keep a low profile in the first episodes of this series.  This is in large part to the fact that Cage (Mike Colter) is a man who is running from his troubled past.  Luke does his best to live a quiet, trouble free life in Harlem while people like the gangster 'Cottonmouth' Stokes (Mahershala Ali) and his cousin Mariah (Alfre Woodard), a misguided, if not crooked politician, cause problems that end up affecting the whole neighbourhood.  When a violent tragedy strikes Pop's barber shop, the local social hub, (and one of Cage's workplaces) Luke realizes the impact crime is having on Harlem, and sets out to use his powers to make a lasting change for the city.
One of the most striking elements of Luke Cage is just how steeped in black culture the show truly is.  From background jazz or rap music to discussions of basketball and even black poets and writers, the show covers just about everything.  There were several references that I didn't understand, but this is one of the things that excites me about the show.  It gives me the feeling that the writers know what they're talking about, and that there is true authenticity in the dialogue.
Much of the black community has voiced their support of the show and its cast, though there is some divisiveness over the show's more political elements, such as the use of certain racial language, or Luke Cage's hoodie, a possible reminder of the Trayvon Martin case.  While these things may be uncomfortable for some, I feel that it's all done in the name of authenticity, and the shows writers and producers should be applauded for it.  The show acknowledges the daily issues I'm certain many black people face, while at the same time, not going the route of stereotyping.  From a writing standpoint, this is a difficult balancing act, but it has been done to perfection here, and the show deserves recognition for that alone.  
Another reason the show is so successful is the performance of Mike Colter in the iconic title role.  Colter's Luke Cage is soft spoken, yet powerful.  He will defend himself physically, but doesn't go out looking for trouble.  Throughout the series, we also get glimpses of Cage as a man conflicted by his past, and dealing with feelings of guilt.  Mike Colter brings great depth and seriousness to the character, and he's helped by an outstanding supporting cast.  The women of the series are especially compelling characters for me.  Simone Missick plays the street-smart detective Misty Knight with just the right balance of sharp wit and sex appeal.  Alfre Woodard's portrayal of Mariah is wonderfully complex.  It's clear from Woodard's performance that Mariah believes she is doing the right thing, even though she is doing it in the most unethical of ways.  In my opinion, she may be the most interesting character on the show after Luke Cage himself.
To sum up, Luke Cage is a show that will appeal to not only long time comic fans, but to people who are entirely new to the character.  It contains fantastic action sequences, as well as real human drama.  Luke Cage is great not only for its entertainment value, but is equally valuable for its social commentary.  If you haven't seen it yet, I highly recommend you try watching at least the pilot episode.  Even if it's not to your taste, it will certainly leave you with a few things to think about.

Read This! - Prometheus: Life and Death

Read This! is made possible by The Gauntlet Comics and Games

I was unaware when I picked it up, but Prometheus: Life and Death is part of a larger collection of crossover stories by Dark Horse Comics.  Together, the Life and Death minis bridge the gap between the Alien and Predator universes, and judging by the Prometheus entry of this series, it's done fairly well.
The story, set near the time of the film Aliens, as opposed to Prometheus itself, concerns a team of Colonial Marines who have commandeered an alien ship (a Predator ship, to be exact, though they don't know this), but are faced with unexpected dangers when a member of the near-invincible race known as the Engineers is awakened on board.  The Engineer takes control of the ship and brings it to the planet known as LV-233, home of the Engineers.  While on the planet, the Marines band together with a small band of survivalists (and one very unlikely ally) who are defending their xenomorph infested outpost.  From this point, they devise a dangerous, all-or-nothing plan to get a ship and escape the planet.
Visually, the art of Andrea Mutti and Rain Beredo matches well with the concept art H.R. Giger provided for Prometheus and the original Alien films.  My only complaint is there are a few panels where the xenomorphs have been depicted as having eyes.  It's clear that writer Dan Abnett has a feel for what these films represent.  There is a definite feeling of dread as you read through the story's events, and the moments of violence and horror punctuate scenes very well.  There is some amount of character shown, though much of it takes a backseat to the action.  As in the films, Abnett reinforces the idea that we're following the journey of a few regular military grunts who just want to get out alive and go home.
Prometheus: Life and Death is a short, but entertaining adventure in the Alien/Predator universe.  The surprising amount of backstory leaves me wanting to check out the other pieces of this series, as well as past comics material Dark Horse has put out over the years.

