Dev Patel. © 2024 Universal Pictures, Monkeypaw Productions, Bron Studios, Thunder Road Films, Minor Realm, S'YA Concept, WME Independent, and Creative Wealth Media.
Directed by Dev Patel.
Press Screening
Watched it in ICON-X @ Showplace ICON One Small Ember Can Burn Down Everything This ain't your average John Wick esk film. Dev Patel's directorial debut in the action genre with his film Monkey Man is a heart-pounding bloody film with a deep cultural story that makes it stand out. I was expecting pure bloody action sequences but there is care to its narrative and protagonist that makes this film feel fresh and unique. Beyond the action sequences, there is something that connected with me that can be universal and with Patel's direction, writing, and acting, he brought something special to the action genre table. Let's visit India and follow the legend, Monkey Man in his revenge tale. Story: A young man ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he's beaten bloody by more popular fighters for cash. After years of suppressed rage, he discovers a way to infiltrate the enclave of the city's sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him. Revenge stories are always intriguing but some of them don't hit the right marks with their emotional beats or brutal moments that keep up the suspense. However, with Monkey Man, Patel delivers those beats while adding the Indian culture to its environments and the protagonist's story arc. The way it is structured is simple but there is surprisingly more character and even backstory development that makes the final act impactful and his altercation with the main antagonist meaningful. Dev Patel's character Kid, faces many challenges like classism, love, and trauma. There is a lot of trauma and PTSD with his character and it is used effectively and luckily, not overdone which tends to be a bit of a problem when relying too much on flashbacks. One of the reasons I said that Kid faces classism is because the story's environment is focused on classism in India and the lives of the poor and the rich. In the film, Kid's younger life was bright and happy because of his mother and they were living in a well respectable community. However, everything falls when Rana (Sikandar Kher) kills his mother and destroys his home. These scenes' environments told a lot about his struggles and with Patel's visual direction, it carried the tone and visual landscape while adding depth to the protagonist's backstory. Overall, it was effective and it is an interesting aspect that Patel tackled. Adding onto that aspect, beyond the bloody revenge story, there is also some political commentary and representation on-screen. It felt natural within the story and it added a level of realism which enriches the themes and visual elements. As for the actual revenge story, it is deeply about trauma and love. Patel mixes flashbacks and present time effectively through editing which strengthens the emotional beats and Kid's PTSD. His relationship with his mother which became the key that made him become the hero was constructive and with Kid's enemies like Rana and Baba, it powers his rage which makes his character so compelling and fearless, and also makes the action feel more raw and powerful. His character arc went from climbing up to a better life, getting beaten down by his own trauma, re-facing and evaluating that trauma, and ultimately fighting and defeating that trauma. With Dev Patel's direction, that character arc was executed very well and I was so compelled by how he keeps facing his trauma but also learning his struggles and using those struggles as strengths to become the monkey man. Altogether, his character is compelling with depth and with the socio-political commentary tied into the environment of the story, it makes a sturdy and raw story that makes the total bloody action feel right in its own way. As for the other characters in the story, I thought they served a purpose in Kid's journey. Most of them had limited screen time but they brought out each important element that triggers Kid's feelings, or a subtle action. Rana and Sita (Sobhita Dhulipala) were the main triggers to Kid's trauma and their roles in the film were well-developed with limited dialogue between Kid. The visual direction that Petal executed in displaying Kid's trauma is very strong and it doesn't shy away it's realistic, meaningful, and sometimes uncomfortable scenes. He focused a lot on visuals and it worked right with these characters specifically. I also cannot deny that Alphonso (Pitobash) was a funny character and he brought the action charm to the film. As for Alpha (Vipin Sharma), Alpha became a cornerstone character for Kid's journey and Alpha's mentorship role strengthened the struggles of Kid's trauma as a way to overcome his own trauma. I would say this is the standout side character in the film and his role overall brought depth to the environment of the story and most importantly, the culture. Lastly, it is also nice seeing Sharlto Copley back on the silver screen. His role was energetic and added a level of craziness to the wild nights in India. These characters altogether had an impact on the protagonist's arc, trauma, or the environment of the story. As I mentioned before, the film's culture serves as an important background in the film and through its revenge story.
The culture in Monkey Man is diverse and rich in each setting in almost every scene. The environments play a key part in building the protagonist's backstory and current struggles. With the great and grounded production design, it makes each environment very distinct and unique. What also makes it unique is that some environments represent the protagonist's journey including his emotions. Especially inside the luxury hotel on each floor, the wide variety of neon colors support the cinematography and add a layer to the character's emotion through production design. Back to the overall culture presented in the film, there is authenticity and social commentary from Patel's direction. From the cultural myths and arts to the film's music, there is a rich variety of Indian culture and luckily in the film, we get to see a huge variety of locations that diversify the whole culture. I really enjoyed Patel's direction with his personal injection of the Indian culture. All of these elements lead to the biggest element that makes his film brutal and the story gritty and grounded.
