Thoughts on the 89th Annual Oscar's Best Picture Nominees

Disclaimer: Though Garth Davis' Lion is nominated for best picture, I was unable to see it.

Arrival: Dennis Villeneuve 4/5

It has been awhile since a new intelligent science fiction film about aliens has been produced, but in 2016 one arrived. Villeneuve's Arrival is the story of a linguist, Amy Adams, a scientist, Jeremy Renner, and their attempts to understand why these massive alien space crafts have landed on Earth. In order to find out, they enter one of the space ships everyday, and attempt to learn the alien's bizarre and transcendent written language. As the film progresses, a deeper story begins to develop, and the truth behind these aliens sudden appearance is revealed. Through some clever editing, and perfectly placed intellectual insight, Arrival marks itself as one the greatest science fiction dramas in the genre. While the genre of science fiction may not appeal to all audiences, this creative and thought provoking story is worth taking a chance on.

Fences: Denzel Washington 4/5
He directed it, he starred in it on Broadway, and now he's bringing to the silver screen. Denzel Washington's Fences is a homerun, with charm, joy, poetic dialogue, and unforgettable performances from the entire cast. Washington holds the film together as its cornerstone and main root, Viola Davis provides love and compassion to let it grow, Stephen Henderson brings humor and charm to make it shine, and Mykelti Williamson waters it with his somber subtext and open heart. These incredible performances are heightened by Washington's direction, his careful choices on when to go in for a close up, and when to remain at a distance. In a featurette for the film, Denzel Washington stated "there's no such thing as movie acting, in my opinion, no 'I have to be small.' Just let me worry about that...[the crew and I will] back up." All of these elements, combined with an already haunting and poetic screenplay, come together to make Fences a beautifully tragic story of a father's broken redemption. It is worth watching, and sharing in the company of close friends and family. Click here for my full review of Fences.

Hacksaw Ridge: Mel Gibson 4.5/5
Mel Gibson cements the name Private Desmond Doss among the lists of great war heroes with this masterclass of a war biopic, Hacksaw Ridge. What separates Doss from other war heroes, is his choice not to brandish a firearm on the battlefield, and stand by his Christian values. The storyline of the film displays the linear progression of Doss' life. It starts with his young life in Virginia, and the romance he has with his eventual fiancée. Then it moves out to the back breaking combat training camp, as Doss faces torment, ridicule and accusations of insubordination. The film ends with the viscerally graphic battlefield of Hacksaw ridge, and the miracle Doss was able to achieve on top of those cliffs. Andrew Garfield's portrayal of Doss is gut wrenching and spiritually uplifting. Garfield stands by his character's convictions, and never portrays them with a "holier than thou" attitude. He lives humbly, is guided by a moral compass, and is ever willing to risk his life for the sake of others. Audiences will cheer for his accomplishments, and cry out against the injustice done towards him. For the less squeamish and morally inspired, Hacksaw Ridge is a beautiful masterpiece, easily worth renting. Click here for my full review of Hacksaw Ridge.

Hell or High Water: David Mackenzie 3/5
Two brothers are robbing banks to pay off the mortgage on their family's ranch. The cops are hot on their tails, and the chase rages on across the plains of Comanche country in the modern dramatic western Hell or High Water. What makes this film standout from other westerns is how story takes place solely in Texas, and the crew filmed it on location in...New Mexico. Lead actors, Chris Pine and Ben Foster, embody a genuine relationship between two brothers living on the wild side of life. Pine's character wrestles with his morally minded conscious, and Foster's lives for the moments when he can let his trigger finger fly. The cops chasing after them have their own friendship, expressed through insults and back handed compliments. They are played by a cynical Jeff Bridges and a stalwart Gil Birmingham. The back and forth between all of these characters is clever, and worth watching. The story is also engaging. The first half of the film is the fun and games on the wrong side of the law, and the last half features the inevitable consequences from these actions. The slow burn pacing is justified, but I do wonder what more this film could have done if it raised the stakes a bit sooner and dared to surprise its audience. Hell or High Water is a fun film filled with great dialogue between relatable characters, but the direction maars the story with dozens of missed opportunities.

