Nope.

Review #1865: Nope.

Cast: 

Daniel Kaluuya (OJ Haywood), Keke Palmer (Emerald Haywood), Steven Yeun (Ricky "Jupe" Park), Brandon Perea (Angel Torres), Michael Wincott (Antlers Holst), Wrenn Schmidt (Amber Park), Keith David (Otis Haywood Sr), and Donna Mills (Bonnie Clayton) Written, Directed, and Produced by Jordan Peele (#909 - Get Out and #1203 - Us)

Review: 

"I wrote it in a time when we were a little bit worried about the future of cinema. So the first thing I knew is I wanted to create a spectacle. I wanted to create something that the audience would have to come see."

Admittedly, Jordan Peele has made an argument for being the modern example of an auteur director, one with a distinct approach to his material that he has written, directed, and produced for three feature films in the span of five years, with each falling along the lines of horror (debatably, Nope is more of a genre-crosser than the other two, but more on that later). For the most part, these films have worked on their ambition to tell a story that would probably make Rod Serling give a compliment to (I say this knowing Peele was behind a reboot of Serling's The Twilight Zone, (2019-20) although I never saw it). For me, Get Out (2017) was the clear distinct captivator in staging and social critique (so in non-pretentious terms, a movie for the age that doesn't forget to be scary without forcing it). This time around, Peele aspired to make a movie involving spectacle that touches upon human nature in the art of alien encounter: trying to take an image of it in flight. Oh sure, there are other things that happen too involving strange clouds and animals running amuck, but the nature of spectacle isn't too far from one's attention. A good chunk of people seem to have a habit to take photos of something that looks interesting every day (for better or worse) that has come ever since the chronophotography days of the 18th century, as referred to in the opening with the showing of Eadweard Muybridge's The Horse in Motion (1878), which were a series of cabinet cards that (as mentioned in the film) feature a black jockey on a horse. There are a handful of inspirations that Peele has listed such as King Kong (1933), Jurassic Park (1993), Close Encounters of the Third Kind (1977), Signs (2002), and The Wizard of Oz (1939), although one could also make a case for seeing seeds of Jaws (1975) in there as well. This is more of a compliment than anything, not saying the movie is a shameless patische, since it does play with the expectations lended out by Peele to useful effect.

I think it works out decently for the goals laid out by Peele to do spectacle that generally rewards the viewer's patience for 131 minutes with a semi-solid outline and a decent ensemble to carry things around in the pursuit for whatever is out there for sensationalism without just being a movie making easy targets. Was it anything special? It is a good movie, but I believe it to be firmly in the middle between his previous works (probably a bit above Us for execution), and it says something worthwhile about the director when his first three films are each pretty good in unsettling its viewer with the foibles of modern times that makes a quality sci-fi horror movie with a look upon the age we live in the art of filming things where the line between being the viewer and being the one viewed can be blurred where one can be tested with filth and possible contempt. Truthfully though, I think I appreciated the movie best in the scope of images one can see and hear rather than the dialogue itself, which is fine. Kaluuya makes a quality lead performance in understatement, a strong-and-silent type who might've fit for a Western (such as say, Buck and the Preacher), which means he is the ideal straight-edge presence in the face of a chase. Palmer has a bit of charm in energy that makes for a quality sibling-pair in terms of the occasional bit in horror or humor. Strangely enough, Yuen makes more of an impression than Perea despite not being the key support of the ensemble, probably because his huckster attitude to what has happened around him, indicative of being a participant of spectacle in numerous ways. This isn't to say Perea is the weak link, it just means that his moments aren't exactly as captivating in spectacle relief, particularly when Wincott is the understated dry gem used sparingly as a look upon the filmmaker from a filmmaker (meta, if you want to say that). 

