Cinephile No. 1,212 “Beetlejuice Beetlejuice”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “After a family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia's life is turned upside down when her teenage daughter, Astrid, accidentally opens the portal to the Afterlife.” -IMDB

Review: I know what the world expects of me. I am supposed to begin this review by railing against Hollywood’s lack of creativity, endless hunger for sequels, and ceaseless catering to audiences who expect a known entity. Normally, you would be right. Before the theater lights dimmed and Beetlejuice Beetlejuice began, that is what I expected of myself.  

For the first 30 minutes of this film, it seemed as if all our expectations would be met. Everyone would be happy. In those first 30 minutes, all films must present their thesis or reason for being. Sequels must do even more. They must prove their reason for existing.  

Far removed from the quaint Winter River of the first film, it takes some effort to pull the Deetz family and Beetlejuice back together in a way that builds upon the original film. But once everyone returns home to a familiar setting after a family tragedy, this film settles into a story that feels both nostalgic and brand-new.  

This success can be attributed to Tim Burton. As a director, Tim Burton is an auteur. Much like Wes Anderson, you know a Tim Burton movie from its style and aesthetics alone. But Burton doesn’t do all the heavy lifting alone here. Catherine O’Hara as Delia Deetz steals almost every scene she is in with the same wit and humor that made her the center of Schitt’s Creek. Michael Keaton effortlessly slides back into the role of Beetlejuice, as does Winona Ryder as Lydia Deetz. The newcomers to this story, Jenna Ortego as Astrid Deetz and Justin Theroux as Rory, breathe new life into a story that could have felt stale and forced.  

Taken together as a team with a wonderful supporting cast, Burton delivers a wildly creative and unique world centered on a family surrounded by death at every turn. As the story evolves beyond a simple return to Winter River, Beetlejuice’s need to escape his ex-wife coincides hilariously with a daughter who has also been burdened with the gift of seeing ghosts. Tricked by a handsome boy, Astrid stumbles through a portal into the afterlife. Potentially trapped, Lydia is forced to summon Beetlejuice. Of course, the two crossing paths are unsurprising, but so welcomed.  

Beyond the inventive story, I also believe Burton’s mixing of practical and visual effects should be commended here. From sets to action pieces to the look and feel of each character, this film superbly nods to the original film while expanding beyond our imagination. Finally, this story also possesses a lot of heart, as a subplot centered on Astrid and her deceased father reveals itself.  

Then, there is the climax of this film. Personally, I found the wedding sequence to be wonderfully creative, hilarious, and a smart setting where all the various story lines could come together. For some, the scene may linger too long, but for me it worked perfectly.  

If we must resurrect franchises from my childhood, this film gave me everything I wanted and more. It feels both nostalgic and like a natural step forward for these adored characters. It made me want to stay in their world forever.  

Be good to each other,  

Nathan  

Cinephile No. 1,199 “Fly Me to the Moon”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “Marketing maven Kelly Jones wreaks havoc on launch director Cole Davis's already difficult task. When the White House deems the mission too important to fail, the countdown truly begins.” -IMDB

Review: I wish time travel was possible. There are countless moments in history I would visit. Moments in my own life I want to revisit, and other moments I missed completely. A moment in American history that fascinates me and would be one of my first stops is the space race of the 1960’s. I wish I could have been there to cheer on my country as we barreled toward a new frontier in human exploration. I imagine the setbacks and triumphs would have been intoxicating and consuming for a curious kid. As a student of history, I can only read and watch the accounts of others who stood in awe when we finally landed a man on the moon.  

The monumental moment of man’s first steps on a new world always possessed the potential to give birth to conspiracy theories and public doubt. Sprinkle in the Cold War and the fact that the Russians were first in space to the mix, and you get the recipe for a potentially fascinating movie.  

Fly Me to the Moon attempts to take the space race and the ensuing conspiracies and morph them into one long marketing campaign that is part romantic comedy and part historic drama. Now, from the outset, I must admit my expectations for this movie weren’t high. But as you read on, I think you will see that I was pleasantly surprised.  

Scarlett Johansson stars as Kelly Jones, a Manhattan marketing guru who uses every tool in her belt to land big corporate clients. But there is more to Kelly than meets the eye. She has a checkered and mysterious past ripe for exploitation if the truth ever fell into the wrong hands.  