Hidden Figures: Theodore Melfi 2.5/5
Hidden Figures is the story of three NASA mathematicians and their contributions to America's space race, specifically John Glenn's orbit around the Earth. The story mainly centers around Katharine G. Johnson, played by Taraji P. Henson. Johnson was the woman who solved for Glenn's launch and landing. The other two woman are not as prominently featured in the film. One of the most memorable performances in this movie is Kevin Costner's portrayal of the fictitious leader of NASA's computer department, Al Harrison. The screenplay works well, as it is occasionally funny, often repetitive, and every now and then insightful. The overarching story though is historically inaccurate, as most of the key moments shaping Johnson's character development did not happen in real life. It's regrettable, but it does not detract from the movie. What does detract is this movie's direction. Since the camera often cuts away from characters as soon as they are done speaking, audiences rarely see characters reactions to the events surrounding them. Events play out, but they are never expanded upon. With an interesting story, a star studded cast, but unfortunately amateur direction, Hidden Figures is worth seeing on DVD, but not at full price. Click here for my full review of Hidden Figures.

La La Land: Damien Chazelle 5/5
Damien Chazelle and Lions Gate pictures present a phenomenal modern day cinematic original musical full of eye popping colors, charmingly broken characters, fantastic performances, and unforgettable music. La La Land is an insightful look at the hypocritical dreamers of Los Angeles, and it will take audiences on a trip around the stars without them ever leaving their seats. This remarkable film is headed by two star performers. Emma Stone plays Mia, a Hollywood Barista who hangs on audition to audition. Accompanying her is Ryan Gosling who plays the abrasively charming jazz pianist, Sebastian. According to IMDB.com Gosling "spent two hours a day, six days a week in piano lessons learning the music by heart...He was able to play all the piano sequences seen in the film." La La Land's most pronounced element is its music, which consists of upbeat jazz rhythms, passionate singing from leads Stone and Gosling, impactful lyrics, and memorable leitmotifs. In an interview with Genius.com, musical composer Justin Hurwitz states the recurring melodies in the film were used to “help people remember those melodies, to drive [them] home. Figuring out fun ways to use those melodies and to allow [them] to actually mean things was part of what [the cast and crew] were going for.” They were successful. The entire cast and crew of La La Land put their best foot forward and it landed on the beat. Do not let this wonderful experience slip through your grasp. I love this film, and I cannot wait to see it again. Click here for my full review of La La Land.

Manchester by the Sea: Kenneth Lonergan 0.5/5
Manchester by the Sea was filmed on location in Manchester Massachusetts. It is a slow (dragging its feet) paced movie about loss, loss, loss, and loss. It's story is also difficult to understand, as it often suddenly cuts to flashbacks where the actors are wearing the exact same outfits. The over arching storyline is without payoff. What most audiences will expect to be a story of redemption is in reality about a depressed man who needs to overcome the trauma in his life but never does. Lead actor Casey Affleck starts the movie sad, and ends the movie sad. He has no significant character development, and no major changes in his facial expressions. His performance is unemotional and contained, which is what the director wanted to achieve. In an interview with Casey Affleck on Entertainment Weekly, he said "One metaphor that we used was like a dam breaking, and it keeps cracking, but if you just let it crack then all the water's gonna come out, and it's no fun...so the character just has to hold it in all the time." Most of the other performers follow the same suit, but when they have dramatic break downs they let all the water rush out of their dam. It's these few and far between moments where Affleck's character has to remain guarded that will trick you into thinking this movie is going to have a moment when Affleck finally breaks down. Do not be fooled. He never does, and this movie goes nowhere.

Moonlight: Barry Jenkins 3/5
Moonlight is the hard but true story of a kid from Miami, Chiron, and the trauma he underwent for his mindset and brash behaviors. The film is split into three separate acts, with each act coinciding with Chiron's latest nickname and time in his life. The film starts with his childhood, moves on ahead to his life in jr. high, and ends with the outcome of his choices in his adulthood. At first it feels the pacing of the film is imbalanced by not regarding certain elements of the story, but as the film progresses audiences realize this was done for dramatic effect. The performances in this film are captivating and emotional. The three actors who play the lead, Chiron, bring life and humanity to this character. It's nothing phenomenal, but it's above average work. Two of them stand out from the rest of the cast. Mahershala Ali provides an affectionate performance as Chrion's benevolent pseudo guardian. He speaks with tenderness, holds Chiron with care above the waves of life, and will do anything to keep this boy afloat. Naomie Harris offers a devastating depiction of Chiron's crack addict mother. She ranges from desperate, to manic, to insane, and she demands the eyes of her viewers. It's these poignant performances, combined with a poetic and unnatural script, which make Moonlight a well done Film. It is, however, not for the majority of audiences. People should check to see if this film is what they want to immerse themselves in, before they experience this story of disillusioned heart break, dissolving hatred, and dissonant harmony.