For me, the movie takes a while to really get going in staging attempts, and it can be said that your highlight scene is probably different from my highlight, which involves a chimpanzee that may or may not relate to the story. But maybe it relates to the bigger picture of what one might expect (or don't) for a film in spectacle, horror or not. The aerial sight depicted in the film is an interesting one, since it lurks around with only eyes on its target much like a viewer that has eyes only on what could pop up next on screen that has no time for dialogue (that, or the Medusa legend). Sometimes it isn't all about blood and guts, although you will find it worthwhile in unsettling nature with a scene spent trying to make a show out of UFO bait with horses being particularly well-done in timing. The climax is handled pretty well, in the general pursuit of how you would hope it goes in carefully planned staging that leaves a worthy final shot. As a whole, the patience required for what Peele wants to say about spectacle and the people who look to show it makes for a fine payoff, one that unsettles its viewer in ambition and a quality staging to make a solid movie that will reward some spectacle viewers better than others.

Overall, I give it 8 out of 10 stars. 

Toy Story 4.

Review #1238: Toy Story 4.

Cast: 
Tom Hanks (Woody), Tim Allen (Buzz Lightyear), Annie Potts (Bo Peep), Tony Hale (Forky), Keegan-Michael Key (Ducky), Jordan Peele (Bunny), Madeleine McGraw (Bonnie), Christina Hendricks (Gabby Gabby), Keanu Reeves (Duke Caboom), Ally Maki (Giggle McDimples), Jay Hernandez (Bonnie's dad), Lori Alan (Bonnie's mom), Joan Cusack (Jessie), Bonnie Hunt (Dolly), Kristen Schaal (Trixie), Emily Davis (Billy, Goat and Gruff), Wallace Shawn (Rex), John Ratzenberger (Hamm), Blake Clark (Slinky Dog), June Squibb (Margaret the Store Owner), and Carl Weathers (Combat Carl) Directed by Josh Cooley.

Review: 
I do admit to having feelings of trepidation when I heard that this film was announced. The first three films are great movies, filled with plenty of entertainment, charm, wonderful animation with a solid foundation that would be expected from Pixar. Next year will be the 25th anniversary of the release of the first film, so one would wonder exactly how long can a saga like this can really last, particularly one about sentient toys and the actors that accompany them (there are even cameos from Mel Brooks and Carol Burnett at one point). One would've thought it would've ceased after the last one nine years ago, and one could even make the case that it could've just ended with the second one with no hesitation. Each of those films close themselves out leaving the audiences (and corporate overlords, if one is to be cynical here) satisfied for the time - these films are accessible for everyone, young and old. With this film, the best thing that can be said is that I can't really fault the filmmakers for wanting to make another story with these characters - the result is not a disturbing cashgrab (unlike certain productions of the past decade), but it is a compromise that works hard at trying to justify its existence with quality cast, animation, and a fairly competent foundation to make it mostly worth it. After all, there are plenty of writing credits to go around, such as a screenplay by Stephany Folsom and Andrew Stanton but eight credited for story (John Lasseter, Rashida Jones, Will McCormack, Josh Cooley, Valerie LaPointe, Martin Hynes, Folsom, and Stanton), so that sure makes for plenty of hands to go around.

