2019 Summer Movie Review: Avengers: Endgame


The Avengers fight against time in Avengers: Endgame. (Source: IMDb)

It has been more than ten years since Iron Man released in theaters. A movie that marked the introduction to a franchise that would eventually span across 23 movies. Ranging from truly great movies to cinematic disappointments, the franchise introduced so many characters that everyone has either grown to love or love to hate. Even seeing the core superheroes, such as Iron Man, Captain America, Thor, and The Hulk, teaming up in 2012’s The Avengers was a movie buff’s dream come true. Everyone has known their origins and how they evolve in modern society. The latest entry, Avengers: Endgame, marks the end of an era.

The movie leaves off after the heartbreaking finale of Avengers: Infinity War, where the powerful demigod Thanos (Josh Brolin) used the Infinity Stones to wipe out half of the universe with the snap of his fingers. The remaining Avengers, which include Tony Stark/Iron Man (Robert Downey Jr.), Steve Rogers/Captain America (Chris Evans), Thor (Chris Hemsworth), Rocket Raccoon (voiced by Bradley Cooper), James Rhodes (Don Cheadle), Black Widow (Scarlett Johansson), and Hawkeye (Jeremy Renner), must find a way to bring their allies back. Scott Lang/Ant-Man (Paul Rudd) returns after spending five years in the “quantum realm”. He figures out a way to travel back in time. The Avengers reassemble to undo Thano’s actions once and for all.

[This is only the set-up. If I go on about the plot, it would give away too many plot points.]

Anthony and Joe Russo return to the director’s chair for an epic for the ages. Written with enough razor-sharp wit and poignancy by Christopher Markus and Stephen McFeely, there is so much going on that the three-hour runtime goes by like a breeze. It’s easily the most depressing film in the MCU (I admit, this is one of the few movies where I did get misty-eyed), since it follows the superheroes dealing with trauma after Infinity War. They all have one more chance to set everything right before it’s too late in some thrilling action set pieces.

The movie features the biggest cast in any blockbuster in the last twenty years. Every single one of them all have their shining moments. The ones who stand out are Downey Jr., Evans, Hemsworth, Renner, and Johansson. At this point, all of the characters write themselves.

I can’t imagine a more satisfying conclusion than Avengers: Endgame. Don’t worry, though. The MCU is far from over. Peter Parker is making his return this summer in Spider-Man: Far from Home. There are upcoming television spin-off series centering on Loki and Hawkeye among others (not to mention Disney owning 20th Century Fox). There’s plenty more to come for this seemingly endless franchise.


“In The Bedroom”: A Haunting Maine Tale


Matt (Tom Wilkinson) and Ruth Fowler (Sissy Spacek) are stricken with grief in Todd Field’s 2001 indie drama In the Bedroom. (Source: The Playlist)

In 2016, a little movie came out called Manchester by the Sea. Set in a small New England town, it contained a powerful message involving grief. As Lee, the main character, returns to his old hometown, his past slowly begins to creep up on him after his brother dies. Its depiction of New England feels as if the audience is watching real people battling really tough situations (not to mention, the way they talk).

Fifteen years earlier, there was a movie that received unanimous praise when it premiered at Sundance. It also became the first movie from a major film studio (Miramax) that was not only set, but also filmed in the beautiful State of Maine. In the Bedroom (2001) does sound like the title for a sexy thriller, but director Todd Field (Eyes Wide Shut) creates a little something that will haunt viewers once the credits begin to crawl.

Based on the short story Killings, Frank Fowler (Nick Stahl) has recently returned home to Camden, Maine, to work on the harbor after graduating from college. He plans on going for a graduate degree in architecture. His father Matt (Tom Wilkinson) is a local doctor, who loves listening to the Boston Red Sox on the radio. His mother Ruth (Sissy Spacek) is a music teacher at the Rockland High School, who is teaching a summer music program.

However, they are both concerned about their son. The reason being is because Frank is dating a woman named Natalie (Marisa Tomei), who is twice his age and has two young children. When Natalie’s ex-husband Richard (William Mapother, Lost) returns to make things right for Natalie and the children, all hell begins to break loose.

The titular “bedroom” refers to the back compartment of the lobster trap. As Matt explains early on, the lobster enters the trap (“kitchen”) As it catches the bait, it soon becomes trapped (“bedroom”). While showing an injured lobster to one of the kids, he says if there are more than two lobsters in the “bedroom” compartment, something like that is going to happen.