"While Everyone else is takin' life, I'm gonna be savin' It." Hacksaw Ridge Review

Hacksaw Ridge

4.5/5

Directed by: Mel Gibson

Rated: R

           "You have heard it was said to the people long ago, ‘You shall not murder, and anyone who murders will be subject to judgment.' But I tell you that anyone who is angry with a brother or sister will be subject to judgment" (Matthew 5:21-22, NIV). These words struck a young man living in 1943, and even though it was a time of war, he would not break the rules of his religion. He desired to fight for his country on distant Japanese shores, but he would not fire a bullet. On his days in combat, instead of taking lives he saved them. Hacksaw Ridge is the emotionally gripping true story of war medic and decorated  Medal of Honor veteran Private Desmond Doss, and the 75 lives he saved without a rifle by his side.
           Portraying the life of Desmond Doss on the silver screen is no easy task. To begin with, Doss himself was always unsure about letting movie studios use his story. Doss' son, Desmond Jr. told People Movies “The reason [his father] declined is that none of [the studios] adhered to his one requirement: that it be accurate." Most of the film is historically accurate and all of it is founded in Doss' beleifs. This is because Gibson's goal from the start of pre production was to do Doss' story justice and give the credit to whom credit is due.
           One of the hardest challenges of making this incredible war story was finding the right actor to portray Doss, but this too was overcome. According to IMDb.com "Desmond Jr. attended [Garfield's] screening and was moved to tears by [his] accurate portrayal of his dad." Garfield's performance is filled with light hearted humor at his home in Virginia, and unrelenting perseverance on the plains of Hacksaw. What gives heart to Doss' character is his foundation of faith. His choice to follow the Good Book instead of the rule book is what motivates his actions through training and combat. Hacksaw Ridge will cement the name Desmond Doss in the minds of audiences everywhere, and they will pray alongside him for miracles, and cheer for the victories he was able to achieve.
           In order to give vitality to the true story behind the conscientious objector and war medic, Gibson and screenwriter Robert Schenkkan did extensive research on Doss' life in the army. In an article by Time Entertainment, Schenkkan stated he based the story "on military records and footage of interviews with Doss, though finding ample material proved challenging because his subject’s modesty made him averse to the limelight."
          The screenplay for Hacksaw Ridge focuses on three main points, Doss' Christian values, the horrors of war, and the men Doss risked his life to save from the bombarded plains of Hacksaw Ridge. While all three of these elements are strongly emphasized in the story, they are not always in balance with each other. There were whole five minute chunks of bloody war footage, and Private Doss is nowhere to be found. After this brief hiatus from the main protagonist, he arrives back on screen and arrests the eyes of audiences all they way to the film's magnificent conclusion.
           Doss' heroics on the battlefield are magnified by Gibson's scenes of the casualties of war. It is visceral, bloody, and will make the squeamish cringe. In an article by People Movies, a veteran from Okinawa stated, “It was graphic...When you’ve been there, that’s what it’s like.” It's not glorified or dignified. It injects the narrative with dramatic tension, fills the performances with genuine fear of death, and gives audiences a reason to applaud for this masterful film. After all, Hacksaw Ridge "received a standing ovation lasting nine minutes and 48 seconds at the Venice Film Festival" (IMDb.com).

Verdict: Hacksaw Ridge is a masterful heaven of a biopic (because it certainly ain't Hell), with an engaging performance by Andrew Garfield and haunting imagery from Mel Gibson's direction.