Which is exactly what happens when Moe Berkus (Woody Harrelson) enters the picture. Berkus works for the federal government in the Nixon administration. Among top government officials, there is growing worry that NASA will not land a man on the moon. If America falls short of this lofty goal, there is fear about what America’s failure on a global stage could mean for the Cold War. With this fear, Berkus approaches Kelly Jones with a proposition she cannot refuse; sell the moon or else.  

Enter Cole Davis, played by Channing Tatum. Davis is a seasoned combat veteran who once wanted to chase space. Due to health challenges, those dreams were cast aside. Now, he leads the team with a singular mission of getting a man to the moon before the end of the decade. The goal itself is nearly impossible, and NASA is racking up failure after failure and falling further behind the Russians. To Davis, this is part of pursuing groundbreaking work.  

With little say in the matter, Kelly Jones enters Davis’s world of NASA. Now, it is worth pausing here to mention that Johannson and Tatum have excellent chemistry together. Every disagreement and tender moment shared between them feels authentic. As they bicker and battle, it feels humorous and heartfelt. As you watch them at war, pay attention to how gross it feels that it took advertising and some old-fashioned capitalism to force people to care about the moon.  

As we inch closer to actual launch day, countless battles over mission versus marketing are waged, but then the government’s true intentions are revealed. They see landing on the moon as a national imperative, where failure is not an option. To ensure success, they want Jones to tape a fake moon landing that can be shown if things go terribly wrong. This leads to a hilarious subplot for anyone thinking about voting for RFK.  

While the conclusion of this film is widely known, and one of those rare moments that brought the world together, arriving at that final moment still felt dramatic and heavy. It was these scenes that impressed me and made this film feel necessary. As the truth comes out and science wins the day, this story charmed me, romance and all. Without a doubt, I found my mom’s new favorite movie.  

Be good to each other,  

Nathan  

Cinephile No. 1,193 “Kinds of Kindness”

Recommendation: 3/5 Stars, STREAM

Plot: “A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual prophesied to become a renowned spiritual guide.” -IMBD

Review: When I decide to review a film, my trusty little black notebook accompanies me to the cinema. Throughout the film, I do my best to capture notes, impressions, feelings, reactions, and key moments I don’t want to forget in the story. For a standard feature, I can capture anywhere between 9 and 11 notes per film. For a film with a standard three act structure, this usually means 3 to 4 notes per act.  

For the latest film from writer/director, Yorgos Lanthimos, Kinds of Kindness, I captured 25 notes for myself. Given the complexity of his films, which include The Lobster, The Killing of a Sacred Deer, Poor Things, and Dogtooth, this is not the least bit surprising. What I didn’t expect was the uneasy feeling that would linger with me throughout most of his newest film.  

All Lanthimos films feel awkward and hyper-controlled; working within constrained limitations is their charm. Wes Anderson is my favorite director, so this sort of sandbox intrigues me. Now, if you are drawn to a director like this versus someone who does whatever the studio tells them, then read on, because this review gets more complex.  

Another thing all Lanthimos films do is walk a curious line between dark comedy and deep philosophical drama. For much of this film’s runtime, you will find yourself second guessing everything that pulls a dark chuckle out of your soul. What makes this film different from his prior work is the way it is structured. Instead of one cohesive story, Kinds of Kindness is instead structured as three short stories, with the same cast members playing different characters in each story. If you are like me, you will spend the entire film and the days that follow trying to find a through line or shared themes between each story.  

The first short film focuses heavily on Robert (Jesse Plemons) and his boss, Raymond (Willem Defoe). Robert is on a predetermined path set for him by his controlling boss. Every facet of his life is regimented by Raymond down to when he eats, how much he eats, and when he has sex with his life. In many ways, Raymond presents as a god-like character in the life of Robert.  

Following Raymond’s path has been fruitful for Robert, until he is asked to cross a morally compromising line. When he chooses to defy the wishes of Raymond, his life becomes undone and begins to spin out of control. The repercussions begin almost immediately. With it, Robert loses his job, his wife, and any prospects for the future.  

At his lowest point, with all hope lost, Robert meets Rita (Emma Stone), a woman on an eerily similar path of rejection and redemption. Where this story goes from here, I won’t dare spoil. Instead, I will say I believe this story is the strongest of the three.  