Dev Patel's action direction is raw, brutal, bloody, heart-pounding, and fun! This is the real juice that keeps the momentum and suspense of the film, including its important character development scenes which lead to the bloody final act. Patel's action style is right in front of our noses when shit goes down. A lot of interesting Dutch angles, close-ups, and shaky camera movements that feel just so right for this film alone. It is total pack-a-punch in each action scene and there is some breather between the action. Yet, when the action is about to commence, the intensity already shines into the emotions of the characters and it explodes once the first punch hits. I knew that this film was going to be bloody but it was a blood-fest and there is more hand-to-hand combat rather than gunfight which is a nice change in this modern era of action films. Patel keeps telling in many interviews that he broke his arm, his fingers, and other bones. By that news, I am not that surprised and there is a lot of creativity within the sequences in terms of physicality. Patel kicked ass hard in these sequences and the action alone is worth the ticket to see all of the brutality on the big screen. As for the technical aspects, it is a well-produced film with a lot of creativity within its restrictions based on interviews from Patel. The technical production is excellent and while there were restrictions due to a limited budget, there is a lot of creativity that couldn't been possible without those restrictions. The cinematography is very slick with a lot of beautiful colors and smart lighting choices. The Dutch angles as I mentioned earlier were a key aspect to the cinematography and it worked well due to the visceral and raw nature of the violence present. Especially with the shaky cam technique, it worked in creating that grounded action. The editing is also well done and I cannot find a way to complain about the fast editing here because it was necessary to visualize some of the trauma of the protagonist and the flashbacks. As for the production design, as I explained earlier in the review, I thought it was very great due to the culture of the country and the emotional connection with the protagonist. It also supported well with the overall visuals which is also nice to see. The film's score is also good with a lot of recognizable songs which did not bother me for the most part. Based on the many interviews about the production itself made me appreciate the technical aspects and it is insane how they pulled it off. A fantastic round of applause to the production team. While I love the creativity of this film narratively and its technical elements, there are still some flaws that I ran into. One of those flaws is the supposed main villain Baba (Makarand Deshpande). His scenes were cool and served a purpose, but I found his character quite lacking until his last scene with the protagonist. Even though his presence felt strong, his character overall didn't seem interesting until his last scene. It felt like the main villain for half of the film is Rana and while that balance worked out, I was still itching for more of Baba's backstory. I was a bit underwhelmed with Sita on her relationship with the protagonist. Besides those flaws aside from minimal pacing issues, I was hooked with the film until the final frame. As for the ending, some will have mixed feelings on it but it worked for me. Ultimately, Monkey Man is another achievement in the action genre and a fantastic directorial debut from Dev Patel. It is bloody, raw, gut-punching, vivid, and brutal from start to finish. Lots of creativity within the cinematography, production design, and action sequences. More importantly, there is a lot of great depth in the protagonist's journey and the culture being represented. A ballpark of a film and I am happy that Universal picked it up for theatrical distribution because this is a must-see action-packed film. Let Patel cook more within directing.
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Vizeit Score: "A"
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Copyright © 2024 Vizeit Reviews / Vizeit Studios. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
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Sandra Hüller. © 2023 A24, Film4, Access, Polish Film Institute, JW Films, and Extreme Emotions. Directed by Jonathan Glazer. VFA Nominee - 6 VFAs Including "Best Motion Picture"
Watched it at 59th The Chicago International Film Festival @ AMC Theaters (CIFF #3)
Everything Seems Normal Until You Look Out of The Picture... The sounds of dread, death, and peace are through the house of a Nazi-oriented family. A manipulative view of peace and quiet is seen through the eyes of this family. Director Jonathan Glazer shows us a different perspective of a Nazi family who are living their lives like any other family, but secretly hear the violence playing in the background. It is a deeply rooted film through its psychological and philosophical presence. A film that may be uncomfortable to watch, but it will immerse you, keep you thinking throughout, and leave you in a complete state of mind when the credits roll. It is a film that represents the horror that we may be living in today, but Glazer lets us soak into this time when war was at its peak and fall during this critical point in human history. Let's go back to 1943 and take a peek at this family living next to the Auschwitz concentration camp. Story: A Nazi commandant tries to build a dream life for his family near the Auschwitz concentration camp. However, with leadership and international changes, he must find ways to keep his family stable while keeping his job and the future of the family. In the first few minutes of the film, it is totally pitch black. However, the film slowly brings up the dreaded and daunting music and sounds that seem unpleasant and unconformable. Yet, it is fitted with the theme and story of the film which showcases the first shot of the film where the family is enjoying a nice summer day like any other family would. Yet, when closely hearing the sounds through the speaker channels in the theater, I hear a small yet distinctive sound of work and possible gunshots in the distance. This is just the beginning of a film that utilizes sound as a character which elevates not only the experience but deeply connects to the family and the environment surrounding them. The sound design and mixing are flawless with the rich and unnerving sounds of the environment and the conversations of each family member. From the silent sounds to the loud chaos within the Auschwitz camp, it stresses and destresses your listening experience from scene to scene. There are moments where sound can be given as a breather moment but once those dreading sounds come back, the film pulls you in like an instant shock. The brilliant sound design of the camp sounds, the nature and home environment, and even each room tone gave a sense of nervousness and sometimes fear. Fear is the message with the sound design and mixing of the film which gives the entire experience a memorable experience but in a unpleasant way. If there was no dialogue and just pure sound, this film still would be a masterpiece due to the sheer amount of haunting dreaded audio from the camp and the calm noises from the home environment. It is like two worlds smashing into one which creates some of