This becomes a metaphor throughout the film. For instance, the scene where Richard comes into the house to shoot Frank dead. This becomes the set-up of what is to come of our main characters. Matt and Ruth begin to grieve over their son while being forced to see Richard out on bail, which ticks Ruth off after hearing he’s only accused of manslaughter.

The performances from the all-star cast are one-of-a-kind. But–Spacek and Wilkinson really carry it home. Out of the five Oscar nomination this movie received, they were both nominated, respectively, for Best Actress and Best Actor. Known for his performances in The Full Monty, Michael Clayton, and The Grand Budapest Hotel, the British actor never lets his accent slip to give such an emotionally moving performance. Same goes to Spacek, who rose to fame with Badlands, Carrie, and winning an Oscar for Coal Miner’s Daughter. She gives one of her best performances as Ruth. Notice how she isolates from Matt. They both avoid discussing their pain while dealing with this tragedy. Then, they confront each other in one of the most natural arguments ever put to film. Matt accuses Ruth of being “too controlling”, while Ruth accuses her husband by letting Frank “get away with everything.” This indicates why Matt decides to plan an act of revenge to make them settle the tragedy once and for all.

With his slow-burning screenplay and sensitive direction, Field allows the viewer to understand Matt’s world and his morality of the whole situation. Hell, even Matt’s friends begin to understand what he and Ruth have been going through. In one scene, he and his friends are playing cards one night. Everything goes silent. Until Carl (W. Clapham Murray), who loves reciting poems, quotes a verse from “My Lost Youth” by Henry Wadsworth Longfellow:

There are things of which I may not speak;
There are dreams that cannot die;
There are thoughts that make the strong heart weak,
And bring a pallor into the cheek,
And a mist before the eye.
And the words of that fatal song
Come over me like a chill:
“A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.”

The scene would have gone down as manipulative. What makes it work, though, is it steers clear of all those cliches about losing someone dear. Take a look at Matt’s face after the recitation. He knows there is something that needs to be done. Everything was going just fine until the tragedy. His friends are always there for him no matter what. The poem serves as a reminder to avenge what was so wonderful in life and to have it all thrown away in a blink of an eye. When the climax comes, it’s damn near impossible to look away.

In the Bedroom is one of those rare dramas from the early 2000s that hits all of the right notes. There will never be any other movie set in Maine containing so much raw emotion from its characters. It’s one of those movies I’ll watch for the rest of my life.

Movie Review: Gloria Bell


Gloria Bell (Julianne Moore) is on the search for happiness in Sebastian Lelio’s America remake of his own Chilean film, Gloria. (Source: Variety)

Chilean director Sebastian Lelio is not the first director to remake one of his own movies for American audiences (think Alfred Hitchcock with The Man Who Knew Too Much). His 2013 film Gloria met with universal acclaim from critics as an honest and realistic portrait of a 50-year-old woman making ends meet. After the success of his first English-language film Disobedience, he casts Oscar-winning actress Julianne Moore in a role of a lifetime. She leads a terrific ensemble in a flawed yet solid character study.

Instead of taking place in Santiago, this remake is set in Los Angeles. Moore plays the title character, a free-spirited woman in her fifties who has been divorced for over ten years by her ex-husband Dustin (Brad Garrett). She spends days working in her office at an insurance agency, trying to call her two grown children–Anne (Caren Pistorius) and Peter (Michael Cera)– to no avail.

At night, she hits the dance floor to the numerous nightclubs the city has to offer. She usually dances alone, but she tries to make-up with people her age; if not, older. One night, her life changes when she meets Arnold (John Turturro), who is also divorced with two grown children of his own. After falling madly in love, things begin to get complicated.

Lelio understands the American vibe this version portrays. Every scene feels realistic, especially the era Gloria is living in. With advanced technology taking over, she prefers to live life the old-fashioned way. Moore gives a spectacular performance as a woman who is searching for happiness. Whether it’s trying to find out how a hairless cat always gets into her one-bedroom apartment and can’t standing to overhear her noisy neighbor off-screen (The All-American Rejects lead singer Tyson Ritter, in an effective performance while off-screen), the audience sympathizes with her in every scene she is in. “When the world blows up, I hope I go down dancing,” she says while eating dinner with Arnold and her friends.