The second story focuses its attention on Daniel (Jesse Plemons), a man whose wife, Liz (Emma Stone), is missing at sea. Daniel is a broken-hearted cop who sees his wife’s face in the faces of strangers. Lost and aimless, his friends rally around him, providing the best support they can. Then, miraculously, Liz and her crew are discovered, shipwrecked on an island.  

At first glance, with some time, healing, and patience, it seems that life has all the potential to return to normal after such an ordeal. But Daniel is wary. This version of Liz doesn’t sit right with him. The doubt begins to grow so much that Daniel begins to pose questions to his best friend about the possibility that this version of Liz is not his actual wife. Instead, he suspects she is a body double.  

From these suspicions, this story devolves into a Hitchcockian style film that will leave you questioning the truth. Is Daniel on to something or is he psychologically falling apart? If this was where the story ended, I would have been more than satisfied. Unfortunately, it continues down an even weirder and darker path. It spirals into something odd and almost tortious. Again, I will not spoil the outcome of this story for you. I will just say I think this story is the weakest of the three.  

At this point in the movie, you will wrestle with the connection between the first two stories. As the third story begins to unfold, you will find yourself questioning everything you witnessed so far. You will be frantically searching for themes and driving yourself mad when one doesn’t easily surface.  

The third film begins in a morgue. Emily (Emma Stone) and Andrew (Jesse Plemmons) are with a promising young woman who may possess potential to raise the dead. The morgue serves as a proving ground. It was at this point that my true irritation with this film dawned on me.  

Great stories don’t tell you what is happening. They show you. For me, this film does too much showing and not enough telling. I find these types of films frustrating. It is the same thing that bugs me about David Lynch’s Mulholland Drive. I find the overbearing puzzle distracting. When films like this finally do land, it never feels satisfactory. This is also my chief complaint about Kinds of Kindness. The puzzle is exciting for a while, until it isn’t.  

From the eerie morgue, Emily and Andrew return to their gated community led by Omi (Willem Defoe). Here, the film gave me weird sex cult vibes. I still can’t decide if this is a tool meant to distract us or show an unflinching devotion to Omi between Emily and Andrew. My advice here is not to get too distracted by moments spent in the commune. They aren’t the mission. The commune is where people on a mission go.  

So, what is the mission? Emily and Andrew are desperately searching for a woman, one half of a set of twins that must meet certain qualifications. Beyond the challenge of tracking this woman down, we learn Emily has a husband and daughter she walked away from to fulfill this mission. After a chance encounter, she cannot resist the urge to step back into their lives. This puts Emily in a dangerous situation, where the potential for contamination and exile from the community hangs in the balance like a thick fog.  

Predictably, this is what happens. Still, Emily continues her search, hoping it will bring her back into the good graces of her community. One last time, this is another ending I will not spoil. Instead, I will encourage you to hold on tightly, because the landing is a bumpy ride.  

As the credits began to crawl up the screen and the house lights turned on, I found myself dumbfounded. On the long walk back to my car, I kept wrestling with the experience searching for meaning. After several blocks, it dawned on me that the common themes were rejection and rebirth. As I replayed the story one more time, it all began to make sense to me. Satisfied, I then had to ask myself the most important question any film critic can ask themselves. Did I enjoy the journey enough to recommend it to others? My answer? Sure, but not a full-throated endorsement. Instead, I think this is a film you should spend some time with, for no other reason than it deserves to be debated with other lovers of cinema. Beyond that, I didn’t find a lot to enjoy.  

Be good to each other,  

Nathan  

Cinephile No. 1,188 “The Fifth Element”

Recommendation: 3/5 Stars, STREAM

Plot: “In the colorful future, a cab driver unwittingly becomes the central figure in the search for a legendary cosmic weapon to keep Evil and Mr. Zorg at bay.” -IMDB

Review: The Fifth Element was released in 1997. I watched it for the first time last year at home, and again with a crowd at a local movie theater here in Seattle earlier this year. I don’t know why it took me so long to cross paths with this movie. Perhaps, based on the trailer, I had a sneaking suspicion this film would not be for me. Maybe there were other movies to see. There are always movies to see! Whatever took me so long, I finally arrived at the party, and brought a review with me.  