the most haunting sounds I have heard in film and by the end, I left shocked. I felt like I was watching this film in a museum with its presentation and this should absolutely be in museums around the world. It is a work of art. I didn't even get to the score of the film yet in this review and it is also very memorable and disturbing. Within the music, it gets distorted through the instrumental score with hushed piano music mixing in the entire score. There isn't a lot of music in the film but when it is present, it hits you silently. It is atmospheric through and through which steps up the cinematic experience. If I were an Academy member, this would easily win best sound at the Oscars without a doubt including a nomination for music as well! Yet, as a critic, I love the amount of detail and expression within the sound design in every second. Before I lose myself in the fantastic sound work, the story and characters drive the film forward which accompanies interesting philosophical themes that are being challenged throughout the film for audiences. Ever since I finished taking that "Philosophical Issues in Film" class during the fall semester, I have been more deeply into philosophy than ever before which leads me to this film filled with philosophical interpretations. Before I dive into the philosophical themes, let's take a look at the story of this film which is based on a book based on the same name. Even though it is based on a true story, many of the story plot points are based on the novel with some dramatic storytelling being added for dramatic effect. There isn't much dialogue within the story but the relationship between the mother and father of the family we follow is apparent and focused. Throughout the film, the film quickly shifts to the father's point of view while it switches back to the mother. There is a balance between those characters which gives a fresh view of their family actions and the life they are living. It gives us empathy for these characters in their lives and while we know that they are a Nazi family, that is mostly landed on the father. The father is pretty much the protagonist or even the antagonist of the film. Yet, Glazer lets us into the family's home and live into the moment of their lives from their morning routine until they go to bed. That is the most crucial part of the film because it deals with this family. If it was just focused on the father, it wouldn't be a strong story, let alone, the whole point of the film. Glazer uses the occasional character development for all characters but there is little for each family member until the Nazis are starting to lose or where there is conflict in the family. For some, it will feel late, but for me, it fits well into the structure of the story and it feels natural within the context of the situation. This is not a typical family drama. It is more experimental within its technical filmmaking and its directing style of Glazer. Yet, with the storytelling narrative being also the focus, Glazer allows his interpretation of the characters to feel real and write them in interesting ways like the way they react to the slow defeat of Nazi Germany and the fall of the Auschwitz camp. Even from their kids, they are raising them to think that they are going to be future Nazi soldiers and have nice families in the Nazi regime. When watching it through, it is very sad to see how these children were raised in this environment which makes it devastating and you feel a bit of sympathy for them, but you quickly remember that they are still part of the Nazis. It can be emotionally complex based on your relationship with the history of WWII and the Nazis, but it also manipulates your feelings about the family alone. There is so much depth within the storytelling of the film but by the third act of the film, the plot takes into a whole new direction that exceeds the first two acts and makes the ending devasting and real. There is so much to praise with this film but the one thing I would like to explore is its philosophical themes about the family, war, and the Holocaust. Even though this film is focused on a Nazi family, you can't ignore the fact that this is one of the many tragic stories of the Holocaust. It is devasting to witness a family living near the Auschwitz concentration camp where you hear gunshots, screaming, mining sounds, and death. It is heartbreaking and it feels like your breath is out for two hours due to the sheer experience throughout the film that you are being sucked into. The way the Holocaust is being viewed here is interesting because you don't see the camp inside. You only hear sounds from outside. However, the film lets you briefly enter the camp but with no actual sight of the camp. Only the father monitoring the camp while you hear the loud gunshots, mining, and crying in close proximity. That is one of the few moments in the film that brought a true horror aspect and it has stuck with me ever since. There are moments in the film where they talk about the killing of the Jews which made me sick to my stomach and I was very uncomfortable witnessing that. Yet, it was necessary and it is not an easy film to watch. Even though there are not any real disturbing scenes, it is still disturbing with the context behind it including the way these characters talked and treated the Jews. The final ten minutes of the film is where the Holocaust takes its importance over the family with a silent memorial of the Jews in which the father doesn't know what his future holds. It is a brilliant yet sad ending that I will not forget.
With its philosophical themes that Glazer is tackling like the problem of evil, ethics, and morality, it makes the psychological part of the characters a bit more complex. Evil is depicted in the film through the family actions with the Jews and the father working near the camp. There aren't a lot of on-screen evil actions but through the tone and atmosphere of the film, you can sense the evil and fear within the walls of the house and the camp walls as well. A sense of horror and dread is blocked off from the outside walls of the camp which questions the true evil within the family. Who is the problem of evil in the family? What is the problem of evil in the family? So many interpretations can be expanded but one thing to note is that evil is being hidden from the family except the father. He's the true evil person in the family and when he realizes that the Nazis are losing, his evil starts to die and he will be forgotten. He also has no morality in the Jews unfortunately except the mother but maybe not the kids. Morality is also being juggled here but their ethics within the family are very centered and we get to see it play out in the family. Some morality is developed between the family and their Jew workers but no morality is developed by the father which makes his character a bit soulless to have empathy. Yet, from a philosophical point of view, that makes his character a bit more sinister. The philosophical elements can be seen through its visual presentation than its character storytelling but it allows more interoperations of evil and morality within the characters and ethics running through the family. Through all of this storytelling, Glazer ultimately uses the technical part of filmmaking to bring this story in a thoughtful yet immersive dark experience of this tragic and haunting story.