Pan's Labyrinth (2006)

Pan's Labyrinth recently celebrated its 10th anniversary with a screening at the Toronto International Film Festival, so I thought it would be a great time to look back and examine what makes this Guillermo del Toro film so special.
The film takes place in the late years of World War II, in Francisco Franco's Spain, which is still recovering from the Spanish Civil War.  A young girl named Ofelia (Ivana Baquero) and her pregnant mother Carman (Adriana Gil) have been displaced, and taken in by Vidal, a captain in the Spanish army.  While Vidal defends his outpost from guerilla freedom fighters and attempts to root out sympathizers in his ranks, Ofeila is more concerned with her mother.  Carmen's pregnancy is a difficult one, and Ofelia is concerned that her mother may not survive.  Ofelia encounters a faun, who gives her three tasks to carry out.  Not only will these cure her mother's illness, but the faun claims Ofelia will become immortal if she performs her tasks correctly.
One of the things I find interesting about this film is that it is told entirely in Spanish, with subtitles.  Guillermo del Toro could have very easily made Pan's Labyrinth in English, but I am thankful he chose not to.  While subtitles aren't to everyone's taste, I find this style choice to be the most authentic to the cultural setting.  It feels completely natural for the film to be presented in this way.  To have the same film in English would be to settle for a cheapened experience.
The contrast of brutal realism with dark fantasy is one of the things that makes Pan's Labyrinth work so well.  The score by Javier Navarrete mirrors this tone incredibly well.  There are notes of the whimsical tempered by terror and tension as the story develops.  The film has an incredibly strong cast, which also helps to draw the viewer in.  In particular, I was captivated by Sergi Lopez's performance as the cruel Captain Vidal.  His mercurial anger is as terrifying as the script intends, and makes you all the more concerned for the safety of the others.  Alex Angulo is also very good as the determined Doctor Ferreiro, who plays a dangerous game by helping the rebel camp in secret.
My review wouldn't be complete without talking about the incomparable work of creature actor Doug Jones, who performs both the fascinating, yet dangerous looking faun character as well as the baby-eating monster known only as 'the pale man'.  Jones uses every part of his body to create these iconic characters, but this is only half the story.  These performances would be nothing without the masterful technical work of prosthetics and special effects.  While the fantasy sequences in this film are brief, they are so richly detailed that they are the most memorable and iconic scenes from the film.  Credit is also due to the production design team for creating such a finely detailed and fully realized world.  
To sum up, Pan's Labyrinth is still as incredible a piece of film as it was ten years ago.  The characters are strongly written and brilliantly acted.  The effects work is beautifully well done, and solidifies the otherworldly nature of this movie.  In addition, Pan's Labyrinth was a film that catapulted Guillermo del Toro into his position as one of the most visually distinctive and sought-after directors in Hollywood.  In short, it's a high point in the ever-expanding del Toro filmography.  

Mr. Nobody (2009)

Mr. Nobody is the surrealistic tale of a man known as Nemo Nobody.  Some time in the distant future, the one hundred and eighteen year old Nemo is now the last living mortal on Earth. (humans having discovered medical immortality)  A reporter secretly finds his way into his hospital room in order to interview him and find out the details of his life.  Nemo tells the story of his three distinct lives, insisting that they all happened.  We witness the different ways his life unfolds with Elise, Anna, and Jean, each of whom were married to him.  As the stories play out in jumbled bits and pieces, things slowly become stranger and stranger.  Finally, we are led to a final explanation that makes everything, impossible as it is, make sense.
Mr. Nobody is, at its heart, an experimental art film.  This is evidenced by the number of awards it won on the European film festival circuit, and the lack of attention it received in North America.  The visuals of the film echo other similar works such as Terry Gilliam's Brazil, or the dreamlike works of David Lynch.  This dreamlike quality even carries into the camera work itself.  Some scenes are prone to shift in and out of focus, or to run in reverse, reinforcing the confused nature of the narrative.
The narrative itself is good, but also frustrating for those who expect a traditional story.  At about the midway point, I found my attention wandering.  This was simply because of the slow paced and confusing nature of the story.  There is no way to tell what is truth or fiction, and because of this, I found it incredibly difficult to become emotionally invested in any character.  This is not to say that the cast doesn't deliver a solid performance, however.  Jared Leto does quite well with such a challenging role.  This is helped by a top rate makeup department, who provided some of the most captivating, realistic looking age makeup I've seen in some time.  My only true criticism is that Nemo appears to magically lose his British accent when he becomes an adult, though the plot does have a built in excuse for any inconsistencies.  Of the three wives in the film, Sarah Polley delivers a frighteningly believable performance as a woman suffering from an extreme form of bipolar disorder.  Acting-wise, I think Polley's scenes are some of the best in the entire film.
As the film descends into more dreamlike surrealism, the intent of the film as an art piece becomes much more clear.  These sequences are the most visually interesting, and a welcome change of pace from the rest of the film.  I found the final revelation of the film quite satisfying, but I can completely understand how it might leave many viewers frustrated.  As I said at the beginning of this review, Mr. Nobody is an experimental film about memory and choices.  On that conceptual level, it works remarkably well.  Unfortunately, in the terms of a traditional narrative, it's incredibly difficult to like or care about the characters.  So, if you choose to see Mr. Nobody, it's important to go in with the right expectations, or else you're going to be sorely disappointed.  If you're a fan of the unusual in film, or like to challenge yourself with your media, this will be right up your alley.  If you prefer your stories to have a proper beginning, middle, and end, this probably isn't for you.