Like marbles scattered across a wooden floor, this movie is all over the place. It spans centuries and reaches across the depths of our galaxy. It has aliens, an arms dealer, and opera. It flirts with multiple genres and tones. It is part science fiction, action film, drama, and an oddball adventure. It doesn't make sense until you realize it is desperately trying to be a comedy above all else. Once you view it through this lens, its story becomes so much clearer and enjoyable.  

The plot of this film is pitch perfect 90s. It has everything you would expect from the decade of abundance. There is a singular tool to protect humanity, strong religious overtones, a savior with the fate of humanity on their shoulders, a maniacal villain hellbent on profit over people, and one bumbling fool with the skills to get the job done. Throw this all in a bowl, mix vigorously, and you get a film that feels like an odd combination of Die Hard and Mars Attacks. Just before serving, sprinkle in the vibrancy of every character on screen, and you get something that can often feel overwhelming.  

Bruce Willis plays Korben Dallas, a taxi driver who is one wreck away from losing it all, but he is also a man with a backstory. His entire trajectory is changed when Leeloo (Milla Jovovich) falls from the sky into the back seat of Dallas’ cab. Leeloo is the missing piece to save humanity from an evil force with eyes fixed on Earth. Together, Korben and Leeloo join forces, but they are in a race against time. Zorg (Gary Oldman) is an eccentric arms dealer who only cares about one thing, money. This begins a violent collision course, with all three fighting over four mysterious stones, unlocking a tool built for Earth’s protection.  

Looking at everything on my plate, there is more than enough here for an enthralling plot. There is plenty to digest, even for the pickiest cinephile, but then we arrive at the last half of the film. My complaints begin with Chris Tucker’s character, Ruby Rhod. I find Tucker’s portrayal excruciating and annoying beyond comprehension. Every word he utters unnerves me. It felt like experiencing Jar Jar Binks all over again. Which is unfortunate, because the last half of the film features a lot of Ruby. For me, this is where the film begins to lose its charm. It begins to devolve into an over-the-top spectacle with a predictable outcome.  

Here, the film becomes an action film filled to the brim with all the expected tropes. Many of the shootouts, gags, and moments where all seems lost, left me rolling my eyes. And then a cherry is added to the sundae when our two main characters, Korben and Leeloo fall in love. Why? Because that is what you as an audience member wanted. Right? Too bad.  

The Fifth Element isn’t a film I can recommend with any passion. I do think it is worth an evening in, but set your expectations low. And prepare yourself for its most annoying moments. They will test your resolve.  

Be good to each other,  

Nathan 

Cinephile No. 1,141 “Bigger Than Life”

Recommendation: 3/5 Stars, STREAM

Plot: “A seriously ill schoolteacher becomes dependent on a "miracle" drug that begins to affect his sanity.” -IMDB

Review: The 1956 film, Bigger Than Life, opens with a scene that has become all too familiar in present-day America. Ed Avery (James Mason) is an overworked and underpaid schoolteacher. To make ends meet, he is keeping a secret from his wife and son. He is working a second job for a taxicab company. To keep his wife from worrying, he invents a myriad of lies; school board members, needy students, and overbearing school administrators are all keeping him late. Innocent enough, this isn’t the only lie Ed is keeping.  

For weeks, he has been battling intense pain throughout his body. Episodically, the pain is so bad, he can barely tolerate it. Once again, fearful of worrying his family, he hides his illness the best he can. Like lots of men, he refuses to see a doctor. Instead, he hopes the pain will one day mysteriously disappear.  

When he finally passes out in front of his family, both of his tightly held secrets come to light. Afraid, he is rushed to a hospital. After an extended stay and a battery of tests, it is discovered that he suffers from a mysterious illness that causes fatal inflammation of his arteries. Without medical intervention, his doctors give him less than a year to live.  

Luckily for Ed, a new drug has hit the market called Cortisone. If he can manage the required four pills every six hours for the rest of his life, it is believed he can live a long and happy one. Weighing life and death, Ed chooses the medication.  

At first, everything seems to be returning to normal for the Avery family. Ed has a new lease on life. His wife, Lou (Barbara Rush), finds some much-needed relief and calm. Ed is even finding more time to connect with his son, Richie (Christopher Olsen). But then Ed becomes forgetful of his routine. He forgets to take his pills or doubles the required amount. This leads Ed down an angry and irrational path toward a mental breakdown and complete change in personality. Long gone is the sweet, caring man enraptured by love for his family. Standing in his place is a pompous man, threating to leave his wife and pushing his son way too hard.  

