"I told you not to go in that House." Get Out Review

Get Out

2.5/5

Written and Directed by Jordan Peele

Rated: R

           In February 2017 comedy writer and actor Jordan Peele made his directorial debut with his culturally relevant comedic horror movie, Get Out. The story is about a young African American named Chris Washington, played with a genuine performance by Daniel Kaluuya, and his Caucasian girlfriend Rose Armitage, played charmingly well by Allison Williams. Chris is spending the weekend at Rose's house where he meets her family, but once Chris' stay starts, weird stuff begins happening (and it's not the usual kind of "oh, that was spooky" weird. This is some messed up everything is telling me "run, it is absolutely not safe here" kind of weird). In typical horror film fashion, by the time our protagonist realizes that everything is not what it seems, it is too late. Caught in a deceptive trap with no foreseeable escape, our hero has one goal, get out. Peele's movie has been nominated for two Golden Globes, including best motion picture that is a musical or comedy and Kaluuya has been nominated for best performance by an actor in a motion picture that is a musical or comedy.
           The best aspect of Peele's debut movie is its cast. Kaluuya does a terrific job playing Get Out's lead. Since the primary goal of Peele's screenplay is placing audiences in Chris' proverbial shoes, Kaluuya's genuine reactions to the bizarre events happening around him and his real sense of dread and fear are a great benefit for audiences. Accompanying Kalyuua are Williams as Rose, Chris' girlfriend, and LilRel Howery as Chris' best friend, Rod Williams. Between these two supporting performers they bring more than enough substantial realism and intriguing line delivery to match Kaluuya's performance. Bringing an alluring and creepy atmosphere to Get Out's cast are Catherine Keener, playing a motherly and ruthless hypnotist, and Bradley Whitford, playing a maniacal and executive leader of all that is creepy. Along with a complete cast of eerie performances, two highlights being Lakeith Stanfield's almost robotic persona and Stephen Root's dark and foreboding undertones, Get Out's cast of characters make the movie an engaging and startling experience, at least upon initial viewing.
           Though this movie's cast is superb, the rest of Get Out ranges between well done and below average. For instance, Peele's screenplay does a good job using a series of dinner conversations as a way of addressing the effects of implicit racism, the act of making ignorant assumptions based on someone's skin color, or deliberately making comments just to show you are not racist without realizing your comments are uncomfortably singling out an individual. These scenes are handled in an honest manner that promotes empathy for the movie's protagonist and anyone audience members may know who would be in a situation similar to Chris'. Peele's story also does a good job delving into the realm of weird, using minimalistic horror oddities and the occasional jump scare. Unfortunately, though, Peele's screenplay is not able to maintain an above average level throughout the majority of the movie's scenes, as most of Peele's dialogue is straight forward exposition or simply characters saying inconsequential weird things.
           The greatest detraction from Get Out is its off-putting pacing. The balance between scenes featuring conversations on honest implicit racism and scenes showcasing the most bizarre neighborhood antics is jarring. The movie's editing is just shy of efficiently connecting scenes, and it can make parts of Get Out feel either too quick or too slow. There is a sweet spot that this movie occasionally hits, but it is seldom. Even if this movie's inconsistent pacing is intentional, it does not justify Get Out's bombastic ending. In a complete turn from the movie's slow building suspense horror genre, Get Out concludes as a high speed action thriller. This sudden and unwarranted change in genre is more than enough to remove audiences from the movie and make them question and doubt Get Out's narrative. Though there are parts of this movie that are engaging and intriguing, Get Out's ending lacks payoff and is bound to leave some viewers laughing at the movie instead of laughing with it.

Verdict: Though it features realistic performances, sincere dialogue addressing implicit racism and worthwhile moments of minimalist horror, Get Out's off-putting pacing and bombastic conclusion reduce this movie's impact and are more than enough to deter this movie's less than casual viewers.

"Good Luck in the New Year" My top 7 films from 2017

2017 is coming to a close. This year I wrote twenty full reviews on a diverse collection of films. I also wrote opinion pieces on past films and movie characters. In total I created 23 posts this year. Before the year closes, I'm going to write one more post about my favorite new films that I reviewed this year. If you would like to read my original review for any of these films, click their title at the top of their paragraph. Without further ado, here are my seven favorite films from 2017.