Read This! - Thief of Thieves (Vol. 1)

Read This! is made possible by The Gauntlet Comics and Games

Thief of Thieves, published by Image Comics, tells the story of one Conrad Paulson, aka Redmond, a master thief on the FBI's most wanted list.  Interestingly enough, Redmond has decided to get out of the game.  While we see various flashbacks of his old life, we discover that Redmond's son Augustus is in prison.  In order to get him free, Redmond works out a deal with Elizabeth Cohen, one of the FBI agents assigned to track him down.  He agrees to do one last job, and assembles a team to rob one of the biggest players in his business.  Things don't go quite as planned on either side, and Redmond is left to make some serious decisions about his future.
Creator Robert Kirkman, best known for The Walking Dead, shows with this book that he can do more than capes and zombies.  Thief of Thieves contains a number of familiar character types and situations, but there are enough surprises to keep things interesting.  Writer Nick Spencer delivers appropriately hard-boiled dialogue and narration, along with some memorable action scenes.  The art style of Shawn Martinbrough matches the tone of the book very well.  The thick ink lines bring to mind newspaper detective comics of old.  One of the things I found most interesting about this book was the panel structure, which one could say is the cinematography of comics.  The majority of panels are full-page width (widescreen for comics, in other words), mixed with a handful of full-page splash panels that enhance the dramatic effect of key story moments.
Thief of Thieves seems tailor-made for an episodic medium like television, which is likely why it's currently in development with AMC.  If the success of The Walking Dead is any indication, Thief of Thieves could be the next big thing, so now's a great time to discover the original material for yourself!

The Phantom of the Opera (1925)

First, a few words about silent films:
Considering the advances in film technology over the past century or so, it can be difficult to appreciate the simpler form of silent film.  I find it helps to remember the context of the time period.  Back in the 1920s, the art of film was in its infancy.  Directors had no true idea what would work for any given audience, and so films were made to appeal to the broadest audience possible.  In addition, film was able to transport audiences and give them experiences that were simply not possible with other mediums like books.  This means that by today's standards, silent films often have shots that seem to linger far too long, or performers who appear to be constantly overacting with their facial expressions.  However, if you can look past these things, and allow yourself to be absorbed with the story, you may begin to discover some of the foundations of great filmmaking.  As 2011's The Artist taught us, there was a reason motion pictures became popular, even without the use of sound.

The Phantom of the Opera, based on the classic novel by Gaston Leroux, concerns a mysterious patron of the Paris Opera House.  He begins to make strange demands of the casting of the operas, and things take a sinister turn when his demands are not met, and people end up dead.  Many believe the opera house is cursed or haunted, but these mysterious happenings are the work of a man known only as 'the Phantom' (Lon Chaney).  He takes a special interest in the singer Christine Daae (Mary Philbin), and lures her into his lair underneath the opera house.  There, she discovers that the Phantom wants to have her star in an opera he has composed.  However, she also makes the discovery that he is hideously deformed.  The Phantom allows her to leave one last time, but only on the condition she leaves her lover, the Vicomte  Raoul De Chagny (Norman Kerry).  Christine refuses his demands, and as a result is kidnapped and held hostage by the Phantom.  What follows is a daring rescue mission organized by Raoul along with the French police and opera staff to stop the Phantom's plans before he destroys the opera house.
This film makes great use of large sets, giving the story an appropriately grand feeling.  The costuming is also excellent, particularly in the masked ball scene.  You get a true feel of the decadence of the era shown onscreen.
Unlike the more sentimental Andrew Lloyd Webber version, this film pulls no punches concerning the grotesque nature of the Phantom.  In fact, Mary Philbin's Christine appears to be thoroughly horrified by the Phantom even before his unmasking.  The makeup is, of course, one of the biggest talking points of this film.  While he went uncredited for it, it is now accepted knowledge that Lon Chaney created his own makeup for this film.  The skull-like face is still considered one of the most accurate depictions of the Phantom as described in the book.
One of the most important legacies of The Phantom of the Opera lies with its star, Lon Chaney.  He would go on to earn the nickname 'the man of a thousand faces' for his groundbreaking work and performances with makeup.  In later years his son, Lon Chaney Jr., would bring to life such classic horror characters as the wolfman.  In addition, this film was the beginning of what would become known as the 'Universal Monsters' franchise, one of the most enduring and historically important collections of horror films today.  It's unsure if Universal will return to the Paris opera house anytime soon, but with the relaunch of the franchise in the near future, it's quite possible we'll see a new generation's Lon Chaney on screen soon enough.  