"Here at NASA we all pee the same Color" Hidden Figures Review

Hidden Figures

2.5/5

Directed by: Theodore Melfi

Rated: PG

           When a film has an interesting story about NASA's pursuit to put a man on the moon, it is sure to get noticed. When a film features a knock out cast line up, including Taraji P. Henson, Octavia Spencer, Janelle Monae, Kevin Costner, Kirsten Dunst, Jim Parsons, and Mahershala Ali, it is sure to get noticed. When a film features original music from Pharrell Williams and Hans Zimmer, it is sure to get noticed. For a movie about three African American female mathematicians, it's a no brainer why Hidden Figures stands out at the box office.
           Hidden Figures is based on the true stories of Katharine G. Johnson (Henson), Dorothy Vaughn (Spencer), and Mary Jackson (Monae). The three of them worked for NASA during the 1960's. The main story is strongly centered around Katharine, her early work as a computer, and the daily prejudice she had to endure. One of Katharine's most famous contributions to NASA and history were her calculations of John Glenn's launch and landing for his orbit around Earth, which is featured in this movie. The other two girls on the poster are not shown as much, and are considerably unimportant to the plot line of the narrative. While the two of them made great strides in U.S. history, neither of them is given a worthwhile amount of screen time.
           The screenplay works well for this movie. It is occasionally funny, often repetitive, and every now and then insightful. It, however, is not entirely accurate to the state of historic events. It is common for biopics to bend audiences' perceptions of historical events for the sake of dramatic narrative. Hidden Figures, however, centers the majority of its dramatic moments around events that did not happen. For example, the movie features Katharine leaving her desk during the day to use the colored restrooms, which are on the other side of the facility. When her boss asks her where she goes for 40 minutes everyday, she says she has to use the restrooms on the other end of the campus, because there are no closer colored restrooms. This event would not have happened, as, according to historyvshollywood.com "when Katherine started working [at NASA], she didn't even realize that the bathrooms at Langley were segregated. This is because the bathrooms for white employees were unmarked...It took a couple years before she was confronted with her mistake, but she simply ignored the comment." This and other examples of explicit discrimination shown in the movie are inaccurate. Katharine Johnson, herself, said in an interview with WHROTV, "I didn't feel the segregation at NASA, because everybody there was doing research...I knew it was there, but I didn't feel it."
           The greatest drawback in this movie is it direction. It ranges from poor to inconsiderate. There was never a moment where it appeared the director added depth or stronger emotional appeal to a scene. There were seldom any memorable shots, because the director did not give the cinematographer anything amazing to shoot. The camera rarely remained on actors and actresses, when they finished talking. It was constantly jumping to a close up of the next person speaking. No actor or actress had a chance to give the full heartfelt performance they could have given, because the camera would cut away from them before they could act nonverbally. In moments when the director needed to establish a new room, he chose to continue the dialogue instead, without accounting for the audience's reaction to the sudden change in scenery. In particular, there was a sudden jump cut from the NASA break room to one of the girls' houses. The change in interior scenery was so jarring, one of the people in the theatre had to ask me "whose house were they in?" If the audience is having trouble following a basic transition, then it is a prominent sign the direction in this movie needs improvement.

Verdict: Hidden Figures is an average movie, with a genius cast and an interesting story, but its poor direction greatly detracts from the movie's theatrical experience.