It isn't so much the worst of the Toy Story films as it happens to be the one that doesn't have as many flawless features - this makes it harder to say it is entirely necessary to view, which reminds me more of Pixar's recent sequels such as Finding Dory (2016) or Incredibles 2 (2018) - both fine follow-ups that don't soil the memory of the original, and this likely falls in the middle between those in scale of quality (the less said about Pixar's other certain sequel in the decade, the better). As before, there certainly are interesting new characters to view upon the ones we know and appreciate - the existential crisis of a utensil toy sure does make for an intriguing one, with Hanks and Hale being up to the task of playing off each other with purpose and charm. The cast sure does pull plenty of charm and fairly timed laughs, even if it has to split them into segments just to try and keep things threaded - at least until its climax, anyway. Hanks of course does just as well anyone can do with a role he fits perfectly for, full of passion and leadership that is easy to follow with as before, such as when trying to help a newly created utensil toy find himself as more than just "trash". Allen has his moments to shine when its wants to be on him (with one recurring gag to follow along with, much like the last one), handily fitting into the role and its final sequence without hesitation. Potts, last in the role two decades (and two films) ago, is just as able to jump right back into things with relish, capable as can be with what the film wants to do with her role without making it like a fractured portrayal, and the chemistry between her and Hanks goes seamlessly enough. Hale is quirky yet fairly amusing enough to hold the ranks as the resident new toy on the block with his own interesting personality and design that keeps up with the others without becoming just another gag on the wall. Key and Peele make for a few laughs when the light needs to shine on them, and Reeves is just as charming (who can resist a toy stuntman of Canada?). Hendricks makes for an engaging part of the film, offbeat in sinister nature yet fairly capable of being vulnerable that falls alongside the lines of other character types from the previous films without being a complete copy. The others of the cast don't have as much to really do, but they make their time count just fine. A 100 minute run-time makes for a finely paced film that doesn't linger too much of stringing all its threads to a complete stop nor leave the viewer hanging for too much time, even if its finish is just fine with where it closes as opposed to simply just great. Its outcome may prove a bit more fit for a discussion than a real out-pour of emotions (if that's your sort of thing from animated movies, I guess), but at least its character arcs do make it all fairly worthwhile. The animation is wonderful as to be expected, capable at holding to standards one would expect from before that has evolved with the times in the past decades, holding balance with when it needs to be light or darkly-lit as such. On the whole, I do appreciate that the people who crafted this film tried their hardest to make a story worth viewing one again through these characters without trashing what made them so compelling in the first place all those years ago; it may not be the most necessary film of the saga, but it surely will prove just as well in entertainment for people that yearn to seek out where it lands itself this time. Whether there is another one of these films or not, it sure has been quite a fun time to see these films play out beside the toybox over the years.

Overall, I give it 8 out of 10 stars.

Us (2019).

Review #1203: Us.

Cast: 
Lupita Nyong'o (Adelaide Wilson / Red), Winston Duke (Gabriel "Gabe" Wilson / Abraham), Shahadi Wright Joseph (Zora Wilson / Umbrae), Evan Alex (Jason Wilson / Pluto), Elisabeth Moss (Kitty Tyler / Dahlia), Tim Heidecker (Josh Tyler / Tex), Yahya Abdul-Mateen II (Russel Thomas / Weyland), Anna Diop (Rayne Thomas / Eartha), and Cali and Noelle Sheldon (Becca and Lindsey Tyler / Io and Nix) Directed by Jordan Peele (#909 - Get Out)