Mark her words. While she has moved on, Turturro’s Arnold is trying to get over his changes in life. However, his children are always worried about him. They call him almost every chance they get. That’s why things are starting to become difficult for the two of them. Even when he steps aside to call his kids, he is never seen again. It makes Gloria the least bit worried. Not only that, she sees her two children move on while she is still trying to find her place in life. Lelio is at his most riveting when he has the camera following her every step of the way, even if she doesn’t utter a single line.

The movie, however, is not perfect. There are times where Gloria Bell feels somewhat dull and sluggish at times. There are a few scenes that feel out-of-place, which derails the flow of the pace. Whenever we see Gloria dance to the kick-ass disco soundtrack, it’s hard to resist. It’s nothing I’ll ever see again, but I’m glad a movie like this exists. Now, time to watch the original.


Movie Review: Hellboy (2019)


Hellboy (David Harbour) is about to hit the crapper in Neil Marshall’s 2019 reboot. (Source: Wall Street Journal)

It has been fifteen years since Guillermo del Toro brought Mike Mignola’s comic-book series to life. Although far from perfect, the film managed to showcase del Toro’s talents as a writer and director. It featured an excellent visual style (mixing CGI with practical effects), great characters, and almost wall-to-wall action. No one could play the half-demon/half-human better than Ron Perlman, who brought so much charisma and humor underneath all the makeup. The sequel, Hellboy II: The Golden Army, contained a bigger fantasy atmosphere. It’s a shame there wouldn’t be more adventures with the original cast.

Director Neil Marshall (The Descent) thought it would be a great idea to reboot the franchise. Sadly, even with an R-rating, meaning more gore and profanity, doesn’t mean it’s any good.

Hellboy (David Harbour), the adoptive son of Professor Trevor Broom (Ian McShane), trains to become an agent of the Bureau of Paranormal Research and Defense (BPRD). He gets sent to England to help the Osiris Club to take down a group of giants.

After being betrayed by the secret society, he eventually joins forces with Alice Monaghan (Sasha Lane), who has magical abilities after being kidnapped by fairies as a baby, and a hot-headed M11 agent Ben Daimio (Daniel Dae-Kim), with the ability of turning into a jaguar. They learn about ancient sorceress Nimue (Milla Jovovich), whose head among other body parts were dismembered by King Arthur in 517 AD. She comes back to wreak havoc on humanity, as if we have never seen it done to death already (*ahem* The Mummy (2017)).

Everything about Hellboy feels rushed to the point of feeling like a trailer to a movie that never happened. Its pacing goes all over the place. Throughout this trainwreck, we see the characters go from one location to the next; flashing back or giving too much exposition. Hell, even the action sequences are nauseating to watch. The CGI looks like something out of a video game for the XBOX. This movie contains the most blood I’ve ever seen in a comic-book movie.

Fresh from playing Officer Jim Hopper in Stranger Things, David Harbour is not a bad choice to play Hellboy. He does have the physique and attitude to play someone as tough as the red Nazi demon. Unfortunately, his portrayal comes off as immature and whiny; making terrible jokes and shouting even worse one-liners (“Quit while you’re a head,” he says to a dismembered head after letting it go). Not only sucking out the wit and charm that made Perlman’s version so good, there is also no chemistry between him and his co-stars. McShane’s Professor Broom is so over-the-top that it’s hard not to laugh whenever he appears on the screen (he’s better off training John Wick). Even in limbs, Jovovich still comes off as dull playing a whitewashed character. The weirdest performance of all is Thomas Haden Church as a vigilante who kills his victims and branding them with his lobster-claw symbol.

The new Hellboy is about as entertaining as a two-hour car accident. There is no fun to be had with it whatsoever. Everything about it is incomprehensible and obnoxious to the point of making everyone sick to their stomach and getting a headache. It’s charmless, humorless, lifeless, and cringe-worthy. Not only is it one of the worst movies of the year, it’s one of the worst comic-book movies I’ve ever seen. Of course, a movie like this will end on a cliffhanger; leaving room for a sequel. It’s blockbuster hell.