Chicago (2002)

"In this town, murder's a form of entertainment," says Matron 'Mama' Morton (Queen Latifah) early on in Chicago.  This is a very precise description of the story told in this film.
Set in 1920s Chicago, we are told the story of Roxie Hart (Renee Zelwegger), an aspiring vaudeville actress who accidentally kills a man who promised her fame and fortune.  She's sent to prison where she meets Velma Kelly (Catherine Zeta-Jones).  Her story is similar, except she's a legitimate vaudeville star, and did the deed on purpose.  Realizing the she's on death row and time is short, Roxie enlists the help of lawyer Billy Flynn (Richard Gere), who will represent anyone for the right price.  As it turns out, Flynn is also defending Velma in court at the same time.  What follows is a dramatic, and often dishonest, battle for fame in the Chicago courtrooms told in the tradition of vaudeville song and dance.
Along with other films like Moulin Rouge, Chicago is responsible for reigniting an interest in musical films.  It also did remarkably well at the 2003 Academy Awards, winning best picture over more serious films like Gangs of New York.
Chicago has an interesting premise, in that the internal dialogue of the characters is told in song and dance.  Vaudeville is central to the plot, and the film uses all the facets of the prohibition-era entertainment to great effect.  Over the course of the film, we see everything from tap-dancing to comedy to ventriloquism.  There's seldom a moment without an accompanying song.
As well as the music, the film borrows some techniques from vaudeville as well.  In place of more high-tech methods, the film makes use of traditional theatrical effects like mirrors, well-placed lighting, and even the use of scarves to simulate blood in one number.  It all works very well together to give the audience the feeling that they're front-row center at a Broadway production.
The cast are all accomplished in acting as well as song and dance.  Some of the choreography Zelwegger and Zeta-Jones perform on top of the acting itself is very impressive.  This film is also enhanced by a top-notch supporting cast.  I particularly liked John C. Reilly as Roxie's husband Amos, a pathetically sad man who has no understanding of what's really happening with Roxie.
As well put together as the film is, I personally found a felt a little let down in the plot department.  There are several potentially interesting plot threads that were left completely unexplored in favour of more musical numbers.  In addition, I felt the ending of the film was essentially the lead-in to an elaborate closing song and dance number.  I was left wanting some more definitive answers about what happened next, but was left to imagine an ending while the credits rolled.
Despite its few shortcomings, I do think Chicago is a good film.  What it lacks in substance, it makes up for in spectacle.  While the musical style may not be for everyone, it has something for just about everyone else.  It's fun and exciting, and captures all the elements of the prohibition era.

Snowpiercer (2013)

Snowpiercer takes place in the not-too-distant future, in a world where attempts to stop global warming have gone horribly wrong, and the Earth as we know it has been frozen solid.  What remains of humanity has been left to circle the globe (for generations) on a gargantuan train named Snowpiercer.  In the time the the train has been in operation, the system of government has become corrupt and murderous.  While passengers in the rear of the train are beaten and served slabs of black gelatin, the elite people towards the front are treated to the luxuries of steam baths and sushi. When low-class citizens Curtis (Chris Evans) and his friend Edgar (Jamie Bell) decide they've seen enough, they organize a revolutionary group to get to the front of the train in order to confront Wilford (Ed Harris), the mysterious figurehead and operator of Snowpiercer.  Along the way, they encounter both political and physical resistance, until they are finally faced with the monstrous realities of how the train operates, as well as being faced with an impossible choice that affects all the lives on board.
The production design of Snowpiercer is brilliant from top to bottom.  It makes great use of the techno-industrial ghetto aesthetic used in such films as the Matrix and Alien franchises.  Almost immediately, the film gives you a very clear sense of place.  This feeling also serves to reinforce the ideals of the characters.  We understand why they want out of the place they're in because we're shown how awful it is.
Equally important to this theming is the costume design.  The uniforms of the train guards call to mind soldiers of Nazi Germany.  Train overseer Mason (Tilda Swinton), on the other hand, wears clothing that would have been highly fashionable in the 1980s.  John Hurt's Gilliam wears patched, sooty clothing, concealing his artificial limbs, which are themselves cobbled together from canes and various scrap metal.  These costume choices are not only wonderfully made, but they solidify the idea of the class system, which is a key theme of the film.
Snowpiercer is just as well made behind the camera.  Director Joon-ho Bong (credited as Bong Joon Ho) brings a totally unique combination of techniques to this film.  Both the camera work and lighting seem to magnify the emotion of the actors, which makes the story all the more thrilling.
The acting is brilliant across the board.  Chris Evans is a picture of grim determination, in a performance which only gets more intense as we approach the ending.  Tilda Swinton displays a bureaucratic tyranny that might remind one of Margaret Thatcher's iron-clad vision for England in her time as Prime Minister.  While John Hurt's role has less screen time, he plays it with a depth and believability that is unmatched.  Also of note is Kang-ho Song as Namgoong Nimsoo, the drug addicted security expert who is drafted to get Curtis' team to the front of the train.
I was somewhat surprised at the amount of violence in Snowpiercer, but I found that it was well handled, if slightly graphic.  This approach to violence works in much the same way it does in Quentin Tarantino's Kill Bill.  The violence serves to drive the plot forward, as well as reinforce the grander themes in play.
Snowpiercer is a film with many faces.  You can watch it as a thoughtful art film, or simply as a great piece of sci-fi action.  It's thrilling in its originality, and in my opinion, it is one of the most smartest sci-fi films made in the past decade.  If you haven't seen it yet, do yourself a favour and check it out today!