The way this film was shot is quite simple. Yet, it is beautiful and the framing is exquisite and intentional. There are no handheld or gimble shots being used. It is purely static and tripod shots in every shot of the film. There are a quite few dolly shots but there are no pure moving shots which helps the film to not break the illusion that the film is intended for. Plus, the way the cameras are being positioned in the house feels like a camera watching them at all times. It gives a Big Brother feel to the experience of the film and with its slow pacing, it feels like it was playing in real time. The editing is brilliant with its sound mixing and editing. There are interesting editing choices that made the experience a bit more real. There is also a sense of rhythm through each scene with its pacing in each pivotal sequence and when it hits nighttime in the film, the editing keeps that rhythm momentum going like a CCTV camera. Even during the scenes with the mother and father, it only cuts up close to the person who is feeling a sense of uncomfortable or taking control of the conversation. The editing is better described when you watch the film. The production design is also fantastic and while the film is just in the house with some great VFX being placed with the wall and the camp, it takes a step further into the house. Even way beyond the house with its underground system and in the final act, it goes beyond the house. There is one aspect that may be overlooked but it is the costume design of the film. With the context of the story, it is scary to think that some of the costumes being worn could have been dead Jews and there is one scene where Sandra Hüller's character is trying out a nice winter coat. However, that winter coat belonged to a Jew, and seeing a Nazi mother wearing that was honestly shocking. The colors on certain characters' costumes including the father give a sense of authority, system, and emotional state. Even if we go back to the cinematography, the colors are mudded yet vivid with some standout colors like white, green, and gray. It feels like a documentary at certain moments but at the same time, it feels like you are actually being there. That feeling of if it is a documentary or a narrative feature. That blur is present throughout because of the fantastic production of the film and it is one of the best technical films of 2023. As I look back on the film, I don't see any major flaws besides that this film could be very slow for some people, despite being a 105-minute film. I didn't feel that at all throughout. However, I feel like I wish there was more family drama but I don't think that was the point of the film. It can be mixed for some people who had family members who experienced the Holocaust or had relations with the war in Germany. I know it can be emotionally complex for folks out there so I have nothing against that. This is not an easy film to watch. It will destroy your mood for the entire day or night. Yet, it is an important film that everyone should watch. Jonathan Glazer takes this important story and unfolds it into a daunting experience that will leave you numb or speechless. It is an important film that interestingly explores the Holocaust through a Nazi family but without seeing the Jews in the camp. It blocks you from seeing the horrors within the camp by keeping the "beauty" of the family right in front of your eyes. It can be manipulative but the film gets its point across with its dark themes about humanity, morality, and history. The ending is what made me say this film is a work of modern art. This should be shown in schools and show both sides of the events of the Holocaust. This film even made me join a course about the history of the Holocaust. Film can really impact you in so many ways and this film successfully did that. Even though I know the Holocaust in general, I still wanted to learn the many stories that aren't being told through the eyes of the Jews and Germans during this crucial event in human history. A true work of cinematic film art.
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Vizeit Score: "A+"
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Copyright © 2024 Vizeit Reviews. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
Jeffrey Wright. © 2023/2024 Amazon MGM Studios, Orion Pictures, MRC Film, T-Street Productions, Almost Infinite, 3 Arts Entertainment.
Directed by Cord Jefferson. VFA Nominee - 4 VFAs Including "Best Motion Picture"
For Your Consideration (FYC) Screener
Create The Message By Being The Message Itself People praise a generational piece that not only speaks to them personally but it has a meaningful impact that will be looked upon for generations. Well, Monk has a problem with that. The problem is that those generational pieces are being converted into stereotypes with no meaningful message behind them. It is just absurdity, lazy, and potentially offensive. However, it is not all about that. In Cord Jefferson's directorial debut film, he explores how the media has changed the interpretation of black culture but also criticizes the modern entertainment today that the general public is consuming. It is a mix of comedy and drama that not only gets its point across but opens it up for interpretation. Let's follow Monk's literary adventure of the hypocrisy of Black entertainment. Story: Monk is a frustrated novelist who's fed up with the establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain. One of the few films this year including American Fiction has not only critiqued the media system and made fun of it, but also gives possible answers to fix those issues. Whether it is politics, culture, or race, there is a solution to every problem but you will need to find the root of the problem in order to fix it and critique it to arrive at that solution. Jefferson does that by letting the audience be in the shoes of Monk (Jeffrey Wright) and see how today's media has shifted towards stereotypical issues that we see portrayed in the media instead of smart and thoughtful media literature in film, books, news, music, and more. By making his themes work through the eyes of Monk, Jefferson uses comedy and satire to critique the modern media while using family drama as the possible solution to his point. The mixture of those elements in its screenplay and direction works very well alongside its cast. The satirical comedy of the stereotypes being used was hilarious and smartly written. The dark comedy in certain scenes with drama was placed intentionally to get the point across but the scene still allows that heavy drama to be at the main forefront. For the comedic scenes alone, they were funny and well-executed. There were a lot of memorable scenes from this film and I laughed constantly throughout this film which made me appreciate the comedy being used with the issues that the film is tackling. There are interesting ambitious sequences that take the comedy in a whole new direction and it works for this type of story. Especially for the protagonist who is a book writer. With Jefferson's screenplay, he balances out the drama and comedy by giving depth to his characters