#7 Wonder Woman

Out of all the films I wanted to review this year, I was most nervous about writing a review for Patty Jenkins' Wonder Woman. Considering how the majority of movies released this year featured lengthy and often overbearing social commentary, I was worried this film would unnecessarily focus more on the importance of our heroine's gender and less on her character and heroics. After the film ended, I left the theatre thrilled that Allan Heinberg's screenplay didn't play the gender card once. It was quite the opposite, as the film found ways to promote all of its character's strengths and flaws in relevant and meaningful ways. Beyond surprising me with its story and memorable characters, my experience watching Wonder Woman was the most fun I had at a super-hero film all year. This film is a win for DC, a win for audiences and a win for showing people that even if your film has an agenda it does not need to be forced or pushed. Sometimes a film can be great all on its own, and because Wonder Woman embraced this it is a film worth watching and rewatching even after 2017 concludes.

#6 Moana

John Musker and Ron Clements, the writer and director duo of The Princess and the Frog, The Little Mermaid and Aladdin, have added another Disney classic to their repertoire, and this one's in 3D. Moana is the story of a brave young woman who was born on an island. She's willing to fight sea monsters and sail with demigods all to save her world. The only problem is she has no idea what she is doing. It's a unique adventure about the importance of heritage, courage and identity. Auli'i Cravalho debuts as the voice of Moana, and she has impressed me with her power house singing voice and performance conviction to match it. Dwayne Johnson acts alongside Cravalho, as a formidable and humorous demigod with some equally impressive musical vocals. What makes this film stick in my mind more than anything else are Moana's visuals. As the film consists of multiple naturalistic elements (the tide, the grass, the ground) animating this film was not an easy task. Within seconds of looking at this film it is clear the animators did not ship out this film with mediocre visuals. They put incredible effort into Moana's scene scapes and beautiful oceans, in order to make them look as stunning as their technology allowed. Along with a few catchy songs with some well developed lyrics, Moana is an adventure I will continue to sail back to again and again.

#5 Fences

The first film I reviewed this year was an adaptation of August Wilson's famous Pittsburg play, Fences. Before the film was made, many directors deemed the play "unfilmable." Denzel Washington had none of that, and thanks to his efforts and impeccable direction August Wilson's play is now a heartfelt and emotionally ripe feature film. Starring Washington himself, Viola Davis, Stephen Henderson, Mykelti Williamson and Russell Hornsby, Fences is a brilliant showcase of charismatic performances and real people. The line delivery, emotional subtext and painful pregnant pauses are powerful here, and the masters of all three of these are Washington and Davis. Seeing these two interact as an 18 year married couple is the primary highlight of Fences' experience. This is the story of a family; a story full of pain, passion, good times, bad times and all the uncertainties in-between. Complimented by Washington's impeccable direction and accented with Wilson's unforgettable script, Fences rings true. It will continue to ring true day by day and year after year.

#4 Logan

2017 has been a year of firsts and lasts. In the world of cinema, this year featured Hugh Jackman's last performance as the Wolverine, a role he's been playing since the year 2000. For Jackman, there was no better way for his character to go than in James Mangold's Logan. In the world of X-Men movies, there is no other film as desolate and intense as this. By treating his film as a western, instead of a tropic super-hero film, Mangold has allowed these well known movie characters to breathe and bleed in a new and untamed way. Across Logan's vapid and hopeless wastelands, Hugh Jackman, Patrick Stewart, Dafne Keen and Boyd Holbrook give life to the film. Each of them brings a performance that will pull out an audience response, upon any one of these character's deaths or salvations. Full of raw dialogue, visceral confrontations and violent howling blood, Mangold has written and directed a compelling and iconic Wolverine story; one that will forever influence the mythos of X-Men and all new super-hero stories to come in 2018 and beyond that horizon.