Read This! - Black Science (Vol. 1)

For those of you who don't know me, I've been into comics for several years.  I enjoy the great stories and artwork that can be found in comics, and I'm always quick to talk about my favourite writers and artists.  So, in partnership with my local comic shop, The Gauntlet Comics and Games, I will be presenting occasional reviews of various graphic novels for those who might be interested.  For my first edition of Read This!, we'll be looking at Black Science, published by Image Comics.

The first thing I noticed about this book was the artwork, by Matteo Scalera and Dean White.  The sharp, bright colours against dark backgrounds draw you into a world that looks like some kind of nightmarish black-light poster.  Additionally, the sketchy panel outlines and light ink spatters reinforce the feeling of a world that's slowly disintegrating, which ties in excellently with Rick Remender's story.
The story follows the adventures of one Grant McKay, founder of a group of anarchist scientists who are working on interdimensional travel and exploration.  Unfortunately, as often happens in these kind of stories, something goes horribly wrong, and it's up to Grant and his team to get back home safely, and keep his children safe.  As the story progresses, they travel from world to world, encountering numerous dangers while also trying to uncover which member of the team sabotaged their mission.  Various flashbacks provide context of the relationships of the characters as well as possible clues to who the traitor is.
This comic uses some of the best elements of pulp sci-fi, while still keeping things original.  For instance, one of the worlds the team encounters early on is populated by German World War I soldiers in the middle of a battle with a technologically advanced tribe of Native Americans.  There are also all manner of futuristic equipment and strange life forms to feast your eyes on.
While Black Science draws on pulp influences, it isn't so clear-cut as far as good and evil.  Just about every character in this comic (minus the kids) has reasons for what they're doing.  It's entirely in the eye of the reader as to whose decisions are right or wrong.  The fact that each character is still three-dimensional and sympathetic even in such moral grey areas is a testament to the writing ability of Rick Remender.  Even when you think a character is making the worst decisions possible, you can understand them, or even identify with their logic.
I won't go into details of the ending, but I will only say it left me wanting more.  Black Science gives us a very interesting look at ideology and personal choice against an incredibly vibrant, endless canvas of sci-fi worlds.  If you're getting bored with typical good vs. evil superhero books, but still want a bit of fun in your comics, Black Science is a great place to start.

I Am Big Bird: The Caroll Spinney Story (2014)

