kraytdragon-sean Reviews

Your Name. (2016)

Your Name Please!

[10/10 · 7 April 2017]

Your Name is a lively combination of romance, identity, and culture. I went into the film with a very little understanding of the plot's complexities. From the trailer, I assumed Your Name would be an anime Freaky Friday love story. The framework of the narrative certainly fits into my initial assumption. Yet, there is a multitude of undercurrents in the film which make Your Name stand out. For starters, Your Name constantly changes themes and mood. Often, I found myself laughing and, a few minutes later, would suddenly be on the verge of tears. The movie's eclectic flow makes for a constantly engaging experience. The Freaky Friday element is roughly half of the film's two-hour runtime. In fact, a plot twist in the film literally took my breath away. Your Name is the rare film which combines overwhelming variety and makes everything fit organically. Through variety, the anime earns a conventional ending between protagonists, Mitsuha and Taki. While body switching is the plot's main intrigue, the film adds complexity through its exploration of Japanese culture. Japanese gender identity is explored with such a masterful hand. In subtle strokes, the viewer understands the sheer contrast in the lives of Japanese men and women. For example, a group of men have a crush on a female co-worker; Mitsuha, in Taki's body, simply initiates conversation with the desired woman and, with ease, sets up a date. When Taki is back to normal the next day, his male coworkers all line up disgusted by his act of group betrayal. The scene effectively demonstrates the strength of the herd like quality of gender in Japan. It's no surprise then when Taki, in Mitsuha's body, finds such humorous wonder in the breasts he suddenly gains. A contrast can also be noticed in the struggle between the past and present. The present is Taki's experience of Tokyo. Likewise, the past is illustrated by Mitsuha's familial duty to her small town's local shrine. In other words, the film merges Japanese spirituality with modern sensibilities. A desire to escape and return to the country define the film's ecliptic take on Japan. Mitsusha is your typical country girl with a thirst for a life in the city. Meanwhile, Taki finds beauty in Mitsuha's country town. The viewer amusingly experiences each setting (Tokyo and Itomori) through the unique lens of the protagonists. Ultimately, a comet and local god guide the distant figures into a surprising collision course. As a result, fate is sealed by the two somewhat metaphysically dissimilar sources. The forces of science and divinity augment Your Name into making the seemingly fated connection all the more plausible. The film is a testament of the "opposites attract" sentiment. In summary, the film has a real beating heart. I will end my review saying Your Name is the best looking animated film I have ever seen. The colors are always pleasingly vibrant. Additionally, all of the scenes are lovingly rendered and pulsating with life. I haven't walked out of a theatre with such a positive perspective on life in a long time. If you live in a city, you ought to take the time to experience this anime masterpiece.

Toni Erdmann (2016)

A Noble Undertaking

[7/10 · 16 March 2017]

I am unsure of how I feel about Toni Erdmann. On the one hand, Toni Erdmann is a film with a huge heart. The premise is simple enough to follow. Essentially, a father (Winfried Conradi), in an existential crisis of sorts, uses an alter ego in order to reconnect with his corporate-driven daughter. The corporation Conradi's daughter works for is as stereotypically capitalistic as it gets. The film utilizes the process of globalization and corporate culture as a means to amplify the disconnect in the father/daughter relationship. The viewer gets the sense Winfriend was a hippie back in the day. Toni Erdmann often works because the characters are extremely complex. I enjoy films in which the characters exist without an explicit concern for audience expectations. Primary or secondary characters often ramble about subjects which are not necessarily tied to the main narrative. In these moments, the camera will focus on setting up characters in the background or illustrate the state of the speaker's mind. The fictional events on screen are shown to be natural slices of life. Conradi is only predictable in that he is desperate to reconnect with his daughter, Ines. Often, Conradi as Toni Erdmann resorts to pranks in an attempt to goad out some repressed nature in Ines. Humor organically flows in the awkward situations Erdmann flings into. In short, Toni Erdmann has many moments which are pure comedy gold. The core nature of Toni Erdmann's (the film) humor is laid bare near the film's climax. The faults of Toni Erdmann, unfortunately, stem from some of the films' strengths. As primarily a drama, the humor is inconsistent in where and how long it occurs. The film also allows characters a little too much breathing time. After a key moment, the camera decides it wants to follow the characters around. The argument could be said the choice aides in giving the characters an added depth towards physicality. By physicality, I mean the subtle body languages in a character. However, Toni Erdmann is an almost three-hour affair. A lot of people walked out around the film's halfway point. Personally, I walked out of the theatre wishing the director had opted to cut about thirty minutes. Character development is at times made explicit in narrative exposition. As a result, the extra attention to body language feels a bit redundant. I might be being a little harsh due to my unfamiliarity with German cinema. Ultimately, I think the film was worth my time.