"Here's to the ones who Dream" La La Land Review

La La Land

5/5

Written and Directed by: Damien Chazelle

Rated: PG-13

           An original modern day cinematic musical; could it be done? It hadn't been done in over 50 years. Why make a new one? Director and writer Damien Chazelle states in a featurette, "I became interested in this idea of how do you use color and music and sets and costumes as expressionistic elements of old school movie making. How do you use those to tell an emotional story, but update it in a way that felt modern?" Here is his answer. La La Land is an original modern day cinematic musical, and it's extraordinary.
           From the first showstopper to the final curtain call, Chazelle's direction is admissible. One of his strong suits are his film's edits, and these were done by editor Tom Cross. The cuts in La La Land range from zero to innumerable. Unbroken takes felicitate the vibrato of La La Land's massive musical numbers, while rapid jumps keep the speed up in the jazz numbers. The pace of the film is a perfect fit, and it respects the film's cinematic exoticness. Though it features improbable visual aspects, La La Land's make believe world of lights and stars never detracts from the audience's viewing experience. Along with Chazelle's choice of vibrant colors and iconic set design, the film's aesthetics are exemplarily.
           Even though the nature of La La Land is fantastical, its characters are beyond real. Emma Stone's character, Mia, is brought to life with heart. Stone plays a barista in Hollywood, who longs for one successful audition to start her career as a silver screen actress. Accompanying Stone is Ryan Gosling as the charming prick, Sebastian. Gosling plays the role of a pianist who desires to have his own personalized jazz club. La La Land also features splendid performances by John Legend and Finn Wittrock. There's also a spot of high brow humor brought in an excellent scene with J.K. Simmons. La La Land's cast is outstanding, and its two leads, Gosling and Stone, gave all of their energy to give this film its magic.
           Gosling and Stone prepared tirelessly for their roles. According to IMDB.com Gosling "spent two hours a day, six days a week in piano lessons learning the music by heart...He was able to play all the piano sequences seen in the film." Gosling's instrumental playing is beautifully complimented by Stone's wonderful singing. Her voice ranges along a spectrum of innocent, catty, exuberant, agonized, desperate, and vulnerable. To top all of this off, their dancing is sharp and delightful. Each move is motivated and newly alive. Gosling and Stone's preparation paid off, because Mia and Sebastian's relationship is one audiences will embrace and adore for generations.
           What would Gosling and Stone's singing and dancing be, if they had no music? This is brought in by composer Justin Hurwitz. The music of La La Land soars above imagination and past the realm of thought. Hurwitz's pieces touch the heart and embrace life. His soundtrack alone tells Mia and Sebastian's story. Leitmotifs are the repetitious paragraphs. Chords display the mood. Themes illustrate the characters. Reprises unfold the changes in their relationship. A final medley recaptures their life. It is tremendous.
           La La Land's direction shines, its characters fascinate, and its music soars, but all of this could have fallen apart due to a lacking screenplay. If the lines were too light hearted or the lyrics simplistic, this film could have been written off as matinee fluff. Thank writer Chazelle and lyricists Benj Pasek and Justin Paul for their wonderful work, because La La Land's screenplay is remarkable. With a clever balance of bright humor and melancholic tenderness, the dialogue is memorable and impactful. There is humor, charm, and passion present in every frame. The lyrics are whimsical and unforeseeable. When a song seems predictable, it becomes newly captivating.
           La La Land's lyrics and script are, like the rest of the film, magnificent. It has been a long time since filmmakers dared to make movies like this, and even longer since there has been an uplifting film made with this refined quality. La La Land is a dreamer's love letter worth viewing with friends and family in theatres, or, if nothing else, seeing when it receives home release. Do not let this chance pass you by. Seize it with open arms. Let yourself be carried away to La La Land.

Verdict: La La Land is an original cinematic technicolor marvel of a musical, with admirable direction, spectacular performances by leads Emma Stone and Ryan Gosling, and wonderful music.

"What law is there sayin' I got to like you?" Fences Review

Fences

4/5

Directed by: Denzel Washington

Written by: August Wilson

Rated: PG-13

           In 1983 renowned playwright August Wilson published his Pulitzer prize winning drama, Fences, a story of broken redemption about the life of a man who was father, brother, and son. Although several film studios wanted to make adaptations of it, no one knew how to take a story with one set, less than ten characters, with all of its action in the dialogue and make it into a compelling film. For years Fences was referred to as an "unfilmable" script. Denzel Washington heard none of that.

           If anyone could give justice to August Wilson's tragic and peerless script, it would be Denzel Washington. This is the third film he has directed. He also directed Antwone Fisher (2002) and The Great Debaters (2007). Denzel has already performed in Fences on Broadway in 2010, so he has a strong grasp of the beats and units within the story. His deliberate choices of when to go wide or when to go close up increase the intensity of scenes. He uses the positions of his characters to visually illustrate relationships, placing two friends further and further apart in frame until their friendship breaks. He even makes certain background elements stand out or take precedence in a shot, giving Fences its own iconic imagery. Since August Wilson's play could be done as an audio drama, it is incredible how Denzel gave this film visual impact beyond its dialogic impress.

           The main reason Fences was thought to be an "unfilmable" script is because a literal description of the play is people talk at a house. The beauty of Fences script is in its subtext. A simple scene about a son repaying a loan is about a father letting go of his hubris. Everything means something more than its surface. Often times the most crucial elements of the script are the words not said, such as "truth" "hate" and "love". In the script's darkest moments there is humor, which makes it humane. In life laughing and crying are never far apart from each other, and this script acknowledges this to the fullest. It never feels fake. Fences' script is a masterpiece in the hands of gifted talent, and this cast is gifted.

           What places this film's cast of characters above other films is their choice to not play characters. They are people; real people. Nothing is forced. There's no hesitation in anyone's performance. They are heartbreaking and heartfelt. The frontrunners are Denzel Washington as the arrogant Troy and Viola Davis as his faithful wife, Rose. Both received acting nominations in this year's Golden Globes, and why is a no brainer. These two are palpable on screen. Their relationship is a beautiful explosion. Though it wrenches the heart to watch the destruction, you can not help but stare in shock and wonder at the fire and what might survive its flames. Audiences will never forget what they witnessed, nor will they forget what they learned from this family. Fences has much to say. Listen.