Movie Review: Hellboy II: The Golden Army



Hellboy (Ron Perlman) is back; this time, with a new team in the superior 2008 sequel to Hellboy, The Golden Army. (Source: Alamo Drafthouse Cinema)

After the success of Pan’s Labyrinth, Guillermo del Toro decided to give the sequel to Hellboy a fantasy atmosphere. With a budget of $85 million ($20 million more than its predecessor), The Golden Army is a superior sequel with a lot more humor, wall-to-wall action, and wonderful characters from before–as well as introducing some new ones. Ron Perlman, again, plays Hellboy with the wit and charm as the original.

Here, he and his team of paranormal researchers–his pyrokinetic girlfriend Liz Sherman (Selma Blair), Abe Sapien (Doug Jones), Dr. Manning (Jeffrey Tambor), and a German ectoplasmic psychic named Johann Krauss (voiced by Seth MacFarlane, the only movie where he doesn’t turn in a bad performance) to take down Prince Nuada (Luke Goss), a creature from a mystical underworld who has collected pieces of the crown, so he could be in charge of a massive army of mechanical soldiers, known as “The Golden Army”. Resulting in a battle between the humans and his people.

I love the attention to detail in the wonderful sets, particularly the troll market where Hellboy and his colleagues go through. I’m certain it will take many repeated viewings to catch everything going on in that sequence. For someone who is a sucker for fantasy, the atmosphere works for this kind of movie. With its great action set pieces, the movie also contains some of the most hilarious moments in any superhero movie. I love the scene where Abe and Hellboy discuss issues about women, after Abe falls in love with Princess Nuala (Anna Walton), and sing Barry Manilow’s “Can’t Smile Without You” while drinking some beer. It’s hard not to crack a smile during that scene.

It’s a shame to hear Hellboy III will never see the light of day. I will miss the great adventures with these actors, and I’ll watch them for the rest of my life, especially Hellboy II: The Golden Army.


Movie Review: Hellboy (2004)


Hellboy (Ron Perlman) rids the Earth from paranormal threats while also dealing with personal issues in Guillermo del Toro’s first superhero movie. (Source: IMDb)

Years before he won an Oscar for The Shape of Water, Mexican director Guillermo del Toro adapted Mike Mignola’s graphic novel series, Hellboy, to the big screen. It became a modest box-office success when it hit theaters in 2004. Although it didn’t break any new ground in the superhero genre, it contains enough humor, fantastic visuals, and historical intrigue to outweigh its flaws.

Ron Perlman hits it out of the park as the title character, a demon who came out of a paranormal portal built by the Nazis during World War II to free the “Seven Gods of Chaos” to defeat the Allies. However, things don’t go according to plan as the Allies defeat the Nazis. Dr. Trevor Broom (the late John Hurt) adopts the creature and, eventually, training him to be an agent of the Bureau of Paranormal Research and Defense (BPRD) to secretly protect the world from paranormal threats, with the help of a psychic half-amphibian/half-human Dr. Abe Sapien (Doug Jones; voiced by David Hyde Pierce), John Myers (Rupert Evans), and Dr. Tom Manning (Jeffrey Tambor). While a demanding role (considering the red make-up), Perlman plays Hellboy as a selfish yet charismatic creature who smokes cigars, loves Baby Ruth candy, and has a soft spot for cats (similar to Vito Corleone from The Godfather).

There is plenty of action in this movie, particularly one exhilarating scene leading to a subway station. For the most part, the movie works, due to del Toro’s sensitive directing and screenplay (though ridden with holes), the energy, the atmosphere, and the great characters. 


Movie Review: Shazam!


14-year-old Billy Batson (Zachary Levi) becomes the adult superhero Shazam, who needs help from his foster brother (Jack Dylan Grazer) in David F. Sandberg’s first outing in the superhero genre. (Source: New York Post)

It looks like the DCEU is starting to gain its mojo, after the surprises of Aquaman and Wonder Woman. Fresh from directing two horror movies–Lights Out (based on his own short film) and the surprisingly solid Annabelle: Creation, Swedish filmmaker David F. Sandberg directs a superhero origin story described as Big meets Superman. Shazam! has been in development for years. At one point, Dwayne Johnson was attached to play Black Adam. However, Sandberg and screenwriter Henry Gayden decided for a more light-hearted tone with some frightening imagery thrown in the mix.

Billy Batson (Asher Angel) is a 14-year-old from Philadelphia, who has escaped from numerous foster homes to search for his biological mother. He spends his days getting into trouble with the law until he gets sent to a new foster home with Victor (Cooper Andrews) and Rosa Vazquez (Marta Milans). One day, he heads on a subway to get away from a couple of bullies, which leads him to a secret lair known as The Rock of Eternity.