Get Out (I) (2017)

Masterful Horror

[8/10 · 24 February 2017]

I wish more horror films were as relevant and smart as Get Out. The movie feeds off a paranoia that the majority of the United States population doesn't experience on a regular basis. Fake smiles and awkward handling of racially charged conversations are masterfully put on display in the first half of the movie. The cracks in the white facade intensify at a steady pace. Uncomfortable questions or points start popping up in the viewer's mind. What is up with the eclectic decor (explicitly called out)? Why are all the black "caretakers" acting "white" on the property? Are we, as white people, really this ignorant? In short, you start to feel an entire system is out to get our protagonist. Admittedly, an early scene explicitly sets the stage up. Mainstream horror films play it safe with the usual jump scares and gory imagery. To be sure, Get Out sports a fair amount of both elements. At some point, all too shockingly familiar racism starts to out scare the traditional horror clichés. Unfortunately, several dumb horror tropes also make an appearance. For example, you have that one horror scene where you have an odd figure chopping wood. The others tropes I could list involve spoilers. The acting is consistently top notch from all involved. I only have one minor quip with the casting choice of a peripheral character. The character certainly sticks out when you notice him and the inclusion is somewhat puzzling. Overall, the subject matter more than makes up for Get Out's very minor shortcomings. How often do movies aimed at a mainstream audience have the audacity to call out whites in America? The timing of the film's release is sadly impeccable. Racism is alive and well in our country. America "smiled" when she elected Trump as POTUS. I congratulate Jordan Peele for his impressive foray into directing. The film is dense and I certainly missed a few points on my first viewing.

John Wick: Chapter 2 (2017)

Masterclass Action Sequel

[10/10 · 10 February 2017]

John Wick: Chapter 2 is an action film that seldom misfires. For quick context, John Wick came as a surprise return to form for Keanu Reeves in 2014. Two elements stood out to separate John Wick from the rest of the action pack. The first is in the excellent casting of the protagonist. The quite actor transformed his usual persona into a role of one who, instead, takes extreme action. In extra- textual awareness, loss seemingly haunts the misunderstood actor. The solemn introspective nature of Reeves gives the character of Wick a believable sense of unchained rage. Frankly, John Wick fits Keanu like a glove. A second unique feature of the original is in how the film introduced audiences to the vague world of assassins. John Wick 2 continues the process of world building without conceding a sense of mystery. The film flirts with its own idiosyncrasies knowing full well maintaining the atmosphere is what makes the franchise unique. For example, rules are cited without explaining the full body of the source. Odd artifacts localized to a high ranking assassin will find the camera's attention. In addition, the sequel is a far more cinematically complex film over the first in the series. John Wick: Chapter 2 explores the dichotomy of agency against the externalities in life. Wick constantly conforms to the rules of the assassin world despite a desire to break free. The dangers of breaking free are made explicitly known to the audience and Wick. As a result, the film's plot is the rare action film which focuses on the awareness of limitations in one's environment. The story constantly finds humor in the juxtaposition of action to dialogue/scenario. An intense fight will cease in due part to some odd universal assassin code. A shootout occurs during a concert at one point early in the film. Wick shoots an adversary in the head to an ignorant audience's entertainment. The cited moment gives the viewer a meta moment to ponder their attraction to extreme violent imagery. Speaking of universal codes, the film often uses noir elements to heighten emotions or reflect states of danger. Soft blue and red lighting clash throughout the film. Red often illuminates the screen during the more intense shootouts of the film. Conversely, the color blue offers Wick precious few moments to cool down and collect himself. The depth of the assassin world adds a heightened sense of danger to our protagonist. Wick ceases being able to recognize fellow assassins from civilians among the throngs of New York. (Minor spoiler) The entire environment literally turns against John during the final surprisingly unnerving moments of the film. The action is top notch and will satisfy anyone who simply wants to witness masterfully executed action. The hand to hand combat does get a bit stale during the final fights of the movie. Ultimately, John Wick: Chapter 2 is the cinephiles fun action romp.

