Mike Goes To Movies

The Good, The Bad and The Ugly: Star Wars: The Rise of Skywalker If you didn't have enough of my initial rambling review of The Rise of Skywalker, here is my second half, spoiler-filled (likely too-long) breakdown of the film. Here we go... SPOILERS AHEAD: The Good: Reylo! As with the previous two films, the tense and mysterious connection between Rey and Kylo Ren (now known to be a Force dyad!...) continues to be the highlight of this trilogy. And it all comes to a breathtaking and heartrending end here. Now, for most of us, it was no surprise that Kylo would turn to the light in the end. This whole saga is built around the redemption arc (specifically when it comes to the Skywalker fam). And, as he set out to do in TFW, Kylo does ultimately follow in his Skywalker grandfather's footsteps and returns to the side of the Jedi when it is most needed in order to destroy Palpatine. Like the spectacular team-up fight in TLJ, the rousing visual of Rey and Kylo side-by-side wie

Star Wars: The Rise of Skywalker (2019) Disclaimer: Though there are no explicit spoilers here, there is general discussion of the film that may warrant SW aficionados wait until they have seen the film before reading (though I'm sure they have all seen it by now anyways...) Let's all just be honest for a moment, it was self-fulfilling that this film would not please everyone. Star Wars is one of the most beloved franchises in the history of pop culture and The Rise of Skywalker was to be the final instalment of the original 42 year and nine-film long saga. If that wasn't daunting enough, what is, is the fact that Lucasfilm dug themselves into quite the hole with not plotting out this final trilogy ahead of time. The damage of this studio decision is awkwardly apparent throughout ROS. Following this trilogy's pattern of fan-service and retreads (TFW), to breaking molds and moving in surprising new directions (TLJ), and now back again to fan-service (ROS), this new

Ford v Ferrari (2019) I am not a car guy. I'll say that as bluntly as I can. I don't get (or buy into) the lifestyle of shiny, fast or expensive, brand-name cars, and I likely never will. A car to me is a vehicle that gets you from Point A to Point B. Sure, I appreciate when a car is made with good-sounding speakers for music to blast or seats that can heat your ass in the winter, but that's more-or-less as far as it goes for me. For this reason, Ford v Ferrari was not a film I was personally lining up to see. However, I am a fan of James Mangold as well as Matt Damon and Christian Bale (really, who isn't?), and when the film started receiving rave reviews I ended up going out to see it earlier than I originally predicted I would. And, in the end, I was generally impressed with the film. Ford v Ferrari is the based-on-true-events story of Caroll Shelby (Damon), a former race car driver, now-turned car designer, and Ken Miles (Bale), a current race car driver/mech

Living With Yourself (2019) In this golden age of television there are a few base requirements that are usually needed for me to choose to invest my time and get onboard with a new show. That is, the show has to: 1. have an original concept/premise; 2. be well written and acted (obviously); and 3. not be a procedural (I am so so over cop, medical and legal shows). Here are a few examples of recent shows that I love: Fleabag, Bojack Horseman, Russian Doll, The Marvellous Mrs. Maisel, Succession, Barry, Killing Eve, Rick and Morty, Watchmen and probably some others I can't think of right now. P.S. feel free to comment below if you want me to review any of these particular shows. Living With Yourself is a perfect example of a show that more-than-meets my criteria. It is an intimate and insular show with a great premise, great writing and a fantastic performance by Paul Rudd (and also Aisling Bea). Some may actually find it a little too low-key as it is very much a character piec

Doctor Sleep (2019) Oddly enough, the latest of Stephen King's book adaptations is one of the toughest reviews I've had to write. I have a lot of conflicted thoughts and emotions about this film, and, largely, this is because it is a sequel to a very classic film - one of my favourites in fact - and, in my opinion, the best horror film of all time. Unlike many sequels, however, Doctor Sleep is a legitimate continuation of the story as it was penned by King himself in 2013 (whether he should have done so is an entirely separate discussion). Now, writer/director, Mike Flanagan, had a uniquely difficult task as he decided to make this film a sequel to both The Shining the book and the film - and for those King diehards, you know that there are significant differences between the two. Lastly, is the fact that The Shining was made by one of the all-time greats, Stanley Kubrick, and no matter how much you want to, or try to, you cannot help but compare Doctor Sleep to The Shining