I Am Big Bird is, in reality, two films in one.  It's as much the story of Big Bird as it is the story of Caroll Spinney, the man inside the bird.  This critically acclaimed documentary is a delight for those of us who grew up watching Sesame Street (which, really, could be just about anybody), and it fosters great respect for the hard work that goes into the production of the show.
Caroll Spinney has performed both Big Bird and Oscar the Grouch for over forty years, and this documentary shines some light on both the cultural impact of these characters as well as Spinney's personal journey.  Through interviews and archival footage, along with a few brief animations, we are told the story of how Caroll Spinney overcame an abusive childhood, a failed first marriage, and on-set tensions early in his career, to bring life to one of the best loved characters on Sesame Street.
One of the first things that we notice in this documentary is Caroll Spinney's personality.  Despite his troubled past, he is a kind-hearted, fun loving man with a very gentle spirit, much like Big Bird himself.
While detailing Spinney's life, we also are treated to a brief history of Big Bird, and to a lesser extent, Oscar the Grouch.  Though not as recognizable as, say, Mickey Mouse, there was definitely a time when Big Bird became a cultural phenomenon, at least in the world of children's TV.  In fact, Big Bird became so popular, it resulted in a trip to China with Bob Hope (and a subsequent TV movie), as well as his own feature film.  This popularity is explained by the fact that Big Bird is as relatable as he is recognizable.  The documentary examines the details, and we are shown how Big Bird is an emotionally intelligent character, which is something that resonates with both children and adults.  Arguably, Sesame Street would not be the icon it is today without Big Bird.
For those interested in puppetry, there are some eye-opening scenes that detail exactly how performing inside of the Big Bird suit works.  These scenes highlight how difficult this kind of performance is, and the kind of endurance that's necessary for the job.  I appreciated how this documentary didn't shy away from discussing the realities of Spinney's age as a performer, or even the shifts in popularity of other Muppets featured on Sesame Street.  While these facts were somewhat saddening, I found that they were presented with realism, and not played as being overly negative.
One small issue I had with the film is that there are no name labels for the people who were interviewed, aside from in the end credits.  So, unless you're a giant Henson nerd like me, you probably won't recognize performers such as the late Jerry Nelson, among many others.  While the real story is about Caroll Spinney, I find that this was a rather large oversight of this film, which doesn't give proper respect for these talented people.
It's only appropriate that the story of such an emotional character is told with equal emotion.  Some scenes, such as the footage of Big Bird's musical performance at Jim Henson's funeral, are incredibly moving.  Knowing Caroll Spinney's personal relationship with Henson makes an already emotional moment that much more meaningful to the audience.
Towards the end of this documentary, Caroll Spinney notes that while he will one day be gone from this Earth, Big Bird will live on.  It's a powerfully real statement from a man who overcame many hardships early in life, but never let his past define who he was.  As kids, many of us learned from Big Bird watching Sesame Street.  I find it only fitting that as adults, we can learn just as much from Caroll Spinney watching I Am Big Bird.  

Bridge of Spies (2015)

Imagine you're playing a game of chess.  Now, imagine all of the game pieces and all of the squares on the board are the same colour.  It's difficult, isn't it?  It's difficult to know whose pieces are whose, which moves are legal and which aren't.  Finally, imagine this is a high-stakes game, and the results determine life or death for someone else.  This is the world of Bridge of Spies.
Set during the Cold War, this Steven Spielberg film tells the true story of James Donovan (Tom Hanks), a New York insurance lawyer who is drafted to defend one Rudolf Abel (Mark Rylance) on multiple charges of Russian espionage.  Most people, including the judge, believe this is an open and shut case, and the trial is merely a show for the public.  Donovan doesn't see it that way, and is determined that Abel receives the fairest treatment possible, if only to demonstrate American values to the USSR.  Despite his best efforts, Abel is found guilty on all counts.
Meanwhile, Francis Powers, an American air force pilot, is shot down over Russia while flying a U2 spy plane.  He is captured and held in a Soviet prison, which offers an opportunity to Donovan.  An exchange of prisoners is offered between the USA and the USSR.  At the same time, in Germany, a young American student named Frederic Pryor is caught on the wrong side of the under-construction Berlin wall, and is held in prison.  Donovan then determines to negotiate with both parties in order to free both men in the exchange.
With the assistance of the CIA, James Donovan is sent to Berlin to perform the negotiations.  From here begins a strange game of misinformation, tricky negotiations, and secrecy.  Donovan succeeds against difficult odds, and the film concludes with an edge-of-your-seat exchange set on the Glienicke Bridge, where we discover if everyone is true to their word or not.
The script, by Matt Charman and the Coen Brothers, is superbly written.  Every line drips with hidden meaning, and the tension is consistent until the very end.  Unlike other films of its kind, Bridge of Spies chooses not to use any subtitles, despite numerous scenes with dialogue in German and Russian.  I find that not knowing the other languages serves to increase the mystery, as well as communicating Donovan's experience of being a stranger in foreign territory.  The audience never truly misses anything from the lack of subtitles, but I can't help but wonder if the film experience is different for people who are fluent in German or Russian.
The script is helped with an outstanding cast.  Tom Hanks gives a wonderfully convicted performance as James Donovan, a man who is well aware of the odds against him, but is determined to do whatever it takes to see justice done.  Equally good is Mark Rylance, as the always stoic Rudolf Abel, a performance which earned him an Academy Award.  Among the rest of the well-rounded cast, I especially enjoyed Mikhail Gorevoy as Ivan Schischkin.  His performance reminded me of the work of classic bad-guy actor Peter Lorre.
At its heart, Bridge of Spies is all about the concept of freedom.  It examines how we define freedom, as well as the effects of limiting freedom, or removing it outright.  To James Donovan, it was irrelevant whether Rudolf Abel was a spy or not.  What mattered was his being given a fair chance at living a life of freedom.  This film provides a very interesting look at history, and how extreme politics can affect a country's society.  Considering the political climate today, it's an important lesson to be reminded of.

