Attack on Titan: End of the World:
I originally expected to write a full review for part 2 on the Japanese made Attack on Titan film, but realized I would sound like a broken record. End of the World shares the same strengths and weaknesses as Part 1: cool action sequences and Titan effects mixed with a cliché ridden plot and one dimensional characters. The main difference between parts 1 & 2 is how bizarre End of the World can get—such as its inexplicable white room scene and how unceremoniously Jean is killed off. It’s a sub-par adaptation of an exceptional manga, on top of being entirely forgettable.
The Big Short:
A wide range of talented actors come together to make this surprisingly effective blend of comedy and drama. Both Steve Carell and Christian Bale deliver wonderful performances (Carell further emphasizing his wide range of talent), while Brad Pitt’s subtle role made it impressively difficult to recognize him right up to the finale. The Big Short’s meta-humor is inventively witty, but it’s how the film gradually turns serious without feeling forced (keeping little dashes of black comedy sprinkled in-between to help steady its course) that makes it an effective and startlingly important-to-tell story.
Concussion:
Concussion is similar in premise to Spotlight (a small group fighting against a corrupt, powerful organization), only with a more conventional approach. There’s a main character, a romantic subplot, and far more theatrical tropes used. It’s Will Smith’s strikingly impressive performance as Dr. Bennet Omalu (alongside two enjoyable roles played by Alec Baldwin and Albert Brooks) that elevates Concussion’s well meaning, yet cliché story to effective levels. Interestingly, where Spotlight showcases the dark side of the Catholic church, Concussion offers a positive outlook towards Christian faith groups (though in hindsight, that’s not too surprising given it’s a football related film). While overall inferior to Spotlight, Concussion offers an interesting look at a similar, yet differently-handled conflict.
The Danish Girl:
I can thoroughly state The Danish Girl is the most bland, boring, and unengaging film I’ve seen from 2015! Stories that handle such controversial subjects should never be so tedious to watch. Transgender identification is a very hot-button issue, and when portrayed (regardless of good intentions) in such a dull and uninviting way it’s going to have the adverse effect of repelling indecisive people from the idea rather than appealing. I’m not sure why every recent film with Eddie Redmayne has been incredibly boring (Les Misérables, The Theory of Everything, this film), but I now have a lingering fear for 2016’s upcoming Fantastic Beasts and Where to Find Them.
The Revenant:
The Revenant should first and foremost be viewed as a visual experience, mainly for its own benefit. It’s so beautifully captivating to watch…visually—story wise it somewhat stinks. The plot is clichéd and predictable, though the latter may be partially thanks to the film’s massive spoilage trailer, which played every, single, time I went to the theater these past six months. The protagonist (Leonardo DiCaprio) survives more impossible situations than the majority of 80s/90s action stars, in addition to getting his revenge in a fight sequence that would make Stallone and Schwarzenegger (who have both had much better years) jealous. My favorite performance isn’t even Leonardo DiCaprio’s (whose teary-eyed, looking right into the camera end shot is practically begging the Oscars for best actor), but instead Domhnall Gleeson’s, who’s had one hell of a successful year! The Revenant has the looks of a great movie, and the plot of a second-rate revenge exploitation flick.
Room:
So here’s the thing…I REALLY like Room’s second half—specifically where the young boy (Jacob Tremblay) and mother (Brie Larson) escape capture and must deal with the outside world repercussions from two different perspectives: one who’s lived in the outside most her life, and the other who’s experiencing it for the first time. Throw in the grandparents’s perspective, and Room’s second half becomes a fascinating examination of psychological change and dilemma, filled with intense exchanges and rich character development. The first half of Room, however, is boring. Necessary for the second half’s development, but, nonetheless, done in an uninteresting approach. The first half is rather generic, along with the child’s naively whimsical outlook getting tiring real fast. And yet the second half works so well, such as when the mom argues with her mom about not being nice anymore, or when William H. Macy (the most peculiar, underused casting choice in the film, with his three lines and two minutes of screen time) can’t even look at his grandchild. Where its first half falls, Room’s second half is able to get back up and soar, making it an overall unevenly effective film.
Spotlight:
A film I truly did not expect to like, but enjoyed all the way. What’s fascinating about Spotlight is there isn’t a main protagonist, rather a composite of journalists who make up the Spotlight team. My friend described Spotlight as a “true journalistic film”, which I think fits rather ideally. Rarely does the film resort to exaggeration or dramatization as Concussion does. It’s frank and straight to the point, which in turn makes for a far more compelling film.
Steve Jobs:
Another film I didn’t expect to enjoy (being written by the same screenwriter as The Social Network), Steve Jobs impresses with fast, fluent and clever dialogue combined with an impressive array of performances, especially from Michael Fassbender. The film gives off the feeling of a new-age Shakespearian play, divided into an engaging three-part act which explores different periods in Jobs’ life. I never thought I’d say “historical accuracy be dammed”, but Steve Jobs is remarkable enough to overcome my usual bias.
Vacation:
The original 1983 Vacation was filled with originality, witty jokes, and a fine balance between situational black comedy and a heart of gold. The new Vacation is a hit and miss between off-putting vulgarity, crude humor, and a botched attempt at heart. I chuckled at a few jokes, I didn’t laugh at a lot more, and I nearly vomited during one particular scene (it involves sewage). The remake can be unnecessarily mean-spirited, and while it tries to have a similar warmth as the original, it ends up feeling more forced and artificial.
Victoria:
Filmed in one continuous take from 4:30am-7am (taking director Sebastian Schipper three tries to do so), Victoria steadily changes from night to morning throughout its near two and a half hour run. The film’s length is understandable (given its dealing with real time), but does hit a few sluggish points around the beginning and middle. Victoria’s impressive gimmick, however, is combined with a chilling storyline that gets very intense and thoroughly engaging during its last third.