When you watch this film, there are two scenes I would love you to pay attention to as examples of Ed’s breakdown. One scene takes place between Ed and his wife in their bedroom. Ed is determined to leave, travel the world, and escape the shackles of a relationship he finds intellectually stagnating. The other scene takes place between Ed and his son in the backyard. What begins as an innocent game of tossing the football around, soon morphs into an overbearing father attempting to break the soul of his child to make him the best athlete possible.  

Where this film ventures from here, you will never guess (one of its great strengths). Honestly, it left me stunned and gave me strong Psycho vibes. What I found more interesting was attempting to absorb this film through the lens of 2024. We have learned powerful lessons about the toxic and harmful nature of patriarchy. Personally, I have no desire to live in a world where women are expected to be caretakers of the home and children, and aspire to nothing else. I do not want to live in a world where children are not afforded autonomy and choice regarding the direction of their lives. I certainly do not want to return to a world where a man’s word is final, because he is the sole leader of the household.  

It is this bygone view of the world that holds this film together. It is a product of the world in which it was created. While we have evolved (I hope), this film and countless others like it exist as a time capsule of our not-so-distant past. For that and so many more reasons, I recommend you give this film a chance.

Be good to each other,  

Nathan  

Cinephile No. 1,139 “Problemista”

Recommendation: 3/5 Stars, STREAM

Plot: “Alejandro is an aspiring toy designer from El Salvador struggling to bring his unusual ideas to life in NY. As time runs out on his work visa, a job assisting an erratic art-world outcast becomes his only hope to stay in the country.” -IMDB

Review: As a parent, you create a world of safety and security for your child. In your protection, you push them to chase their wildest dreams. You do this fully cognizant of what waits beyond your door. Far removed from the bubble of your love, they will face heartache, ridicule, impossible odds, countless obstacles, and unfathomable challenges beyond your consideration. As painful as it can be to let them go, you do so with a quiet hope that you have left a positive mark that will guide them forward.  

Problemista takes this framework and adds another layer of intrigue. Alejandro (Julio Torres) isn’t just chasing his dream of becoming a toy designer in the rough and tumble world of New York City. He is the embodiment of his mother’s aspirations, who lives in his homeland of El Salvador. As an immigrant in the United States on a work visa, Alejandro must continue to work to maintain his status. For now, that work is an entry level position at a cryogenic company, while he chases his dream of designing toys.  

A simple mistake jeopardizes everything and puts him on a collision course with Elizabeth (Tilda Swinton). For her part, Elizabeth, whose husband is frozen at the cryogenic center, can be summed up as a challenging grinch who uses power and privilege to get her way. This often means bullying others.  

They cross paths when Alejandro is fired from his job for accidentally unplugging Elizabeth’s husband. After a brief exchange leaving the center, Alejandro recognizes an opportunity to stay in the U.S. If he can assist Elizabeth launch an art show of her late husband’s work, she promises to sign the necessary paperwork that will keep our lead character in the country and pursuing his dream.  

In so many ways, this is a complex film. At its core, it is an immigrant story. It is about passionately chasing your dreams. It is about love, loyalty, and seeing the best in your partner (even if the rest of the world doesn’t see it the same way). This is also a peculiar dark comedy that reminded me of another A24 film, Everything, Everywhere, All at Once. Without a doubt, Tilda Swinton, known for her dramatic work, gets the biggest laughs in the film. Hailed as a Hydra, who can always find something to be disappointed about in others, she is confrontational and downright unbearable.  

Alejandro functions as the “Elizabeth whisperer.” He often needs to calm her down and translate her outbursts to those in her crosshairs. Together, they make a comedic duo as they chase down missing art pieces, build a database, and work toward a gallery show.  

This isn’t a passive film experience. It demands some engagement, because we don’t honestly reach the showing. If Elizabeth is unable to sell her partner’s paintings, what does this mean for Alejandro? Will he be forced to leave the country and say goodbye to his Hasbro dream? I applaud the filmmakers for keeping the intrigue high.  