The Irishman (2019) Without a doubt, The Irishman is one of the most anticipated films of this year, if not the past number of years. Not only is it the return of Martin Scorsese to the genre that, in a large way, he built his career upon, but it also reunites him with some of the most prestigious actors of this generation (a number of whom starred in those early films of his). It is not hyperbolic to state that crime/mob cinema would not be the same without Martin Scorsese. No, he did not invent the genre by any means, however, he definitely redefined it. In many ways, The Irishman is the culmination of Scorsese's career and it is him coming full circle around to where he first began. Scorsese's first acclaimed hit, way back in 1973, was Mean Streets (his third directorial feature and second crime film) starring a young Robert De Niro and Harvey Keitel, both of whom return in The Irishman. Mean Streets was a new, gritty take on urban organized crime that he would continue

Terminator: Dark Fate (2019) So, it's been a minute, hasn't it?? I've been away doing some cool work out in Vancouver that left me with little time to entertain you with my sub-par reviews. But like I said... "I'd be back!" (*cue cymbal crash*) Ok, right, lame joke, I get it.... Dark Fate is the newest instalment in this everlasting franchise. One might be surprised why they continue beating the dead horse of this series as each of the recent sequels have been underwhelming and not entirely successful. But, like the T-800 itself, I guess the Terminator series really is that hard to kill. But with Dark Fate I must say there was hope! The new sequel marked the return of creator, James Cameron, as producer and co-writer, as well as the return of original stars, Arnie and Linda Hamilton. As such, this one would seemingly be a return to the source formula that made the two originals such resounding classics. Unfortunately, a saviour to the series Dark Fate w

The End Of The F***ing World (Seasons 1 and 2) There's something about Netflix's The End Of The F***ing World that just does it for me. I don't know if it's the dark, quirky world its created, its comically nihilistic outlook on life, or the deeply compelling characters its created in James and Alyssa (and many of the supporting characters), but there's something about the show that demands me to binge each new season in ungodly compulsive speeds. Perhaps this is an indication of my own inner-disturbances (note to self: look into this further...), but under the surface of antisocial behaviours, violence and sex TEOTFW is a very relatable story of two teenagers simply trying to understand themselves and their place in this oftentimes perplexing and challenging world. It is attempting this Herculean task that our two leads, James and Alyssa, ultimately find one another. As said, much of the show's success likely comes down to the black and quirky (I am going

Parasite (2019) For anyone who knows anything about contemporary film I'm sure you've heard of Parasite. It's that new one by veteran Korean writer/director, Bong Joon Ho, that won a little something called the Palme D'Or at this year's Cannes... whatever significance that all holds. Okay, now for real, Parasite really is a near perfect thriller illustrating the masterclass talent, as both writer and director, of Bong. Parasite has the feel of a Hitchcockian thriller - it is grounded in its strong characters, its tension mounts and mounts towards its epic climax, and to give too much away about its plot, which is slowly drawn out, would be to ruin much of the fantastic surprises. I will tell you though that the film's title is very apt in its description and relevance to the plot, as well, that this is a story about family (or two families): the dynamics between them and within its members and their everyday activities in order to get by. The cast are all