Verdict: Fences is a heartbreaking and heartfelt film with iconic visuals, a masterpiece script, and an unforgettable cast of real people.

"Rebellions are built on Hope" Rogue One Review

Rogue One

3.5/5

Directed By: Gareth Edwards

Rated: PG- 13

           Since the year 1977, The Star Wars franchise has been breaking new ground on the fields of special effects, sound mixing and editing, and production design, and now with their first of many anthology films, they are breaking new ground again. Aside from their upcoming and eagerly awaited eighth episode, Rogue One is the first of new additions to the seven Star Wars movies audiences have come to know and enjoy. Rogue One is a story of a planetary threat's shadow, an empire resolute on bending the galaxy to their will, and a sinister leader discontent with anything less than total rule through fear. It is a story of a young woman torn away from her only family, a ragtag team of fighters apart of a newborn rebellion, and the single most important mission this team would ever execute.
           What separates this story from the other entries in the Star Wars galaxy, is Rogue One's steadfast main team of characters. Jyn Erso (Felicity Jones) is our able bodied heroine on this impossible mission. She is a daring and dynamic character, who, I am glad to say, is a great addition to the growing cast of Star Wars characters. Leading her on this mission is the alliance member Cassian (Diego Luna), a conflicted and cunning man. More than just the team's captain, Cassian is a sharpshooting pilot and an important mentor to Jyn. Their co- pilot is K-S20 (Alan Tudyk), an imperial droid who, since his reprogramming, has gotten into the habit of speaking whatever is on his circuits. These three are later accompanied by four other crew members, each with their own personalized fighting style and individual motivation to fight. When these seven members come together, the audience benefits. From their entertaining back and forth banter, comical witticisms, and admirable cooperative fighting style, this team is unforgettable. When they enter the heat of battle, there's no stopping them, and they will fight to the bitter end.
           Their mission brings them to distant planets, close to the grasps of death, and into the heart of the Empire. The story's vitality is shown through it's impressive action scenes, most of them featuring well crafted visual effects, precisely choreographed close quarters combat sequences, and heart stopping moments of suspense. Sadly though, this story is a slow burner, and it regrettably takes about 45 minutes for the movie's spark to ignite its fuse. The pacing in the opening half of the film is sluggish and at some points overbearingly gritty. There is a copious amount of tedious scenes, and it's easy to pick out which ones are unnecessary. It distracts from the story, and removes audiences from the cinematic wonder the film is trying to have.
           Once these scenes are over with, the rest of the film is fully engaging. Rogue One features one of the greatest climaxes I have witnessed in theatres (not just Star Wars climaxes, but film climaxes in general). It's gripping, action packed, and intense. The special effects are incredible, the action is fast paced, and it plays out on three different interacting stages. This film's crisis is worth the price of admission, for any Star Wars fan, however those who are new to Star Wars would do better watching this film when it comes out on home release.
           I am pleased to say, Rogue One is a good movie and a worthy start to the new Star Wars anthology films. The best aspect of these new anthology films is their potential for possibility. These new movies can introduce us to new characters, reintroduce us to some of the franchises' most familiar faces, and explore further into the galaxy far far away that audiences have come to know and love. I look forward to these new films, and I have to wonder where are we going next.

Verdict: Rogue One is a good film with an impressive cast of various characters, a good amount of action, and a well done climax that is sure to leave audiences satisfied and ready for seconds.