while still keeping the story engaging and funny. While the tone may be inconsistent, the screenplay manages to bring new ideas that can elevate the comedy and lay out the drama in a smart way. Monk's situation with his new book and his family issues raises the stakes and it allows Monk to make difficult decisions for his career and his family. Monk has an interesting relationship with his family and friends which creates more problems with Monk. Jefferson allows some breather between the comedy with the family drama that Monk is dealing with while creating his new book. Plus, the screenplay makes Monk's journey a bit more difficult when he finds a new relationship which can halt his book development. The characters from Monk's family and friends are hilarious and they add to the satire and family drama that Jefferson is aiming for. Every person in Monk's personal family adds more stress to his work but it allows Monk's character to find that spark for his main book that he's creating. Yet, the subplot with his family gets more complex by the third act and it changes the behavior of Monk. From the supporting cast of characters, Cliff, played by Sterling K. Brown, gives a hilarious and human performance which gives more depth to the subplot of the family drama. The chemistry between Monk and Cliff is wonderful and there are flaws within their sibling relationship that add weight to the drama and comedy as well. Even though Issa Rae's character Sintara is barely in the film, her character symbolizes modern young artists in a good and bad way which helps Jefferson's social commentary of the film. Yet, her character allows her to criticize Monk's first thought of her work which later reveals to be a completely different book than he expected. The film not only allows Monk to re-evaluate if his new book is worthy or not but also criticizes his own work and looks at the outer bubble. It brings many questions to the table but Monk still needs to finish his initial journey that he started with his new book. After all, he wants to prove that today's audience doesn't want to read complex stories anymore. They just want to read easy books that have stereotypes that prevent real critical thinking. By the end of the film, I started to realize that this film is a bit of a wake-up call to this new "media" we are consuming and how this type of media is being slipped into the air without any second looks. That is where the main social commentary of the film comes into play.
Through the social commentary of American Fiction, it is ultimately a critique of the modern "media" that audiences have been consuming for the past two decades or so. Hollywood is turning to ideas that they think are relatable to the world and the people they are targeting. Plus, the representation they are aiming at is not clicking there yet for audiences. Jefferson clearly criticizes and satirizes the book and film companies for marketing stereotypical "black" books and films. We get to see this through Sintara's book called "We's Lives In Da Ghetto" which from the title, uses stereotypes of black American culture. We get to see this multiple times in how Jefferson thinks that today's media is portraying the Black community with racial stereotypes through books and thinking it is smart and authentic. In reality, it is not in certain degrees. Even by the ultimate climax of the film which has a weird ending that makes his social commentary come all together. From the portrayal of the media, to how not just Black Americans are being portrayed, but also other ethnicities and races are being portrayed now in the media is just a satirization for Jefferson to point out. Even with the satire being a major part, it is also another way to point out the issues in America and how Americans are thinking differently about politics and the media today. Jefferson wants to point out that there are not many complex, academic, or smart books and films out there that criticize or bring light to important subjects. By explaining this issue, he uses his film by not just satirizing it and making it easier to understand, but add complexity and depth to the satirization itself. There is so much to explain about the social commentary and satire of this film but to wrap this section off, Jefferson's satire of the publishing industry is, unfortunately, a reality where executives think audiences want this or that. But the creators really want their audiences to delve into authentic stories and start real conversations about the many ongoing issues in people's personal lives, in America, or the world.
On the technical side of the film, it is a well-produced film based on the cast, locations, and filmmaking behind it. The cinematography is solid, the production design is good, and the music is surprisingly relaxing for the most part. Nothing too crazy in terms of production scale until the final ten minutes of the film which was the most shocking part of the film. Plus, those ten minutes sell on the satire that Jefferson was commentating on throughout this story. Even with its brilliant satire and smart script, the film falls short on certain subplots within the family drama and the pacing of the film itself. While I love the family drama that helps bring depth to Monk's character, the structure and pacing of that subplot were a bit messy. There were certain beats that didn't quite work in the right moments and with the editing of the film, it makes the subplot a bit harder to grasp emotionally. A certain writing decision that happened in the first thirty minutes of the film did not work for me and it should have been waited right in the second act. It felt melodramatic sometimes within certain scenes of the family drama and there were more subplots in the film where it barely had any development or it was too quick. The editing could have been tighter while still having those slow and thoughtful moments that Jefferson is communicating. There were not any weird editing decisions but the pacing overall felt off in certain bits which ruined the overall flow of the film. Finally, the ending can be a bit divisive for some audiences but it worked for me in what Jefferson was communicating with its satire. Yet, by the end of the film, I was still profound about the complexity of the story and depth of Jefferson's film with its characters and drama that Monk faced throughout his literary journey. Cord Jefferson made a film that not only speaks to today's media representation and how publishers are aiming for the wrong message, but also gives us a deeper look into the author's journey and the blockade of issues that many authors are facing within each media field from books to films. Even beyond its satire, it is a personal journey on how we face our many issues while we create art for others. It is a smart and bold screenplay with fantastic performances including Jeffrey Wright and Sterling K. Brown. Honestly, one of the smartest films of this year and it should be analyzed more in what it is critiquing while looking for the answers that Jefferson is providing us through his film. It is a fantastic directorial debut from Cord Jefferson.