There, Billy meets the ancient wizard Shazam (Djimon Hounsou), who explains to him he has been looking for a Champion who is “pure of heart”, and must prevent the Seven Deadly Sins, a group of monsters, to wipe out humanity. Reluctant, at first, Billy touches the staff and shouts “Shazam!” This turns him into the adult superhero (Zachary Levi, Chuck and The Marvelous Mrs. Maisel), who wears a red suit with a yellow lightning bolt on his chest. With the help of his new foster brother Freddy (Jack Dylan Grazer, It), a comic-book fanatic, Billy tests his new superpowers, while the evil Dr. Thaddeus Sivana (Mark Strong) is out to get him.

No other actor can capture the young-at-heart charisma while having a violent side than Levi. While he is no stranger playing dorky characters, this is the first time where he plays a superhero. This is by no means a simple role to pull off. Balancing his physicality with the emotional weight, he is nothing short of perfect. There is excellent chemistry between him and Grazer, who provide enough comic relief to keep the movie going. Prepare to laugh your head off when they test out superpowers, which contains the best use of Queen’s “Don’t Stop Me Now” since Shaun of the Dead.

Strong plays the best villain in the franchise, by far. It’s no surprise he can play these types of roles in his sleep. However, there is something about him as Sivana I find so captivating. Like its protagonist, he is dealing with family issues. His nasty nature shows in an unflinching prologue where he enters the lair as a child, but gains different powers when he becomes an adult.

For a movie to feature foster parents who expect their kids to respect one another is a breath of fresh air. There is plenty of thrilling action set pieces, but there is an uplifting theme about the importance of family. Seeing where Billy is coming from, it’s almost impossible not to get teary-eyed over. We are with him every step of the way.

For his first movie outside the horror genre, Sandberg hits it out of the park! Shazam! works as a superhero movie, a light-hearted comedy, a trip into nostalgia, and a Christmas movie. Expect to see more wise-cracking and ass-kicking from Shazam soon, since a sequel is currently in the works.


Movie Review: Hotel Mumbai


Arjun (Dev Patel) notices something going wrong inside the hotel in Anthony Maras’ first feature-length film Hotel Mumbai. (Source: The Hollywood Reporter)

Movies based on real-life events have been around ever since the beginning. They will never go the way of the dinosaurs. Dramatizations of the events being portrayed are hailed and criticized for their historical accuracies. Schindler’s List, GoodFellas, The Social Network, Captain Phillips among others work so well not just because of how accurate the events are portrayed, but how much respect the actors and directors give to the subject matter. On the other hand, movies such as Pearl Harbor and Annabelle don’t work, due to the poor quality and being unfocused garbage.

There’s a movie called Hotel Mumbai, which premiered at the Toronto Film Festival, recounting the 2008 terrorist attacks in Mumbai. Over the course of four days, approximately 160 people were killed while 300 others were injured. Australian director Anthony Maras crafts a film reminiscent to the films of Paul Greengrass and Peter Berg.

On November 26, a group of terrorists arrive in Mumbai by boats to wreak havoc throughout the city. They start at the train station and a nearby cafe. Eventually, they end up at the five-star Taj Mahal Palace Hotel. There, kitchen worker Arjun (Dev Patel) and the head chef Hemant (Anupam Kher) are working on that day. American newlyweds David (Armie Hammer) and Zahra (Nazanin Boniadi) arrive with their newborn child and nanny Sally (Tilda Cobham-Hervey). The two eat at the fancy restaurant inside the hotel while Sally looks over the child. Once the terrorists arrive, everyone must fight for their lives.

For a first feature-length film, Maras makes a thriller that is impressive and expertly-staged. It’s far from a masterpiece, but it’s never boring and the tension hardly lets up. The shootings are as brutal as expected and realistic. Patel has come a long way since Slumdog Millionaire. Now–it seems he is auditioning to become the next James Bond. He and Hammer are the highlights of the movie. Hammer plays David as someone who desperately tries to keep his family safe. It’s different than what we have seen him before. His performance is more powerful than the disastrous Sorry to Bother You. As for everyone else, they are there as stock characters. In the end, Hotel Mumbai feels somewhat mundane.