#3 Hacksaw Ridge

In this year where it seemed so many people were bent on taking the world apart, director Mel Gibson created a biopic about one brave medic who wanted to put a little bit of it back together. Hacksaw Ridge is the incredible true story of World War II veteran Private Desmond Doss. In a world that told Doss to stand down and fall in line, this young man believed what was right and stuck to his guns, by never firing one. Doss religiously followed the Bible's teachings, and because of his beliefs he wanted to join the army as a medic where he would never have to pick up a gun. Doss' story is a unique piece of history, and the film based on his story is remarkable. Like Doss the humble hero, this film is a humble portrayal of his life. Where the film could boast of Doss' life, the screenplay shows Doss giving thanks to God's strength. Where the film could show national approval for the image of the U.S. military, it takes a step back to show these soldiers as human beings, and so it honors them and the reasons why they fought. Complete with a heart wrenching score, an undaunted screenplay, and powerful performances from Andrew Garfield, Teresa Palmer, Sam Worthington and Vince Vaugh of all people, Hacksaw Ridge is an awe inspiring humane film. Every time I have watched it, this film has proven it is one Heaven of a war film, because it certainly ain't Hell.

#2 Silence

Out of all the films on this list, I fear to think of this one. Martin Scorsese's Silence is an epic about two Catholic priests and their trials in 17th century Japan. Father Rodrigues, played by Andrew Garfield, and Father Garupe, played by Adam Driver, are on a mission to preach the Gospel of Jesus Christ and bring salvation to the people of Japan. How little they know, for to seeds of faith, Japan is a swamp. While it would have been easy for Scorsese to illustrate Japan is a vapid and vile land, Silence's masterful cinematography and mesmerizing locations show Japan as a gorgeous landscape that audiences may not be able to take their eyes from. In addition to this the film's editing and sound design are engrossing. Silence's score is composed of cicadas, waves, rain, wind, and foreboding drums and distressing pipes. These naturalistic sounds are a haunting reminder to viewers that terrible tribulations are coming for them, and there is nothing they can do to stop it. By the time a viewer allows one of Silence's many questions to enter their thoughts, they have been consumed by Silence's story, and this film will linger long in their thoughts after the years end. Silence is a spiritual thriller. Watching it demands a strong will and belief. This film has tried my spirit every time I watch even a clip from it. I am hesitant to watch this film again, though I feel compelled that I should watch and be tested by Silence at least once a year.

#1 La la Land

Ever since I heard Just Hurwitz's musical compositions in January, I have been singing and dancing to them anytime the moment arises. Since I saw the purple painted skyline of what Sebastian calls "the city of stars," I have not been able to walk by a lamppost without feeling the sudden urge to sing and tap dance. Since I have experienced Damien Chazelle's original technicolor cinematic musical La la Land, I have seen cinema with a new dream like perspective and have developed an open appreciation for the storytellers from Hollywood and around our globe. Every time I watch La la Land I discover something new, a greater truth illustrated in its screenplay, a deeper meaning within a song's lyrics, a reference to another film, a subtlety in Ryan Gosling's performance, a highlight in Emma Stone's portrayal of Mia's growth and development, a set piece or prop that has significance behind its reappearance, or a new experience from my life that gives me greater connection to the characters and draws me closer into Chazelle's story. I've seen dozens upon dozens of films this year, and few of them have been able to capture a moment, a balance between reality and fantasy, quite like La la Land has. It is visually captivating, poetically written, emotionally resonant, musically appealing and always worth watching. This one's for the fools who dream, and will continue dreaming in 2018.

Thank you to all my readers and all the filmmakers who created these seven incredible films. Here's to the next year of great cinema and great views.

"Mr. Scrooge. How Delightful to meet you, Sir." The man who Invented Christmas Review

The man who Invented Christmas

2/5

Directed by: Bharat Nalluri

Rated: PG

           In the year 1843 one of the greatest celebrities in the world, British novelist Charles Dickens, was sitting in his chambers with a dripping ink quill in his right hand, a clean sheet of paper in front of him and absolutely no new stories inside his mind. Dickens was out of inspiration, out of popularity and slowly running out of money. Then one night, as if fate itself saw it fit, a story came to Dickens in the most marvelous way. It is a story about a covetous old sinner who is visited by three spirits on Christmas eve and how these spirits change this old miser's cold unkind heart into a loving and generous one. Though Dickens originally wanted to title this novella "Humbug, a Miser's Lament," it is far more widely known by its proud best selling title "A Christmas Carol."