Star Trek: Beyond (2016)

**Warning: mild spoilers ahead!**

This year marks the 50th anniversary of Star Trek, thus it's appropriate that there is more talk of it in the media than ever before.  As well as the ongoing development of the new TV series, Star Trek: Discovery, we have Star Trek: Beyond, the latest in the J.J. Abrams produced Trek films.
The sequel to 2013's Into Darkness begins, interestingly enough, with an ending of sorts.  After investigating a seemingly normal distress call in an unknown part of space, the crew of the Enterprise is ambushed by a new and violent force that basically tears the ship to pieces.  With no choice but to abandon ship and crash land on the nearby planet, we follow the dangerous journey of the crew, who have now been separated, and are left to locate and each other on a hostile planet.  To make matters worse, they are also being hunted by the vicious alien warlord, Krall, who has captured Uhura and Sulu along with several other members of the Enterprise crew.  A daring rescue operation is orchestrated, which then turns into a chase that concludes in a climactic action scene on and around the space station Yorktown, where we witness the final battle of Krall and Kirk.
Unlike some other Star Trek films before it, this one leans much more toward action than philosophy.  In this sense, it is accessible for newcomers to the series, though people who are interested in more detail of the Star Trek universe might be better to check out the 2009 reboot before getting into this latest offering.  The film expects the audience to be up to speed more or less from the get-go, but the action is almost immediate, which leaves little room for explanations outside of some brief snippets of exposition in dialogue.
It is a very exciting movie experience, though there are some flaws.  In some scenes, there is simply so much action that it's difficult to make sense of what was happening on the screen.  In addition, the general darkness of many scenes as well as the constantly swaying, simulated gravity of the cinematography made some scenes a bit less satisfying than they could have been.  My wife and I didn't see this in 3-D, but I feel that's for the best, as the motion of some of the scenes made her feel a bit on the queasy side.
Apart from these minor complaints, Star Trek: Beyond is a very enjoyable film.  Prop and production design was top-notch, as it has been with the previous instalments of this series.  The makeup design in particular was exceptionally good.  Every alien looked properly organic and realistic within the world of the movie.  As well, the design of the makeups still allowed for a wide range of expression on the characters, Krall in particular.
The score, by Micheal Giacchino, recalls many classic moments of the original TV series, while still making room for some more original sounds.  In addition, a few tracks of modern music (I won't spoil the surprise of their purpose here) add some very interesting contrast to one of the final action scenes.
As this is an action heavy movie, it would be irresponsible of me not to mention the excellent fight choreography and stunt work.  There were a great amount of stunts done in this movie, and I have great respect for the individuals who helped make this movie so exciting to watch.
As important as these elements are, a film needs stars, and Beyond is packed with them.  Just about every member of the cast gets a moment to shine, all the while keeping a balanced amount of screen time.  No one actor seems to overshadow another, which can be a difficult thing to accomplish in a film with such a large cast.  If I had to pick any standouts, I would choose Simon Pegg (also a co-writer of the screenplay) as Scotty, who interacted wonderfully with Sofia Boutella as the scrappy alien survivalist Jaylah.  There's a clear kinship between them onscreen, and their scenes together are delightful to watch.  Acclaimed actor Idris Elba is chillingly ruthless as the warlord Krall.  His performance is all the more impressive for communicating such emotion through his elaborate makeup.  Finally, it's difficult not to give extra attention to Anton Yelchin as Chekov after his unfortunate death earlier this year.  His enthusiastic performance feels somewhat bittersweet in knowing that this was his last film.
Despite a few technical flaws, I came away from this movie excited, wondering what new adventures the crew of the Enterprise will be having in the next film.  As I mentioned at the beginning, this could have easily been a much different film, but Star Trek: Beyond clearly defines itself as fun!  It's this kind of attitude towards the franchise that will win new fans who have felt alienated by the pseudo-science and long, philosophical conversations of previous films and TV episodes.  Make no mistake, science and big ideas have always been the hallmark of Star Trek, but Beyond starts from the same place of excitement the original series did.  It makes playful jokes about itself, while still acting out moments that feel pulled straight from the original series.  It captures our sense of imagination and adventure, and from this jumping-off point, we can begin to explore the bigger ideas at work.  In this film, the great ideals of peace and unity stand out clear as day through the actions of the Enterprise crew.  As Gene Rodenberry intended with the original series, witnessing these heroic actions on the big screen inspires us to look beyond, and to aspire to become something greater than ourselves.  In times as worrying as these, it's a message I hope people will carry with them outside of the theatre.