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Vizeit Score: "A-"
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Copyright © 2024 Vizeit Reviews / Vizeit Studios. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
© 2023 Toho/Toho Studios and Robot Communications. Directed by Takashi Yamazaki.
Watched it at AMC Theaters (First Film Review of 2024!)
From The Nuclear Ashes, A Monster Is Born The Godzilla franchise keeps growing every few years with each installment from Japan and the US but this time, it has revolutionized. The Toho team including director Takashi Yamazaki, has created an emotional film that not only enhances the action and suspense that makes these films exciting and entertaining but greatly improves its human characters which makes this new film entry so powerful and thrilling. Finally, this is the Godzilla film I have been waiting for since the 2014 US version. Let's go back to the 1940s and witness Godzilla's first steps into Japan. Story: 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. Trauma, violence, and heroism are some of the biggest thematic elements within the storytelling of Godzilla Minus One. There are more elements that I could mention but these were the biggest standouts because trauma is the biggest element that has been utilized throughout the franchise. Trauma being displayed here is refreshing because even though there is a big monster that represents the atomic destruction caused by the USA, but I think trauma is being used more based on second chances. The trauma of loss, second chances, and ultimately love. The protagonist, Kōichi Shikishima (Ryunosuke Kamiki), faces many traumas throughout the first hour of the film which makes his motivations and goals even more impactful throughout the film. The loss of his family and the destruction of Tokyo led to an unexpected path where he helped Noriko Ōishi (Minami Hamabe) and a missing child after the war. We get to see him processing and moving on from his trauma by taking care of the woman and child and later, they develop to become one family. The storyline of this family is captured as a way to comfort Shikishima's family loss by developing a new family during post-WWII. The storyline gets more juicer in the later half of the film but it is done well within its execution. This leads to the second trauma sub-element which is second chances. Shikishima is given a second chance with his new family and we get to see many scenes trying to process and fight his trauma and PTSD of Godzilla and his family's death. The writing of these scenes is sharp and emotionally complex due to not just the amount of trauma the protagonist is facing, but the lost sense of love. The trauma of love within Shikishima's life and journey is a big challenge throughout the film. He didn't want to be accompanied by anyone else until he was forced to help out Noriko and the kid. His love is unbalanced but through each act, his love improves and it is a huge motivation throughout the final act in order to save Japan and ultimately, his family. These three sub-elements strive for the emotionality and direction of this film which keeps the story fresh and engaging. The complexity is far greater here than in any other Godzilla film to date and even if you take the trauma out of these characters, they still have their unique personalities and flaw traits that make the characters in this film likable and most importantly, actually caring for them. In past Godzilla films, the majority of the human characters are written as one-note or uninteresting with no complexity or flaws behind their character. Since the 2014 version of Godzilla from Legendary, there hasn't been a single character that stood out that I remember fondly. The only ones would be Bryan Cranston and Ken Watanabe's characters. I would also include Aaron Taylor-Johnson but those were the standouts for a long time until this film. This would be a huge hot take but the cast here are way better than the previous casts from Godzilla Vs. Kong and Godzilla: King of the Monsters. Each character in the film is memorable and has standout traits and moments that help the emotional climax and resolution. It is honestly refreshing to see a cast of characters who helped in some way to defeat Godzilla but they have actual relatable personalities, emotions, and even complexity. Each character gets a shining moment and it made me care about these characters. Also, the characters here were not written dumb or comically which was a problem with the majority of the characters in the American films. Thank god, these characters here were smart, relatable, and likable. Kenji Noda (Hidetaka Yoshioka) was my favorite side character from the cast due to the likable personality of his character and Yoshioka's acting, but also his purpose to defeat Godzilla by trying to get everyone on the same page. He cares for everyone and wants Shikishima to complete his initial goal. To kill Godzilla and save his family. The chemistry between each actor is strong and radiant which helps create golden moments that made me appreciate their performances and the arcs they have. Also, finally, this film has good character arcs which the other films lacked on. Takashi Yamazaki wrote a well-written script that not only made these characters complex but also had emotionality behind them to care for them when they fought back against Godzilla. Speaking of fighting Godzilla, the action here is amusing and breathtaking which makes Godzilla look more deadlier than ever.
The action in this new entry of the Godzilla franchise is more grounded and real than any other Godzilla film. No sci-fi blasters or weird modern technology to kill the monster. It is pure chaos with no help from the government and you only see people running away from this monster. Even Godzilla himself looks more realistic with a dirtier and crisp look. The way these actions sequences were directed were almost viewed from the perspectives of the humans. There were not as many close-ups or epic solo shots as I thought the film would typically have. However, the action is tighter in its direction and it feels like there are actual stakes in the situation these characters are in. There were emotional stakes in the mix of the action and it made me care about the characters' fate, especially in the final act. I was legit worried that some of these characters were about to die and I was on the edge of my seat. That is how you deliver intense action sequences and Yamazaki cooked it to the max while still focusing on the characters. I was surprised by the beautiful dark look of these sequences because when I saw that the film's budget was around fifteen million dollars, I was astonished by the work behind this project.