           The man who Invented Christmas follows three story lines throughout its brief one hour and 44 minute runtime. The film tells the story of Charles Dickens' early life, his relationship with his father, and how he came to write "A Christmas Carol." Dan Stevens stars as the British word smith himself, Mr. Charles Dickens. Full of wit, eccentricism and dry humor, Stevens brings a portrayal of the famous author so iconic, audience members may find themselves reading Dickens' books adopting Stevens' voice and mannerisms. Playing along side Stevens is Jonathan Pryce as Dickens' foolishly ambitious and everloving father, John Dickens. Pryce's performance is so full of cheer and pleasant humor it makes it difficult for audience members to stay mad at Dickens' father. One last stand out performance is found in Dickens' fictitious manifested character Ebenezer Scrooge, played very well by Christopher Plummer. Plummer's portrayal of the famous miser is as cold as ice, sharp as a flint and calculating as a money lender. There are plenty of other good performances in this film, and they all do their part playing characters in Dickens' real life and playing similar characters in Dickens' fictitious work "A Christmas Carol."

           Though The man who Invented Christmas tells a worthwhile and interesting story, its screenplay is combined of equal parts success and missteps. Since this film attempts to juggle three seemingly separate stories, it is only natural this film's screenplay may at times be impactful and precise and at other times be weak and muddled. This sway of the script is not constricted to only one of the film's three plots, but occurs between all three. No matter which of these film's three plots an audience member latches on to the most, audience members will find scenes that they appreciate and always remember and other scenes they tolerate and eventually forget.

           If this film were about a writer who was not a noteworthy novelist, this film could easily be written off as another run of the mill biographical feature. It is because this film's subject matter is so enticing (it is the story of Charles Dickens, his early life, his relation with his father and how he came to write one of the greatest Christmas stories ever written) that The man who Invented Christmas is worth watching at least once. It might not be worth box office admission, but it is worth renting or watching on home release.

Verdict: The man who Invented Christmas is a unique and well done biographical picture about Charles Dickens and "A Christmas Carol," but it does not offer enough meaningful substance to please less avid fans of the film's source material.