Resident Evil 7: Biohazard (2017 Video Game)

Horror Returns

[9/10 · 31 January 2017]

Resident Evil 7 is one of the most enjoyable horror gaming experiences to date. The visual jump scares seldom feel cheap in part due to the masterful sound design. Making people jump isn't a difficult task. However, making people terrified to progress the plot is a daunting task to pull off. Resident Evil 7 absolutely succeeds in pulling off what developer/publisher Capcom set out to accomplish. After the failure of RE6, the need for the series to return to the survival horror genre became clear. Horror is all about maintaining an atmosphere. Walking down a corridor, Ethan Winter (the surrogate for the player) might hear some variety of crash off in the next room or in the room above. The mansion is lived in (a slightly inaccurate phrase) and a sense of foreboding never escapes the player except for around the ending. The sound design mixed in with phenomenal limited lighting merge in encouraging the player never be overconfident in a given environment. Unlike previous entries, the locations are realistically scaled down. The Baker homestead never features a room or ground that feels out of place. In other words, the property is very much one a person might find in reality. Conversely, the game's need to feature a puzzle at every turn suspends belief every once in awhile. In the end, the limited environmental scope aids in augmenting the horror. The developers painstakingly created the home to a disturbing degree. Every nook and cranny of the home serve a purpose in telling the Baker family's story. The player is rewarded at great cost for exploring the environment. In addition, the exploration feeds into a very enjoyable item management system. All of the items encountered are useful. In order to make backpack space, the player has to really decide what is the most useful item in a given situation. Looking through your inventory doesn't stop the game time. You could be looking at the very low ammo of a given gun and suddenly come under attack. In most fights, the best solution is often to run away until a more advantageous moment. The narrative lasts little more than ten hours. The duration of the experience ensures the plot never drags or overstays its welcome. The mysteries of the circumstances surrounding Ethan Walker are more than enough to ensure the player fights their fear. The player won't be able to stop themselves from enjoying their twisted adventure with the Baker family.

A Monster Calls (2016)

Emotionally Honest

[9/10 · 5 January 2017]

A Monster Calls is the rare movie geared toward a younger demographic which refuses to pull an emotional punch. The movie explicitly states that the protagonist, Connor O'Malley, is "too old to be a kid and too young to be a man". The introductory tagline is the perfect way to relay the film's tone to the audience. From the brutally honest acting to the gorgeously animated "stories", A Monster Calls allows raw emotion to emanate from the experience. Magic on the screen happens due to the unique specificity of our hurt hero. The fantastical elements found in a typical family movie organically merge with the painful reality of adulthood. For example, a fight will begin building up in Connor and the anger will call out the monster. The monster is never a simple vicarious outlet for the young adult. Instead, the monster is a well-executed manifestation of perceived guilt towards a deeper truth. Liam Neeson's monster revels in the humanity of the moment while also holding a magnifying glass up to it. Life continues to get worse for Connor and each appearance leads to a gradual slip of harsh reality. Refreshingly, A Monster Calls never hides that uncovering important personal insight is a painful process. The climax makes up for one of the most touching revelatory moments in modern cinema. The value of the film is revealed in how both children and adults in the audience gain a better understanding of the inherently personal nature of grief. The way we deal with a loss can come across as something else entirely for ourselves. A wide release of the film will hopefully begin to kindle in an audience a desire for introspective cinema. In a sense, specific scenarios are able to paradoxically tap into a universally human truth. Movies like A Monster Calls show a better alternative to the next soulless generic blockbuster movie.

The Handmaiden (2016)

An Excellent Lesbian Drama

[9/10 · 30 December 2016]

Park Chan-wook is one of the most versatile directors around. Sure, Park seems fixated on tales of vengeance but never does the worn theme feel like a detractor in his films. Oldboy and Snowpiercer add intricate layers which transform the initial quest for revenge into other issues entirely. The Handmaiden is a movie that keeps the best traits of the South Korean director. Sure revenge underlines the narrative and yet the film is not entirely about revenge. Likewise, the Handmaiden is an erotic thriller and isn't an erotic thriller. A lesser director would hone in on the pornographic but the film never undercuts one of the meta-messages found within the film. Without spoiling Handmaiden, a Clockwork Orange is a film with a similar meta-commentary directed at the audience. Instead, the erotic scenes give the intended effect without going full throttle. The result is a lesbian love story which accentuates emotion over physicality. Male directors have a tendency to get a little excited with lesbian love stories and turn an otherwise amazing movie into pornography. Blue is the Warmest Color is a recent example of a film which could have utilized a little restraint required of its subject matter. The central "love triangle" in the Handmaiden is given an air of realism due to the level of restraint. Most characters are never who they appear to be throughout the film. In fact, the three chapter structure of the film allows for the rare successful attempt at having more than one plot twist. Film veterans are likely the only group of people who can put the puzzle pieces together early on. The twists never come across as cheap gimmicks thanks to the cinematography. The gorgeous mise en scene is spellbinding with the amount of variation found in limited locations. In spite of the lavish designs, the camera never hides character ticks one can begin to hone in on. The Handmaiden contains a lot of the admirable traits one might in a Stanley Kubrick film (the Clockwork Orange reference is not entirely pulled out of a hat). However, the middle-aged Korean director is able to separate and maybe transcend Kubrick in his use of overt dark humor. Manchester by the Sea is another serious film which also successfully utilizes humor to create a humanistic story. Kubrick usually utilizes dark comedy for an entirely different effect. The Handmaiden is an absolutely must-see for those who appreciate cinematic greatness.