But this is also a movie with some challenges. For Alegandro and his mother, I would have preferred a deeper and more nuanced backstory. We get plenty of flashbacks between Elizabeth and her partner, but beyond the opening scene, we don't get anything that grounds our lead character. There is also a moment when Elizabeth’s tormenting of others will begin to wear on your nerves. For me, it was at about the 60-minute mark. Based on your level of patience, your results may vary. Finally, this movie functions best as a comedy, but I think it misses some opportunities to round out the characters in some of the film’s more serious moments.  

Still, this is a film I would recommend. In a cinematic world struggling to produce adult-oriented comedies, this one satisfies.    

Cinephile No. 1,131 “Perfect Days”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “Hirayama cleans public toilets in Tokyo, lives his life in simplicity and daily tranquility. Some encounters also lead him to reflect on himself.” -IMDB

Review: My idea of perfection has evolved significantly over the last twenty years. Straight out of college, I assume happiness would be found in a big modern house, a new car every five years, a career defined by notoriety, a bank account bursting at the seams, a loving partner, and perhaps a few kids to call my own.  

As I kick and scream my way into the midway point of my years (I hope), perfection is now a roof overhead, things that give me joy, experiences that add value to my life, a career that gives me purpose and ample space to make a difference, enough money to feel comfortable, opportunities to travel, and a loving and supportive partner.  

My idea of perfection has morphed to meet the realities of my life. This sort of perfection now feels attainable. Knowing this, I am not sure I would have appreciated co-writer and director Wim Wenders’ “Perfect Days” as a younger man. But now, as a forty-year-old man searching for a new form of perfection, it makes perfect sense.  

This film centers itself on Hirayama (Kôji Yakusho). Every day, Hirayama rises with the sun and to the sound of a neighbor sweeping the street and sidewalk. He methodically folds his bed, waters his treasured plants, and brushes his teeth. Before leaving, he shoves a few personal items, including a camera, into his pockets. He greets each new day with a smile, grabs a coffee to go, and as the sun crests over Tokyo, he carefully selects a cassette tape, and then heads for work.  

Much of this film is about finding joy in modest and simple living. This is evident in the smile Hirayama greets each day before heading to work. This is also a film about finding pride in your job. Some might assume this is an impossible task when your work is cleaning public restrooms in busy Tokyo. In these moments, Hirayama defies our expectations. His work is a reflection of himself. It represents an amalgamation of all he is. I found a lot to appreciate in these moments, and much to think about when considering the more mundane aspects of my work.  

While watching the quiet beauty of this film unfold for the first 45 minutes, you might ask yourself the same question I did. “Where will the conflict in this story come from?” We’ve been conditioned to believe that all stories require some form of conflict. Our characters must rise to meet some moment, or this may be nothing more than a story about a solitary man who finds joy in a job done well.  

 When the conflict finally presents itself, it meets the emotional core of what we have experienced thus far. It first comes in the form of an employee who doesn’t show the same level of care for his work as Hirayama. Then conflict comes from an unexpected break in routine. Next, this is followed by an unexpected visitor, Niko (Arisa Nakano), Hirayama’s niece. When pulled together, we finally begin to question why Hirayama spends so much time alone. Up to this point, we have grown to respect and honor the meditative solitude of his life, but it is at these moments that we begin to wrestle with the trauma that may have forced this condition.  

This film could have made a tonal shift in these moments, but it stays true to itself and the path we have traveled. Things are left unsaid. Moments between Hirayama, Niko, and her mother are allowed to linger. We never get a clear picture (this includes the purpose of the photos Hirayama takes). To make this choice as a filmmaker is a hard one. Audiences so often demand closure. They like stories tied up in neat little packages. Wim Wender refuses that urge and pressure. Instead, he allows the camera to focus on the main character as tears stream down his face. Then he asks us to question perfection.

Be good to each other,  

Nathan  

Cinephile No. 1,122 “All of Us Strangers”

Recommendation: 5/5 Stars, SHOWTIME  

Plot: “A screenwriter drawn back to his childhood home enters into a fledgling relationship with a mysterious neighbor as he then discovers his parents appear to be living just as they were on the day they died, 30 years before.” -IMDB 

Review: “All of Us Strangers” is a challenging film to discuss without spoiling vital moments in the story. Instead of analyzing the plot, I want to spend some time in this review examining what this film did to me. At the end of that reckoning, I hope to impress upon you the necessity of seeing this film as fast as humanly possible.  