The Lighthouse (2019) Though his style likely isn't for everyone, I must say that to me writer/director, Robert Eggers, is a pretty fucking cool guy. The Lighthouse is Eggers follow up to his fantastic, family-driven, nightmarish folk tale, The Witch (a must-see for all horror fans). In a similar vein, The Lighthouse is another psychological horror/thriller period piece that is about two lighthouse keepers, or wickies , as they're called, who work on an isolated lighthouse that sits atop a rocky outcrop constantly battered by poor conditions and extreme storms. Like the best psychological horror, The Lighthouse is a downward spiral: it starts off normal enough but, like the psyches of our wickies, things slowly begin to derail as forces both natural and unnatural seep into their lives and haunt them from the inside out. Willem Dafoe plays the veteran keeper; the nature of the job has clearly taken its toll over the years and he may be hiding some insider knowledge of the

Hellraiser (1987) This one's a special review for the great @movieloversmovieclub that has been showcasing horror films for each day of October. My pick for the group is Clive Barker's 1987 classic, Hellraiser. No, the film is not altogether that superb, however, there is a specific reason why I chose it for today. It is because, for anyone who had a childhood post-1987, the image of Hellraiser's Pinhead is one that, anytime glimpsed, surely terrified the absolute bejeezus out of you. Most of us weren't able to actually watch the film until we were much older (unless your parents were rather negligent) and so all we had for those young years growing up was Pinhead himself - that ghastly white face, like a spectre in the night, with gruesomely long and masochistic nails sticking out from every angle of his head. Literally, the stuff that nightmares are made from. Now, for the film itself. In my opinion, Hellraiser, the film, is better thought of as a scary campfire

Jojo Rabbit (2019) There are three movies in particular that I was dying to see at this year's TIFF  but that I had to unfortunately miss out on. However, It looks like this weekend I am going to have the pleasure of knocking all three off of my list (partially because I am heading out of town for work this week for the month and will become more limited with my time to go to the theatre and write reviews). The first of these films is Jojo Rabbit - the quirkily black-comedy from acclaimed writer/director (and newfound icon of New Zealand), Taika Waititi. Waititi is absolutely one of my favourite new-age directors; he has that rare talent of being able to infuse his films with his now-distinct irreverent and absurd sense of humour with true heart. And, in that, Jojo Rabbit is not only no different, but he seems to have perfected that hard-to-obtain formula of high class comedy and drama. For those that have seen the trailer/read up on it, you know the offbeat setup for the f

The Autopsy of Jane Doe (2016) I decided to get a bit more into the October/Halloween spirit lately and, the other day, ended up watching a recent horror film that I really knew nothing about, but that had been recommended by a friend whose taste in film I give a lot of credit to. Directed by Norwegian filmmaker, Andre Ovredal, The Autopsy of Jane Doe is one of those excellent, very self-contained and insular horror films. As the title hints, the film follows a simple plot, which is two coroners conducting an autopsy of an unidentified deceased. The film ended up surprising me (in the best way) in its confident direction, tight script, and genuine terror that continues to build through to its chilling ending. If you are like me and hadn't heard much of the film beforehand, I definitely recommend you go out and watch this one. Some of the best horror films of the past revolve around the single location concept. The Shining, Evil Dead, Misery, Panic Room and Green Room all util

Joker: Discussing Its Laughable Reception Alright! So, Joker is finally out and I assume most everyone who is going to go out and see the film has by now done so. Like our titular character, this post is going to be a little all over the place with random thoughts, anecdotes and discussion that have popped into my head since seeing the film about one month ago. Obviously, SPOILERS AHEAD. One thing that I think everyone can agree upon (even most of the assholes that have condemned the film) is Joaquin's astounding performance. Though there are many elements of his manifestation that can be detailed and applauded, there is one in particular that, quite literally, stuck in my head for many days after seeing the film. That is - the laugh. Joker's laugh is one of his most important attributes and each actor who has portrayed Joker has put a unique spin on it. (Hamill and Ledger's are two of my personal favourites.) However, Joaquin (along with Philips and Silver) put a who