"Let the Past Die. Kill it, if You have To." The Last Jedi Review

Star Wars The Last Jedi

3.5/5

Written and Directed by Rian Johnson

Rated PG-13

           Hope; something all people cling to in their darkest moments. When causes seem lost, old friends appear gone and new rivalries are born, hope for a brighter future, is what brings people through these times. In a galaxy far far away, a band of Resistance fighters cling to this hope on the brink of annihilation. A young woman tries to rekindle hope in an old master. A young son desperately relinquishes hope to embrace hatred and despair. This is the main narrative piece and purpose of Star Wars the Last Jedi that when hope is absent it is impossible to strive for unity, love and light.
           From the start of The Last Jedi all the way to its long awaited conclusion, the narrative's focus is on its protagonists and their opposing views and goals. Rey, played with poise and conduct by Daisy Ridley, is an orphan girl who wants to rise above her past and control what she believes to be her newfound powers. Kylo Ren, played captivating and exceptionally well by Adam Driver, is a torn individual who desires to gather up the pieces of his broken soul but fears to mend or burn them. Luke Skywalker, played by a cold and endearing Mark Hamill, is an old and war weary Jedi master who has grown to resist his old teachings. The Last Jedi's intriguing story is founded in how these three dynamic protagonists' stories are interwoven and how these characters conflict with each other. It is iconic, impactful and emotionally resonant.
           Along with these incredible lead characters, The Last Jedi's rich cast of supporting characters are a varied collection of memorable heroes, villains and most things in between. From the lowliest Resistance maintenance workers to the highest First Order commanders every actress and actor offers a fine and meaningful performance. A few standout performances from this crowd are John Boyega as the cowardly and kind hearted Finn, Kelly Marie Tran as the soft spoken and head strong Rose Tico, Oscar Isaac as the hotheaded heroic pilot Poe Dameron, Laura Dern as the competent and compassionate Vice Admiral Holdo, Andy Serkis as the dominating and devilish Supreme Leader Snoke and the late Carrie Fisher reprising her role as the one and only fearless, bold, loving and vulnerable Princess and General Leia Organa.
           Apart from The Last Jedi's cast, this film also has strong visual appeal. A primary color scheme of pristine whites, powerful blacks and violent reds make up the majority of The Last Jedi's battlefields. These visually stunning set pieces are the backdrops for some incredible battle sequences, exhilarating space fights and palpable light saber duels.
           Though the few battle scenes within The Last Jedi are worth seeing, they are distanced by a lengthy and extensive screenplay. The Last Jedi is the longest Star Wars film to date, running over two hours and 30 minutes. Each story element and character plot point in The Last Jedi is important and utilized in the film's screenplay. This makes The Last Jedi feel like an epic, but the film's narrative weight and emotional impact barely warrant this length. Perhaps upon a second viewing, audience members will find up to 30 minutes worth of unnecessary footage in this film, or it is possible that The Last Jedi truly requires each second of its story in order to efficiently build up its tactful climax.
           One thing that makes recommending this film for theatrical viewing difficult is that it is part of a 40 year old franchise. The Last Jedi is the sequel of Star Wars the Force Awakens and the eighth episode in the Star Wars series. Since The Last Jedi begins immediately where The Force Awakens concludes, audiences would be wise to watch The Force Awakens before viewing The Last Jedi. Unfortunately though, most of the story elements and character continuity from The Force Awakens is disregarded by The Last Jedi's screenplay. This makes The Last Jedi's first act seem to be mostly about Rian Johnson rewriting the parts of The Force Awakens that he did not like. It is not until this film's second act that the screenwriter has the characters where he wants them, but by this point audience members may have lost interest in this story. Those who stick with this story will find its final act to be satisfying and worth the price of admission.
           It is possible, however, that many Star Wars fans will not appreciate or want to see this film. The Last Jedi stands apart from its host of seven other episodes, because The Last Jedi lacks an adventurous sense of fun, enjoyment and wonder that make up the majority of those other films. In place of these aspects are vivid destitute characters, stark battles for survival, bleak shadows of turmoil and the looming presence of death, fear, courage and a single spark of hope. For Star Wars fans looking for a far darker and detailed entry in the series, The Last Jedi may just be the film they are looking for.

Verdict: Star Wars The Last Jedi is a dark epic with powerful lead performances, a memorable supporting cast and impactful moments of conflict, but its extensive length and heavily detailed screenplay can make this journey a bit of a slog.