From the visual effects to the CGI, I was so mesmerized by the design of Godzilla and the destruction in the action sequences. For a supposed fifteen million dollar film, this looks fantastic and it looks way more expensive than I thought it was. The VFX and CGI are unreal. Even though the VFX seems to appear more clearly within the destruction of Ginza, it still looks very good with a blend of practical and visual effects. The cinematography is slick and smooth with its unique color pattern in each major sequence. Some memorable shots truly show the epicenes and real threat of Godzilla. The score is heart-pounding and energetic with Godzilla appearing in a scene. With the music, it allows a sense of true fear and intensity. Combined with the sound design, it makes the whole experience exciting and thrilling! Overall, the technical elements are fantastic and well put together in a low-budget blockbuster film that looks better than the majority of big CGI films. However, there are some flaws that I want to point out that are still plaguing the franchise. Throughout the franchise, some characters will be underdeveloped or forgotten which is a continuing problem in the series. In this entry, Noriko Ōishi, the partner of the protagonist, was a bit underutilized in the film. She was introduced as an important character and she only had a small amount of screen time presence. She had her moment but I feel like there was so much left out from her character which makes the relationship feel unstable. There were some typical cliches within the story's actions, especially in the final act but I was still engaged with some unexpected twists and turns. Thrilling, emotional, and epic, this is what the Godzilla franchise needed and this film succeeds in it. I was captivated every second from the destruction created by Godzilla to the well-written characters that I actually cared about. This is a breath of fresh air for the franchise and it was a cool experience in theaters. I hope this franchise continues in this direction. I also hope Legendary learns from this film and go back to the old direction from the 2014 version. Either way, I cannot wait for the next film.
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Vizeit Score: "A"
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Copyright © 2024 Vizeit Reviews / Vizeit Studios. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
Sofia Boutella. © 2023 Netflix, The Stone Quarry, and Grand Electric. Directed by Zack Snyder.
Watched it on Netflix
There Are No Heroes. Only Rebels. The answer to an adult-oriented Star Wars franchise is here from the visionary Zack Snyder. However, the answer wasn't exactly as you expected. It is an original sci-fi film for sure, but unfortunately, this feels like A New Hope but with no flavor and complexity in its story. It does have the classic Snyder direction, but the film falls flat when the story takes over the stage after an action scene is over. For this being a part one of a new larger-scale story, I don't know about this one chief. Let's travel to the outer galaxy and explore the Motherworld. Story: When a colony on the edge of the galaxy finds itself threatened by the armies of the tyrannical Regent Balisarius, they dispatch a young woman with a mysterious past to seek out warriors from neighbouring planets to help them take a stand. What Snyder does well with his direction is delivering unique world-building and eye-gazing visual sequences that will glue you to the end. Snyder proves with each film that he still has the high intense visual flavor with his stylized action sequences and beautiful eye-popping cinematography. Since his first time being the director of photography with Army of the Dead, he continues his DP work by bringing his unique visual direction with its action and drama sequences. His iconic slow-motion style is still present in this film and it is utilized well here which is a major positive since he typically overuses it a lot in his previous work. There are some wonderful and dazzling shots with raw and gritty gun-play action and fight sequences. His gun-play action sequences are the strongest ones, especially the smaller fight scenes which feel visceral and effective. Besides the action and visuals, the strongest parts of the film are the protagonist Kora (Sofia Boutella), and the world-building of Rebel Moon. I enjoyed Kora's journey and her backstory which revolves around her deadly work with the Motherworld. Boutella's performance was solid and honestly, one of the few performances that worked here alongside the main villain. Kora's personality works for Boutella's performance and her character progression worked decently throughout. However, there is nothing uniquely special besides her being a bad guy at first and turning herself into a rebel. There is another character trait from Kora with someone being related to her but that's a spoiler. Even with that spoiler, if you have seen A New Hope, you can guess what will happen immediately which waters down her backstory. Yet, her entire character backstory connects to the larger world of Rebel Moon which made me appreciate the world-building. Especially with the flashback sequences, I was eager to learn more about Snyder's new out-galaxy universe. The main story, including Kora's backstory, utilized the world-building very well. We get a sense of the huge epic scale of this galactic universe while learning the new lore that Snyder is providing us. The world-building also happens in the background while it doesn't overtake the main story and conflict. Overall, it is seamless and unique which breaths originality to this universe. Even though this concept was initially a Star Wars project, it felt distinct and completely different due to its production design and technical filmmaking behind it. Snyder's production of his films is always insane and this one is no different. The production team brought a unique flavor to the set designs, costumes, and props used in the film. It is more gritter than I expected but it adds to a level of realism and tactical look onto the world's atmospheric look. Some of the makeup of certain characters look solid and the attention to detail on certain set work looks very impressive. Luckily, the score wasn't half-baked and there was epicness behind the music. Junkie XL knows how to pull off an energetic score into an action sequence and even a slow-dramatic scene. His music always adds an epic feel to it, no matter the scene. Through just the production alone, I got to give my hats to the team who made this world feel alive in certain sequences. However, even with all of that cool production design and work, the film stumbles upon a missile and blows itself up with its bland story, underdeveloped characters, and even its rough visuals. Not even Snyder himself can save his DP work with its rough VFX work.