El Camino (2019) Note: Spoilers for El Camino and Breaking Bad ahead El Camino is a slightly difficult film to review. Like an old pair of slippers there is an inherent sentimentality and comfort to entering back into this beloved world created by Vince Gilligan. Breaking Bad is undoubtedly one of the best tv series of this past generation and so there is little doubt that all of its many fans relish an opportunity to get back to its story and characters. And with the show's creator, Gilligan, back at the helm for El Camino there is slim chance that any of the fans will pass up seeing how Jesse Pinkman (Aaron Paul's) story 'truly' ends. Now, BB itself had a satisfying ending even with Jesse's somewhat open-ended frantic driving away into the sunset in the El Camino. And so one of my biggest gripes about Camino is that it is a somewhat unnecessary addendum to the BB story. The film is very much epilogue-esque and though it does give finality and closure to Je

TIFF: Honey Boy (2019) Yes, yes, I know TIFF has long come and gone but I still have one more review to espouse upon the masses. Honey Boy, written by and starring Shia LaBeouf, is his very personal story of his life growing up in the limelight with his father, James Lort. The film is powerfully moving, at times disturbing and also enlightening into the early life of this troubled actor and his later life attempting to coming to terms with and moving forward into a less-destructive way of life. It is a true testament to the talent of LaBeouf, both in his acting and writing, as well as that of Noah Jupe and Lucas Hedges (who play versions of LaBeouf at different points in his life) as well as Alma Ha'rel who makes her feature directorial debut here. As most of us know, throughout the past number of years Shia LaBeouf has been at the forefront of many tabloid-esque stories, often showcasing eccentric and/or anti-social displays and run-ins with various individuals. Though none

TIFF: Lucy in the Sky (2019) As some of you may have seen, Lucy in the Sky was one of my most anticipated films at TIFF. This was because of the helm of the film, director, Noah Hawley, the visionary creator behind the phenomenal tv series, Fargo and Legion. For those of you who have seen these shows (and I implore that if you have not, then to do so), you know that Hawley has an aptitude for quirkiness, bending narrative and atmosphere. His style is like if David Lynch and the Coen brothers melded together in the Fly's telepod and then was given a large budget to craft a story. Fargo was a strong example for Hawley's sharp writing and then Legion built upon this, simultaneously encouraging him to break all of the steadfast rules of writing. And so, it was no surprise (at least to me) that I was very, very excited for his feature directorial debut with Lucy in the Sky. The film is loosely based upon the tabloid story that circulated just over a decade ago of the drama tha

TIFF: Joker (2019) Part of the magic of the Batman and the Joker is the fluidity we have seen throughout the years in their character and genre of story. From the 1960's tv show, to the Burton era, to the various animated shows, to the Nolan trilogy, each variation has had its highly-unique and also successful take on these legendary characters. With regards to Joker himself, I don't think I'd be wrong to say that many of us did not think a new spin on the character could ever reach the heights of Heath Ledger's portrayal in The Dark Knight (this is even coming from me who has read plentiful intriguing Joker stories with  potential for adaptation). And yet, here we are today, with Todd Phillip's "Joker" and I do say with confidence - it is a game-changer. Joker is an absolutely incredible film that plays tribute not only to classic Batman stories but also, astoundingly, to some of director, Martin Scorsese's, classics. It is like the love child of

TIFF: Knives Out (2019) It is no surprise that Rian Johnson enjoys his genre films, particularly those involving mysteries, twists and intricate plots. We have already seen him tackle classic noir with Brick and the big con with The Brothers Bloom, and with this year's Knives Out he moves on to an even older mystery genre - the detective caper. Like Brick did for Raymond Chandler, Knives Out is a contemporary retelling of a Christie or Conan Doyle story involving a high profile death, a cast of exaggerated characters - each with an intriguing backstory rife with possible motive - and, of course, a renowned detective. For the most part Johnson hits all of the right notes with this film, although the back half tends to meander more and loses some of its momentum as the plot focuses down on only a few of the characters as well as some long-winded exposition and explanation that guides the final moments. There is a lot to enjoy with Knives Out. As many have seen in trailer or pos