"I don't think she has a Flaw" Thoughts on Star Wars' Rey and her Character

SPOILERS for Star Wars The Force Awakens

           One element from J.J. Abrams' The Force Awakens has been on my mind, since the first time I watched it and throughout my subsequent viewings. This is the film's weakest story element, the character of Rey. This is not to say that Rey is a weak individual. On the contrary, Rey is a strong willed scavenger, pilot and fighter. Throughout the film Rey appears indestructible. Though she lands herself in two bad situations, accidentally releasing the rathtars and getting herself kidnapped by Kylo Ren, her single minded determination gets her out of these problems with little difficulty. Rey even teaches herself about the force and is able to harness this unseen power that she had little to no knowledge of. This is what makes Rey a weak character. She appears to have no flaws.
           This is often a primary point I highlight, when I converse with friends about The Force Awakens' best and worst story elements. As the most memorable Star Wars protagonists' all have flaws that lead them into irreversible turmoil (Luke's trust in his own power led to him losing his right arm, Obi-Wan's vainglorious pursuit to become a Jedi master made him neglectful of his Padawan's training, Finn's fear of standing up and fighting for what is right leads to him almost abandon his friends), it seems fitting that Rey should also have a character flaw. If Rey has a character flaw it will give her more humanity as a person, believability as a fictitious character and credibility as a worthwhile role model.
           I have been watching and rewatching and talking with people about The Force Awakens with the hope that I will find Rey's possible character flaw. I have had no success. Now my search concludes, Daisy Ridley, the actress playing the character of Rey, has given her answer. In an interview with comicbook.com Ridley was asked what her character's biggest flaw is. Ridley quickly responded, "I don't think she has a flaw." Ridley says Rey's lack of flaws is a good thing. In her interview Ridely stated, "I was actually having this discussion with my dad, because I was like, you know, people go to the hair dresser to get their hair done, people go to the gym to get their bodies done. You can always work on your stuff, just if you can't see it. You can work on jealousy or anger or whatever it is...So I don't think that's a flaw, I think it's room for growth." Ridley also went on to say that one of Rey's possible flaws, her stubbornness, is not a hindrance for Rey or any other character in Star Wars. Ridely stated, "I think anything that might be the thing that people go *scoffs* with kids, if they're stubborn, if they're willful, serves her very well in this film. So I don't think that's a flaw."
           Of course, Rey's character has to have a flaw, as no human is or ever will be perfect. Since Rey's character is destined to fail in certain areas of her life, where are her failures? If she can accomplish anything she sets her mind to, where does she fall short?
           Perhaps Rey's greatest flaw comes from the fact that she has yet to fall short. Perhaps because Rey has yet to fail herself or others in a horribly irreversible way, she believes she cannot fail. She is able to continue to believing in this flawed view of herself, because it is more than supported by her circumstances. Any disaster she has gotten herself into, she has made it out with relative ease. If Rey's character is without flaws, then she cannot represent humanity, be a believable fictitious character or be a credible role model like many of the other Star Wars characters surrounding her.
           Though it is unfortunate that Rey's character is a weak story element in The Force Awakens, her character has time for development. My hope is that in Star Wars' next installment, The Last Jedi, Rey will be illustrated as an imperfect human being in need of help, growth and rescue, like all human beings.

"I have Discovered the Truth, and it is Profoundly Disturbing." Murder on the Orient Express (2017) Review

Murder on the Orient Express
3/5

Directed by: Kenneth Branagh

Rated: PG-13

           High on top of the cold and unforgiving mountains of Eurasia, the Orient Express, a symbol of luxury and excellence, lies on its side derailed. Inside the train's dining car 12 passengers sit in silence in the harsh light of electric lamps; exchanging accusatory glances and then hiding their fearful faces. In the first class coach are three people, M. Bouc, the esteemed director of the Orient Express, a dead body, murdered in a bloody frenzy, and the great Belgian detective, M. Hercule Poirot. This scene makes for a riveting mystery and an enjoyable time at the theatre, but in this film it is unable to impact or effect its viewers.

           In Murder on the Orient Express Sir Kenneth Branagh stars as Agatha Christie's famous Hercule Poirot. Purveying his magnificent moustaches and an equally massive theatrical presence, Branagh's performance is engaging and compelling. Along with one memorable and charismatic performance, comes a diverse ensemble; each actor and actress suiting their role to the best of their abilities. A few stand out performers are Johnny Depp as the cold and commanding gangster M. Rachett, Daisy Ridley as the lovely and upfront governess Mlle. Debenham, Leslie Odom Jr. as the charming and brazen Dr. Abuthnot, Michelle Pfeiffer as the sultry and seductive Mme. Hubbard, Josh Gad as the amusing and aloof M. Macqueen, and Judi Dench as the indomitable and frightful Princess Dragomiroff. Though each of these accompanying performers does a good job portraying their character, their characters do not play well off of each other. It is as if each actor and actress, aside from Branagh, thought they were performing a one person show.

           Murder on the Orient Express also boast of impressive technical aspects. This film's visuals are engrossing. The train's production design is immaculate, and the film's deep blue color scheme is aesthetically pleasing. The camera's movements through this set are free spirited like a bird. This often creates curious camera angles inviting audiences to examine familiar scenes from new perspectives. Though these shots are beautiful, they do not flow well from one to the next. It is jarring jumping from one gorgeous long take to the next, and the camera's flamboyance can only distract viewers from the film's story for so long.
           Viewers need to be distracted from the story, because the film's screenplay suffers from the performers' and visuals' similar shortcomings. Though the screenplay's dialogue is at times humorous and yet also lends itself to dreadful tragedy, it feels dishonest to the presented characters and their inner secrets. It is almost as if there are far more poignant phrases characters want to say, yet they hold back and say only what sounds good on face value. There is little depth in the film's dialogue, so the characters feel like personas in a murder mystery and less like a tangle of strangers finding themselves caught in a web of deceit.
           Even though this film suffers, It is clear Branagh and his team have exerted great effort to make this film an interesting adaptation. It is also clear Branagh's team did not have much communication with each other. The biggest downside with Murder on the Orient Express is that each scene is remarkable but when they are combined in this manner they are lackluster. The film has good aspects, but its poor synergy diminishes the story's weight and impact. Audiences will enjoy this film while they are watching it, but after they leave the theatre most will ask themselves what was the film's greater purpose. This places Murder on the Orient Express in a unique predicament, where the film is worth seeing in a large theatre but it is not worth watching or owning on home release.