Where do I start? I don't know, maybe the most crucial part of the film which is the story itself. Snyder's storytelling is distinctly unique and questionable than any blockbuster filmmaker's work I've seen in recent memory. Snyder loves to stretch his stories to the limits and while his recent film went back to his filmmaking roots with Army of the Dead, by creating a simple heist zombie film with depth characters and interesting consequences, in his new film, he does the opposite. Did it work? Not fully but at least he tried to compete against Star Wars. I'll give him props for the world-building of this new universe but even with all of that, the plot couldn't save the film's blandness through its tone, emotionality, and even the fucking visuals. It is chaotic but not in a good way.
The story is remarkably similar to A New Hope but it changes a lot through its plot and certain character decisions. Yet, it feels too predicted and it doesn't challenge anything new besides its world-building and lore of the story. There is this one robot who is voiced by Anthony Hopkins who voiceovers the lore of the universe but it's done well through its visuals. Even Kora's flashbacks were solid but it felt cheap, just to drag the film. Even the execution of those flashbacks was done poorly and it could've been a simple sequence by not letting Kora tell the audience in which we know what the hell is happening on-screen. You are literally telling us what happened and we know what's happening on-screen. The classic "show, not tell" rule is being broken here. I know what Snyder is going for but it is too repetitive in its execution throughout the plot. Speaking about the plot, it is simple to follow but it is not complex enough where you know what is about to happen in the next scene. The only thing I was kind of surprised about, yet expected what was going to happen was a cliche plot twist with one of the side characters. It was expected, yet Snyder hid it well so I'll give props to him. The plot feels rushed and sometimes, lacks depth with certain character moments for the progression of the story. There are multiple scenes where we get to see a character moment but only one and that's it. They are just present in the background with nothing else to do but fight. The lack of depth killed a potentially awesome story and by the end, I couldn't give a shit anymore. You can tell there were cut sequences and even shots in the film that could've added depth but we have to wait for the R-rated cut soon. Like, c'mon? Seriously Netflix? Even if this was the final cut that Snyder approved, the screenplay really lacks its side characters and even its plot progression of the film. Some say it could be its structure but I don't see that being a negative. Yet, with all of those issues from the screenplay, I was thinking to myself watching this PG-13 cut thinking, "Snyder should've gotten another writer and written more drafts of the script." However, to my surprise, it is written not by one, but two different screenwriters. They have worked with Snyder in the past and I was hoping they would fix Snyder's common story issues but it is still the same. Snyder wants that complexity but he still hasn't cracked it fully unless it is a long ass cut. At this point, I want Snyder to go back to his old filmmaking roots by creating smaller-scale stories with characters that I want to connect. Unfortunately for this film, I couldn't care less for the others. Even with all of these script and story issues, the visuals itself is a mixed bag to a degree. Snyder's visuals are always satisfying to watch but even with the praise I've given earlier in the review, I found new issues with Snyder's cinematography that not many will take it lightly. The dream lenses being used here weren't as effective as Army of the Dead. In that film, it worked because of its dreamy reality look of the zombie apocalypse and the shining lights of Las Vegas. It also worked due to the realistic feel of the zombie city. In Rebel Moon, it works but in certain sequences, it feels way too flashy and even unnatural in certain settings. I liked the anamorphic look but the visual flair dies off right in the final act which is disappointing. Plus, I feel like having a different DP could've worked better for certain action and drama sequences. Even with those issues, the VFX in certain shots looks unfinished and slapped on calling it a day. There is one certain world where it appears to be full of galactic long brick houses that look bland and honestly, dull. I get that the film is limited on a certain budget but at least they could have added detail. Luckily, the film didn't have a lot of shaky cam compared to his previous film. However, there are still some issues with its technical filmmaking which is the editing of the film. The editing is bizarre and unfocused throughout. In certain action sequences, the editing is way too chopped up, especially in fight sequences. Good thing the editing didn't butcher during the important drama scenes. But the biggest "oh well" moment I've witnessed in the film is the ending itself. It felt so cliche and unfinished in the story sense. I felt nothing and worse, I thought the film would end on a particular note but it kept adding shit, and the film does it like twice. It's like 3 endings into one but unfocused with its editing. When the actual credits rolled, I just shrugged and turned off the television. Don't even get me started with some of the color-grading issues. That could be a Netflix issue but still, in the end, this was a total disappointment. I don't know why Netflix couldn't just release the full R-rated cut in the first place. I could've liked it even more but unfortunately, they want to ride that Snyder cut release format to make fans please even more. Note for Netflix, just release the entire film unless you were planning it for a theatrical release. I can hear Snyder fans babbling but I can tell you this. They only released it in under ten theaters. At this point, I don't know what was Netflix's release goal for this film. Taking all this in from the story, production, and even with the weird Netflix release, in the end, I feel empty and my excitement for the sequel is low. I had high expectations for this film to be a potential Star Wars competitor, but my expectations fumbled down every thirty minutes while I was watching Rebel Moon. Even if this wasn't a Star Wars competitor, I expected solid storytelling in this vast new rich universe. Unfortunately, it hasn't reached it yet and it is going to take a while. Hopefully, the second part of the film will focus on major character development for the side characters and Kora while giving us some good old stylized Snyder action. This was a rocky film to watch but I'm still hopeful for Snyder to cook something up good. Unless the film is in slow motion for half of the runtime.
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Vizeit Score: "C"
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Copyright © 2023 Vizeit Reviews. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC]) |
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