Review: 
When Jordan Peele made his directorial debut with Get Out two years ago, I certainly did not know what I was expecting exactly, but I figured that it would prove just fine in delivering some kind of horror. It certainly proved to be a success - how many other horror films win (much less get nominated for) an Academy Award for Best Original Screenplay? Undeniably, his next venture into horror can prove enticing, with him once again serving as director, writer, and producer, with an increased budget and some inspiration from The Twilight Zone (more specifically, "Mirror Image") this time around. The idea of being stalked by someone that looks like you certainly can prove creepy, particularly if you and your whole family meet them up close. In the long run, the film presents an assortment of interesting concepts encompassed in a horror film that works itself out just fine. Perhaps it doesn't hold up as much as it really should with its plot, but it is at least handy to deliver some scares and a few laughs without being distracted too much with tonal disconnect. It will please people wanting something that don't want too much blood but are fine with some creepy imagery and atmosphere, that much is certain. The film takes its time to get the ball rolling in suspense, but you never feel too particularly bored with the main group during its 116 minute run-time. It is the chemistry that the main four have with each other - whether dealing with family stuff or suspenseful moments that make the film work as well as it does, with no weak point in the cast as a whole. Nyong'o proves up to the task of dual roles when needed, showing resolve in the face of danger while dealing with past demons and conversely showing anguish and terror - albeit with aid through a pained croak that takes some time to get used to. Duke shines finely enough, with Joseph and Alex proving effective for the course in playing off the main menace with resilience (and vice versa in a sense for the doubles). Moss and Heidecker provide a bit of levity for their moments on screen. Describing the film and its plot in much detail would spoil the fun (at least for me, anyway) in actually experiencing its frights and tricks without real warnings - although I can at least say it isn't the kind of film that trips over its own hype and story (for the most part). The climax is fairly clever in its own machinations (with some help from Michael Abels and his music), but I feel that its method of exposition dump (or whatever you describe it as) does tend to be a bit silly. It isn't so much that I don't care for things in a film to be explained or not (as is the case sometimes with horror films or their sequels, anyway) - it just seems a bit forced in view of its placement within the film and it messes with its illusions in some way; it certainly will provoke a bit of thinking with what it says about what it means to be oneself, which is fine by me. Regardless of how one may feel with how the film deals with its motivations, the movie itself is an interesting and well-made horror film, having a solid cast and capable guiding hands from Peele. He certainly knows how to make his film stand out on their own as interesting pieces to get thrills from through the tropes of horror without so far succumbing to being bogged down in overextending himself too much. I imagine whatever his next venture into horror (or whatever it might be) will certainly provide curiosity to follow into its web of interest.

Overall, I give it 8 out of 10 stars.

Get Out.

Review #909: Get Out.

Cast:
Daniel Kaluuya (Chris Washington), Allison Williams (Rose Armitage), Bradley Whitford (Dean Armitage), Catherine Keener (Missy Armitage), Erika Alexander (Detective Latoya), Caleb Landry Jones (Jeremy Armitage), Lil Rel Howery (Rod Williams), Keith Stanfield (Andre "Logan" Hayworth), Stephen Root (Jim Hudson), Lakeith Stanfield (Andre Hayworth / Logan King), Erika Alexander (Detective Latoya), Marcus Henderson (Walter / Roman Armitage), and Betty Gabriel (Georgina / Marianne Armitage) Directed by Jordan Peele.

Review:
Get Out is certainly a movie that interested me when I first saw the trailers for it a few months ago, in part because of how strange and alluring it looked, without reminding me too much of the tropes that plague horror films (overuse of fading to black, premises that inspire laughter over fear, etc). In any case, I wanted to see this on opening weekend because I figured that it was the best chance I would get to see it, and I guess seeing it with a crowd helps. At the end of the day, Get Out excels at how it is crafted by writer-director Jordan Peele, who makes a movie that is thrilling along with being funny.

It never comes off as boring, with every scene having a purpose while also being crafted in terms of the acting and pacing. Kaluuya and Williams have fine chemistry together, having some charming lines together along with being good at adapting to the tension the movie builds over time. The characters are introduced neatly, with every character having a purpose and no sense of irritating factor to them (okay, maybe Jones' character, but it makes sense). Whitford and Keener are also pretty good as well, giving off the right kind of vibes that don't border on ridiculousness nor unbelievability. Howery is fun to watch, having good timing along with being more than just a comic relief, with an edge of casualness along with competence. Root doesn't get much time on screen, but he certainly helps in making an already tense mood a little bit weirder. The movie presents itself and its themes well, with everything crisply lit and crisply set up. There isn't a time when the movie is being unintentionally hilarious when dealing with horror nor un-entertaining when having humorous lines. I don't want to spoil the plot away. especially a climax that is rich in delivering a great payoff along with irony. The ideas the movie presents have a degree of familiarity and inspiration, but inside this movie is a careful sense of precision, where the plot does not bend to any sort of cliche (such as dream sequence fake-outs). However, I can definitely say that while it may have a bit of a reliance on jump scares, it certainly has a good enough of chills and thought-provoking ideas to make for a really entertaining film.

Overall, I give it 9 out of 10 stars.