Stranger Things (2016)

Set in the mid-1980s, Stranger Things follows the mystery of Will Byers, a boy who mysteriously goes missing, leaving his friends and family to deal with grief, strange supernatural happenings, a monster, and the lingering question of if Will is truly still alive.  I would explain more, but to do this would be a disservice to this fantastically made show.  If you're not at least a little interested by the end of this review, chances are it isn't for you.
The newest sensation on Netflix is a curiously familiar beast of a show, yet is completely original.  In large part, this familiarity is due to the setting of the show itself.  For people in my age bracket (I refuse to be labelled as a 'millenial'), it evokes feelings of the pre-internet age in a way that no show has done before.  Some cynics might say that this is simply a cash-in for the VHS-hipster crowd, but I am firmly on the opposite side of that argument.  While the show makes references liberally, nothing about it ever feels artificial.  Series creators the Duffer Brothers have paid very close attention to the details of production design on Stranger Things, and it proves that they have the same feelings of nostalgia we do as viewers.  In an increasingly digital world, Stranger Things helps to recall comforts we'd long forgotten.  Even the title sequence is packed full of details that instantly trigger buried memories of the past.  The intermittent fuzz of VHS grain reminds us of a time of video stores and recording shows from television.  The title font itself carries its own presence, perhaps reminding us of old Dungeons and Dragons manuals, or the teen horror novels of Christopher Pike and R.L. Stine.
The casting is phenomenal, and has some of the best kid actors (played by Finn Wolfhard, Millie Bobby Brown, Gaten Matazarro, and Caleb McLaughlin) I've seen since J.J Abrams' Super 8.  They play well against each other, and, more importantly, they look and act as you'd expect real 12 year olds to.  It's a very refreshing thing to see when many other programs have token kid actors who simply seem to read a script and look good on screen.  Stranger Things isn't afraid to have kids who don't look like they've stepped straight out of the Sears catalogue, and this is a huge part of the show's success.  These kids reminds me of kids I grew up with, and it makes me care for each one of them as if I knew them personally.
The adult cast is equally talented.  David Harbour is very good as the down-and out police chief Jim Hopper, but I was especially impressed with the performance of Winona Ryder as Joyce Byers, Will's grieving mother.  I normally don't care much for Winona Ryder, but I found her completely believable playing the slowly unravelling mother of a missing child.
The tone of the show varies by episode, but there is a current of nostalgia running throughout.  The show uses hints of various iconic TV shows and movies, all the while keeping an original and engaging story.  There are heavy references to John Carpenter's The Thing, The X-Files, Twin Peaks, and E.T., among others.  This mix of elements ensures that there's an even balance of nostalgia and terror.  This deliberate design for the show carries over to effects as well.  Where possible, the producers have used high quality physical creature effects over CGI, which lends a chillingly visceral feel to the horror elements of the show.  As well, in the tradition of the best horror films, these effects are used minimally.  You only ever get brief glimpses of things, leaving your imagination to craft the most horrific parts.
I'm hesitant to give away any details of the storyline, but suffice to say it contains realistic family drama, surprises upon surprises, and a deep reaching conspiracy.  As of this writing, I am roughly halfway through the eight episode run of the first season.  I have a few theories about what's truly going on, and I am looking forward to discovering what I got right and what I didn't know.
The beauty of Stranger Things is that it's made up of so many different parts, many people can watch and like it for completely different reasons, all of which are valid.  It also reminds us of a simpler time, and this enhances the horror when we're shocked out of our own nostalgia.  It's a fantastic show, and I hope it continues for years to come.  Now, if you'll excuse me, I'll be in my blanket fort watching the late-night monster movie marathon.

Hello!

Greetings, readers!
As this is the first post of this blog, I wanted to take a brief moment to outline what this blog is and what it is not.
Firstly, I am a Christian.  As such, my choice to follow Jesus informs my decisions in life.  For the purposes of this blog, it simply means that there is some content I will choose not to review.  I want to review a large range of films and TV here, but there are certain cases where I will draw a boundary line.  To put it another way, I might review the occasional Christian film or documentary, but you're unlikely to find anything from people like Seth Rogen here.
Secondly, I will not be using a traditional ratings system, as I find them problematic in judging the true quality of a film.  The five-star system is flawed at best.  What is the criteria of a star?  What makes the difference between a 3.5 and a 4?  In my experience, I've gotten far more entertainment out of a three star movie than many that scored four or above.  The more binary thumbs-up/thumbs-down approach is one I respect, but again, I find it unsatisfactory.  It is difficult to call any given movie all good or all bad.  Most films have their good points and their bad points, thus I have chosen to simply state my opinions, and let you, the reader, decide your own opinions when you see it for yourself.
Finally, I urge you not to take anything you read here too seriously.  I am not by any means a professional film critic.  I'm just a regular guy who watches a lot of movies and TV shows.  A difference of opinion is healthy, as long as it's stated in a civil way, so feel free to comment if you disagree with any of my thoughts here.  After all, if everyone thought Johnny Depp was the greatest actor of all time, we would have precious little to talk about, right?
I hope my reviews and observations will provide you with good information, and perhaps open you up to new experiences in entertainment, as well as create a place to discuss the films we love.

Your cinematic advisor,
Dave