Imagine for a moment that you could have a conversation with someone from your past. That person could still be living, or their time on Earth could have already ended. If you had the chance, what would you say in such a conversation? What would you confess? How would you seek clarity? How would you uncover truth? How would you express all the moments in your life they have missed? It is this thought exercise that serves as the foundation for this film.  

As I watched this story unfold, and in the days that followed, three people consumed my attention. Thinking of my grandmother, my father, and my youngest brother, I cannot help but apply this thought experiment to my life. If given the chance, I would love to show my grandmother what has become of my life. Talking with my dad, I would hope to squeeze out any remaining wisdom he deemed important. Speaking with Lucas, I am consumed by the dizzying number of questions encircling someone stolen so violently from my family.  

In this film, Adam (Andrew Scott), plays a struggling screenwriter whose parents died in a car crash thirty years ago. Mysteriously, he gets the opportunity to share space with his parents. He is given the opportunity to reveal the arc of his life. He gets to come out to his parents and reveal his authentic self. He wrestles with the violent ending of his parents’ life and its devastating impact. And he gets to do this in a budding and supportive relationship with his confident and flirtatious neighbor, Harry (Paul Mescal).  

As he does, we question whether he is mentally breaking down or if something else is happening here. The answer to that question is not necessarily important, not as important as the revelations uncovered and the mirrors shining on our own lives.  

The people who love us most in this world can never truly and completely know us. Our parents, siblings, romantic partners, and best friends are strangers at the end of the day. We are strangers to them as well, at least some portion of us remain so. No matter how we try, we can never fully know someone, and we can never fully be known. Even if, through some mystical opportunity, we were given the opportunity to converse with those absent from our lives, we would discover we are all just strangers.  

For me, this is a powerful epiphany, but so is the revelation that time is a precious and rare commodity. We do not have long to tell those we love how we feel. One day, grief will be all that we have. I have heard it said, “that grief is nothing more than all our unexpressed love.” This movie cements this idea within me. When you decide to spend time with this story, I am confident it will make you feel the same way. That is powerful. There is opportunity in such a realization. For this gift, I cannot recommend this film enough.  

Be good to each other,

Nathan

Cinephile No. 1,114 “Godzilla Minus One”

Recommendation: 5/5 Stars, SHOWTIME  

Plot: “Post war Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb.” -IMBD 

Review: I hesitate to call any film perfect. The debate and expectations that such a lofty statement creates can often prevent me from trusting my initial reaction. Instead, I often say, “This film is perfect for me, and my version of perfection will differ from yours.”  

I find perfection in films that can elicit a strong emotional reaction, often drawn from a profound sense of empathy, but it can also be joy, happiness, anxiety, frustration, or a thousand other emotions. The more I considered Godzilla Minus One, the more I found myself consumed by its ability to elicit awe. Without a doubt, this is the greatest Godzilla movie ever made. It reminded me of Fridays spent with my brothers watching classic monster movies. It reminded me of the magic of cinema.  

Pilot Koichi Shikishima (Ryunosuke Kamiki) serves as the through line in this story. It is his story that becomes so much more than a personal journey. Rather, his redemptive story reflects and mirrors the journey of his country of Japan.  

In the last days of World War II, Shikishima lands on an island off the coast of Japan. We believe his Kamikaze mission failed because of mechanical issues with his plane. It is not long before we discover this is far from the truth. This serves as his brush with cowardice, but it will not be his last. As Godzilla rises from the sea to take the small island, destroying his plane, and killing almost everyone stationed there, Shikishima experiences his second brush with cowardice. Unable to pull the trigger and kill the attacking monster, he escapes the island with little more than his life.  

He returns home with a wounded ego. This version of Japan differs vastly from the one he left. In the shadow of two atomic bombs and war, his fellow citizens attempt to pick up the pieces and start again. For Shikishima, his shame is becoming all-consuming, but he is no longer alone. As he returns to his family’s home, he encounters a young woman, Noriko Oishi (Minami Hamabe), with an orphaned child and nowhere to turn. In her hour of need, he offers them a place to stay. Here, the road to redemption begins. 

