Mike Goes To Movies

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

TIFF: Waves (2019) Waves was the one film this year that, going in, I really knew nothing about other than it was about two young couples growing up in the southern US. Generally speaking, I would say that I often have a decent amount of info going into a movie and I found that it was an overly nice surprise having no preconceived notions or expectations as I watched Waves. Writer/director, Trey Edwards Shults, had really only had one notable prior film, It Comes at Night, but I have not actually seen it myself. And so, when I saw Waves this past Tuesday evening it was very much an open canvass for me. Due to surprising events that happen in the film that very much dictate its second half I cannot add much more to the brief summary I've given above. I can say that the film is about a young African American family living in Florida who deal with many contemporary issues that other similar families have to contend with across the US and abroad. The dad and step-mom are played b

TIFF: Uncut Gems (2019) Okay, so apologies for the lack of reviews coming out lately. I've been a bit busy running around to TIFF films this past week but I finally now have some time to sit down for a bit and begin writing about these awesome and exciting films I've seen at the festival. First up is Uncut Gems - who's ready for more Safdie Brothers praise from mikegoestomovies??  The Brothers Safdie - Josh and Benny's - newest thriller stars Adam Sandler as Howard Ratner, a jewelry store owner / dealer who can't help but inject himself into shady deal after deal in order to chase the biggest score possible while simultaneously pulling everyone in his life into his dangerous and chaotic lifestyle. Uncut Gems bears many similarities to the brothers' previous outings. It has a quasi-documentary feel featuring floating cameras and lots of improvisational dialogue. Like Good Time, the plot is like a rolling snowball where the inciting event at the film

Midsommar (2019) It's a bit of am odd paradox that I think that Ari Aster is one of the finest directors and paragons of modern horror, while at the same time recognizing that I haven't been able to get fully on-board with either of the films he has made thus far. I appreciate the rave reviews that were behind Hereditary, however, as a full package, I felt the film lacked a certain something (maybe I'll dive into this in a full post later...). And, in a quite similar vein, I absolutely wanted to love Midsommar - and there was a ton that I did thoroughly enjoy - but the total end package of the film, again, left me wanting something a little more. Midsommar is about a group of friends who travel to Sweden to observe a summer festival that turns out to be more of a horrifying pagan-cult celebration. It takes a lot of cues from the classic film, The Wicker Man, but smartly does not rely upon the predecessor and it quickly creates a unique story unto itself. Foremost in t

The Peanut Butter Falcon (2019) I'm just going to jump ahead and say it - I was a tad underwhelmed by The Peanut Butter Falcon. No, it is not a bad movie by any sense, however, I guess I personally fell into the trap of modern review-hype and went into this one with overly high expectations. As many reviews have put it - this is the epitome of a feel good movie and that is the main takeaway I had upon leaving the theatre: I did 'feel good' but really not altogether that much else. Even the story behind the film has a 'feel good' quality to it and could possibly provide the basis for its own film. A few years back, director/writer duo, Tyler Nilson and Michael Schwartz, were at a camp for disabled actors and there they met Zack Gottsagen, a young male with Down Syndrome, who expressed interest in making a film with them. Following a proof-of-concept short, the filmmakers received funding to make The Peanut Butter Falcon. The story - a mix of the Huckleberry Fin