Manchester by the Sea (2016)

Oscar Bait deserving praise

[8/10 · 16 December 2016]

Manchester by the Sea is one of the best Oscar bait movies I have seen on a technical level. The acting is grounded and always character consistent. The character consistency is the key to the overall film's success. Kenneth Lonergan's directorial accomplishment is utilized to anchor moments that might otherwise be drama cliché. The consistency would, of course, be an even more impossible task without an excellent cast. Casey Affleck will undoubtedly get the quarterback like attention at the Oscars. What that comment means is that I failed to see a single bad performance from the rest of the cast. For narrative, the contemplative structure allows the viewer a chance of gaining character insight without letting most moments explicitly define the players. A tragic event will occur and a given scene only allows a character minor fallout before a transition in time. Lonergan's script/direction doesn't need to hold the audience's hand. The cinematography is fine with an excellent focus on the little quirks one might find in a small New England town. In addition, the blend of cinematography and location lends to the rare cinematic experience of a story feeling like it comes from a genuine place. Manchester is an uncomfortable film when it comes to dishing out any form of conclusion. The result is a narrative more in line with postmodern sensibilities. The ending can easily be dismissed as a typical indie climax. However, the conclusion is anything but a simple artistic gimmick. Seeing the ending as a gimmick robs rewarding the narrative of its logical continuation. In fact, I daresay Manchester by the Sea contains one of the year's best movie endings. The butterfly-like effect of grief is the central theme I pinned down. A question of, "Do I deserve my grief?" is also asked. I can't say I admired the film as much on a personal level. The film contained a lot of scenes which were a little long for my taste. Additionally, the movie works better as an example of fine film- making over anything I can take with me in life. Many people will see the film as a relatable experience but nothing more. I am curious as to how long the movie will stay in the minds of the average viewer. Manchester By The Sea may very well get better with age. See the film for its cinematic accomplishments and marvel at the emotional realism.

Rogue One: A Star Wars Story (2016)

Making the Franchise Fresh Again

[8/10 · 15 December 2016]

Rogue One is the best Star Wars movie since 1980. The general consensus of last years Force Awakens was that the spirit of the original trilogy returned. However, the problem with Episode VII is in how the spirit is captured identically. In having returned so reverently, the franchise needed to display a willingness to tinker. Enter the newest cinematic addition to Star Wars. Rogue One is a balanced movie of hope and despair. The last Star Wars movie to find this magical balance in tone is The Empire Strikes Back. Likewise, Rogue One finds a unique synergy between old and new. The first anthology Star Wars movie works in its inevitable lead-in to an almost forty-year-old classic with a sense of invigoration. The movie smartly covers up modern filmmaking conventions with amazing throwbacks to the original trilogy. Seventies style facial hair can still be found on the Rebel pilots while a few smart cameos make the Star Wars initiated feel at home. The amount of Star Warsness to the film allows director Gareth Edwards to comfortably recton A New Hope. A problem with Rogue One is how the film can only be best enjoyed by a Star Wars fan. Rogue One is a decent enough war movie. The dogfights are exciting. The characters are charming and funny enough. The overall plot can't be fully enjoyed without having seen A New Hope. In addition, the cinematic impact the film has on the future of this storied franchise also can't be appreciated by an outsider. Rogue One features the most diverse cast of any Star Wars movie... as well as the franchises more intense scenes. The mentioned scenes make up some of the best moments in a Star Wars movie to date. Rest assured the future of the franchise is in the very capable hands of Disney. Rouge One is how a franchise should make the old become relevant.