Verdict: Kenneth Branagh's Murder on the Orient Express features good performances and remarkable individual scenes, making it a worthwhile time at the theatre but only for enthusiastic moviegoers.

"Point me in the direction of whoever's ass I have to Kick!" Thor Ragnarok Review

Thor Ragnarok

1.5/5

Directed by: Taika Waititi

Rated: PG-13

           The Marvel Cinematic Universe (MCU) is extensive, and it is slowly building towards its climax, Avengers Infinity War (2018). Within this franchise's nine years of existence, audiences have seen great heroes team up with unlikely allies, take on hordes of evil and laugh and cry all the way through it. In the MCU's new action comedy Thor Ragnarok audiences will receive more of the same...but worse. This sequence of events that appeared on a screen in front of a viewer's eyes, otherwise known as a movie, provides lack luster entertainment, unstimulating visuals and little to no impact.
           Thor Ragnarok's most entertaining element is its characters, or rather its collection of walking and talking warriors that have their own quirks. Thor, Chris Hemsworth, is a brazen and brutish battler who wants to save his kingdom from the evil Hela, Cate Blanchett. Loki, Tom Hiddleston, is a conniving and charismatic combater who defeats his enemies through tricks and fakery. Valkyrie, Tessa Thompson, is a fierce and frigid fighter who drinks to her heart's content and won't take back any insult or injury. The Hulk, Mark Ruffalo, is a hearty heavy lifting hothead who speaks in broken English and breaks his challengers' backs. Based on these descriptions, it is expected that audience's should spend the majority of their time watching these people fight each other and various bad guys. While this is somewhat true, as there is enough fighting in this movie to keep a person in their seat with their eyes open, every battle is against a CGI opponent. Since the bad guys our heroes are unleashing their might upon are mostly computer generated faceless mobs, the impact of every punch, slam, kick, slice and smash is nullified.
           Other than a few interesting moments in this movie, Thor Ragnarok is not fun. The movie's dialogue is at moments comedic, but its primarily unenthusiastic and bland. The visuals in this movie are colorful, but the production design's color palettes are not emotionally rich. The villain is overpowered and worthy of being defeated, but it comes to a point where it does not matter how she will be defeated. All that matters is when, because that will signal the end of the movie. In addition to this Thor Ragnarok's orchestral score is forgettable and the movie's pacing is choppy and might make the story difficult following. The most effort this movie put forth was in its action scenes, but they are all fake and poorly choreographed. It is difficult separating each battle from another or recalling how someone took down their opponent. For all this movie's physical traits, it lacks an emotional center and the mental competence to make the movie impactful and worthwhile.
           There can be some enjoyment had with this MCU entry, but it mainly comes through knowing the backstory and previous character development that occurred in earlier entries. To best understand Thor Ragnarok's basic plot audience members should watch Thor (2011), The Avengers (2012), Thor the Dark World (2013), Avengers Age of Ultron (2015), and Doctor Strange (2016). It appears impossible for any new MCU entry to be watchable in its own right. The MCU shall eventually crumble under its own weight, and when that time comes only this franchise's best titles will be remembered and revered. It doesn't seem likely Thor Ragnarok will be amongst the chosen. As Thor would say, this movie is "not worthy."

Verdict: Thor Ragnarok is a poorly executed semi coherent sequence of events about a group of hotheads who take on a CGI army, and the movie lacks emotional impact and worthwhile entertaining value.