As Shikishima and Japan begin again at zero, the same atomic weapons that leveled their cities are forcing Godzilla to morph and grow. When Shikishima takes a job on a small patrol boat meant to sweep mines from the sea, we get our first encounter with Godzilla in his new God-like form. Massive beyond description, a captivating chase scene unfolds. It is in this jaw dropping and awe-inspiring scene that I first felt a hint of perfection. As Shikishima and his shipmates escape with their lives, we know this is just the beginning. The monster from the deep will not find satisfaction. He will come ashore, and Japan will take one more step backward.  

When Godzilla finally attacks, he does so with utter devastation and calamity. Far removed from the orgy of CGI that defines most Hollywood movies, the hell Godzilla unleashes here feels believable. The filmmakers draw you into this moment by using sound in clever and creative ways. For the rest of my film-watching days, I will remember the quiet chaos of these moments.  

Despite the rubble, death, and destruction, the Japanese people do not lose hope. A grassroots effort and a plan to send Godzilla back to the sea leads the path toward redemption. This plan doesn’t come from high above. The common man puts it into action. For Shikishima, it presents the perfect opportunity to rise about his past failures. It is an opportunity to participate in “a war not yet won.”  

The concluding battle is not something I will spoil. It is both a spectacle, yet beautiful in its simplicity. More than ordinary people warring against a gigantic creature, it is filled with symbolism stretching beyond the bounds of this film. On display is the triumph of man, a new chapter for the Japanese people, and a new day for Japan on the world stage. It is these moments that sealed this film’s fate for me. This is as close to perfection as a science fiction film can get.

Be good to each other,

Nathan

Cinephile No. 1,110 “The Holdovers”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “A cranky history teacher at a remote prep school is forced to remain on campus over the holidays with a troubled student who has no place to go.” -IMDB 

Review: Every student I have ever known circled the holidays on their calendar. The welcome break, custom-built into the calendar, meant time with family, holiday traditions, presents, and a much-needed vacation from school. Then, during my freshman year of college, I had to return to the dorms early. I had a job at a retail bookstore. It being the holidays and the busiest time of the year, I could not convince my supervisor to give me the entire two weeks off.  

Walking around the dorm, much to my amazement, I came to discover I was not alone. The halls were still eerily empty except for the international students who couldn’t make the long flight home, and students, such as myself, forced back to the trenches of holiday retail. It should have seemed so obvious, but I never realized the potential stories that could be told about those left behind.  

The Holdovers focuses on a remote prep academy for boys and their professor who rules with an iron fist, Paul Hunham (Paul Giamatti). With the holidays lurking around the corner and final exams complete, the students dream of hitting the slopes, visiting family and friends, and escaping to exotic locations. For an unlucky group of four students, there will be no reprieve or escape from the hallowed halls of the prep school. No one is coming to rescue them. They are holdovers, and they are stuck spending the holidays with Professor Hunham.  

From this concept, one of the funniest, emotionally rich, and cutting comedies I have seen in years is born. The film explores every facet of the characters who anchor this story. From entitlement to loss and to a closed off life, nothing is safe or off the record. Things get even more interesting when four of the students leave campus with permission to join a fellow student at a mountain escape. This leaves one student standing, Angus Tully (Dominic Sessa), alongside the professor and Mary Lamb (Da’Vine Joy Randolph), the campus cook.  

Heartbroken and disappointed, we find Angus dismayed by his circumstances. Naturally, he tests the limits of his professor. This provides some of the funniest moments of the film, but it also provides moments of emotional breakthrough as each character explores their personal definitions of home.  

While the relationship between Angus and Professor Hunham is fascinating to watch unfurl, it is Mary Lamb, played masterfully by Randolf, that serves as the heart of this film. Angus and the professor are mirror images of each other, but meet Lamb as she works through the complexities of a child lost to war. By every measure, her story colors the background of the film and gives it a richness I did not expect.  

As this movie enters its third act, we escape the stuffiness of campus. Mary heads toward the comforting arms of family. Angus and Professor Hunham turn toward Boston. In these moments, we see the culmination of all we have built toward. It is these scenes where an unshakable truth reveals itself, and we witness a true evolution.  

From the trailer alone, I expected this film to be funny. I did not expect it to be so emotionally gripping and heartfelt. Without a doubt, it is a movie I will return to again and again with the passing of each holiday season.   

Be good to each other,  

Nathan