"Yesterday, a Wizard entered New York with a Case" Fantastic Beasts Review

Fantastic Beasts and Where to Find Them

5/5

Directed By: David Yates

Written By: J.K. Rowling
Rated: PG-13

           In the roaring 20's another day begins on the busy streets of New York City. A man walks to his job at a canning factory, members of the Magical Congress of the United States (MACUSA) file wand permits, an elderly woman makes her way to the steps of a bank where she will hand out leaflets, a sister waits at home and makes clothes to pass the time, a little girl recites a nursery rhyme, a boy sits alone in the darkness of his room, and a gentleman in a blue coat arrives from across the sea with only a wand and a case, a case full of fantastic beasts.
           David Yates' Fantastic Beasts and Where to Find Them (Fantastic Beasts) is a marvelous tale of estranged wizards, brave witches, a brilliant no-maj (non-magical), a wicked family, dark and terrible presences, and a numerous multitude of remarkable creatures, who have unfortunately escaped. In its essence, the film is a simplistic story about a team searching New York for these escaped creatures. More than this, though, the film dives into elements of oppressing magic, a need for understanding the unknown, the archetypal good pursuing knowledge, and the inherit evil attending chaos.
           The first standout ingredient of Fantastic Beasts is its marvelous characters. The main protagonist is the quirky magical zoologist and lead chaser of creatures Newt Scamander (Eddie Redmayne). Accompanying him is the inquisitively sharp MACUSA magical police officer Tina Goldstein (Katherine Waterson). Joining them is the no-maj with impeccable comedic timing and an extraordinary heart, Jacob Kowalski (Dan Folger), and Tina Goldstein's delightfully splendid sister, Queenie Goldstein (Alison Sudol). In addition to the film's outstanding main cast is a whole city of memorable characters, such as the impressive President of the MACUSA, Seraphina Picquery (Carmen Ejogo), the cunning director of magical security, Percival Graves (Colin Farrell), and the tentative and aloof son, Credence Barebone (Ezra Miller). To say the least, all of the characters in Fantastic Beasts are uniquely genuine, and part of the joy of watching their adventure is seeing for yourself what they are capable of and where they go within this world.

           The world these characters inhabit is brought to life through the film's cinematic design. Each location is filled with detail and every object feels as if it has its own story and purpose. Every shot is engaging and often impossible to look away from. The camera movements are clearly done with care and precision, so as to bring audiences closer into the streets of 1920's New York City. The special effects and computer generated beasts are astonishing. The magic is tangible and the creatures could almost come home with you. All of these visual elements never distract from the unfurling adventure. They enhance the film by adding intensity to great battles, tenderness to soft whispers, or amazement to the next mystical creature sighting.

           Perfectly complimenting the visual aspects are Fantastic Beats' noteworthy orchestrations. The accompanying  music adds a new facet to this alluring motion picture. It is used to parallel the action on screen, and also to bring out new and indescribable feelings deeper within the story. The music also found unique ways to counteract what was happening onscreen making viewers perceive a moment with a visual and emotional perspective. I listen to the soundtrack often, for it reminds me of my splendid time at the theatre and how much I long to revisit this world.

           What makes this world so inviting by bringing these characters visual effects and musical compositions synergistically together is the story. This screenplay separates and elevates Fantastic Beasts above other films. This screenplay is an original work by J.K. Rowling (author of the Harry Potter novels), and she has outdone herself. The dialogue runs the gamut of style and tone. It is fast paced witty and hilarious, engrossing enchanting and aw inspiring, or methodical revealing and crepuscular. Like the visual design, it always enhances and never distracts. Rowling's tale always felt free and wild, as if she could take her audience anywhere. Everything Rowling yearned to show her audience was present, because unlike her Harry Potter series Fantastic Beasts is not an adaptation. There is nothing missing from it, which gives the narrative a fundament of completeness. This is the whole work, and everything in is delved into with adventurous spirit and thrilling intrigue.

           While Fantastic Beasts is an original narrative, it takes place within J.K. Rowling's familiar and wonderful world of witchcraft and wizardry. Fantastic Beasts is in a sense a prequel to the Harry Potter series, however it does not rely on the success of that franchise. The film never uses emotions drawn from the Harry Potter franchise to construct the audiences' opinion of Fantastic Beasts. There was no deliberate use of nostalgia, and all harkens back to the first eight films were not without purpose and importance in this film. Audiences do not have to see any of the first eight films in order to appreciate this new and fantastic motion picture. This is a fresh start, and I implore you to hop on board.

           There is an uncountable number of gifts Fantastic Beasts has. Perhaps the greatest gift it offers is it is a treat for everyone. In our modern culture there are ever so few films with the ability to attract viewers of all ages and keep their focuses maintained. I am delighted saying Fantastic Beasts is a film for all ages and for the ages. The youngest of children will be dazzled by the playful nature of the film's characters and creatures. Youths will be entertained by the magnitude of this new and explorable world and the darker places lurking within it. Parents can rest assured their family will have a splendid time with this picture, while they too are hooked on the dynamic drama provided in this piece. Everyone will find something magical within Fantastic Beasts they will want to relive, and there will always be something new to discover with each viewing experience.

Verdict: Fantastic Beasts and Where to Find Them is an engaging adventure with a riveting screenplay by J.K. Rowling herself, marvelous characters, remarkable creatures, and breath taking visuals, making for one unforgettable experience not to be missed.