JimmySpeaker

The Big Short is a film that has me torn as a critic since my first time watching. Incredible cinematography and an all-star cast are accompanied by a film that feels a little tiring to watch at times, leaving you waiting for the climax again and again. From a cinematic standpoint, I feel as though it relies on the all-star quality cast too much at times, with Bale, Gosling, Pitt, and particularly Carell providing excellent performances. I'm a fan of Adam McKay, particularly his strategy for cinematography and design. However, unlike my support for the pacing of later film Vice, there were times where I (an avid "fan" of investing, the stock market, economics) was hoping the film would push the pace. Timing aside, The Big Short is both one of the greatest finance films of all time, as well as one of the greatest films of 2015.

Wall Street is one of the better niche movies of its era. Led by memorable performances by Charlie Sheen and Michael Douglas, with some excellent production by the legendary Oliver Stone; Wall Street is a great movie, but one that can certainly lose its crowd fast. While the story of Bud Fox is heartwarming and raises plenty of ethical and moral debates for the viewer, any movie involving investing, finance, and the stock market will take a hit in terms of viewers it can appeal to. At times I feel as though Wall Street recognizes this, but simultaneously tries too hard to appeal to both sides in its writing. Certainly worth a watch for the story of Gordon Gekko alone, however, Wall Street is one of the great business crime movies of its time.

2019's award-winning masterpiece, Joaquin Phoenix executes a career-defining performance in Joker. Todd Phillips, Warner Brothers, and DC come together to create one of the greatest films of the decade, and of the supervillain genre. Supported by excellent performances by the legendary Robert De Niro and aspiring Zazie Beetz, Joker is a beautifully crafted film in almost every respect. Swift writing, haunting cinematography, and a beautifully-written score allow Joker to be one of Hollywood's most well-rounded films in years.

One could argue American Psycho as the greatest films of the 2000s, led by Christian Bale's iconic performance as the crazed investment banker Patrick Bateman. Carrying massive cultural and social relevance to today, American Psycho continues to be one of the cornerstones of modern cinema, with an incredible directive experience led by Mary Harron and Edward Pressman. Willem Dafoe, Jared Leto, and Matt Ross provide memorable characters, with the beauty of Samantha Mathis and Chloë Sevigny contrasting the gore that defines the film. While the film's pace may be controversial to some, American Psycho remains one of the most vital American films of modern cinema; a truly remarkable performance by a near-perfectly suited cast for the horrific depiction of Reaganite Capitalism run amok.

My 2nd-favorite performance of Joaquin Phoenix's career [led only by Joker (2019)], Her is an incredibly written, emotionally intense story about the shortcomings of humanity's social adaptation to the rise of technology. Phoenix's character, Theodore, is a relatably-written man troubled by the loneliness and isolation of the modern world. Accompanied by a supporting cast who (mostly) fails to understand Theodore, his performance is not complete without the powerful performance of Scarlett Johansson as Samantha. Annapurna, Spike Jonze, and Megan Ellison lead the creative direction; giving Her one of the most passionate, emotionally-aware experiences of American cinema in quite some time. One of the greatest films of both 2013 and the 2010s at large, Her is a highly recommended watch; one that may bring tears and a heartwarming reflection on loneliness in the 21st century.

Alex Garland, Film4, and DNA Films provide an intense emotional and philosophical experience about Artificial Intelligence. A daring but successful pursuit, Alicia Vikaner's performance is especially of note. Wearing some of its cinematic and philosophical experiences on its sleeve, Ex Machina is backed by a powerful soundtrack and fittingly digital cinematography. Interesting choices in the ending of Machina's story may turn off some viewers, but the film provides great material for further ethical and philosophical debate regarding the topics of robotics, AI, and technology.

I come with the biased perspective of being quite the fan of Heidecker and Turkington's On Cinema franchise; which would certainly help any viewer's experience. Mister America is a great parody of modern political campaigning, even if you're unaware of the On Cinema franchise. While I rate Mister America a 6, its critic scores dipping to 5s, 4s, and lower are undeserved. This film was not intended to hold any sense of cinematic seriousness or cinematography, more so a premium expansion of the (at the time) free On Cinema experience through Adult Swim's Youtube channel. Enjoyable, and provides a great laugh.

James Gray produces an affectionate, but poorly-paced film in 2008's Two Lovers. In one of Joaquin Phoenix's greater career performances, Leonard is a complex, thorough character that many viewers could relate to the unrelenting passion, suffering, and existence of. Gwyneth Paltrow and Vinessa Shaw provide excellent supporting roles, tearing the heart of Phoenix's character in two. Beautiful cinematography and a quality score accompany this picture, though pacing can be slow at times. Coming in at 110 minutes, Two Lovers would've benefited from a bit of a Director's Cut, but remains one of the underrated romantic films of the late 2000s.

Having not bought a ticket to a non-MCU Disney film since my childhood, I was incredibly impressed by Cruella. Emma Stone provides one of the greatest performances of her career, supported strongly by a powerful supporting cast. Craig Gillespie directs a film that kept my attention all throughout, with beautiful cinematography and a loud, dynamic soundtrack. Putting its predecessors in the Dalmations franchise to shame - Cruella is a fantastic film for those who are a fan of Stone or Disney lore. The film does stray away from many conventional Disney tropes, however, and I could see that upsetting some critics. Cruella wears some of its cinematic influences on its sleeve (I'm looking at you, Joker (2019)...), but it presents an almost poetic story amidst a beautiful backdrop; giving viewers one of the greater film experiences of the year.

In what seemed to be film criticism's most controversial film of the year, Vice was an absolute gem for me. Going into Vice as a political junkie, however, I recognize that bias - and how Vice could be abrasive for someone who is not-so entertained by American politics. Outside of the lore of the Bush administration, however, Adam McKay directs and writes one of the great films of 2018, with a strong supporting cast led by the legendary Christian Bale. Steve Carell and Sam Rockwell provide incredible supporting performances as well, particularly for those with an interest in American politics. The film moves at a unique pace, however, and it is one that I could see upsetting some film critics. Overall, Vice outperforms its risks, and delivers one of the greatest movies about American politics to ever hit Hollywood.

While Profile deals with an enticing real-life story, it seems to abandon many aspects of said real life. Valene Kane provides an acceptable performance, with a cast around her that leaves quite a bit to be desired. The film's pace is strange to say the least, at times too fast and at times too slow. I'm not entirely shocked that Profile failed to surpass its own budget in the box office - given the film's less than stellar writing. Once more, a book translation fails at converting to the silver screen; something you think that film companies would've learned by now. Anna Erkelle's "In the Skin of a Jihadist" (Profile's influence) is far more worthy of your time and money.

Zola is a unique experience, to say the least. Another release from the up-and-coming A24, Zola is edgy and raw, but at times too abrasive. Performances by Taylour Paige and Riley Keough are acceptable, but leave depth to be desired. Colman Domingo once again impresses on the silver screen, while the rest of the cast leaves not such a great memory. While it has its moments of modern Gen-Y/Gen-Z hypersexualized, crime thriller humor, Zola lacks a definitive story containing any emotion or psychological depth; which is ironic for a movie based on a Twitter thread. It doesn't feel like I'm watching a movie about the Twitter thread, it feels like I'm watching a movie about people trying to Live Action Roleplay the Twitter thread. A24's cinematography aside, perhaps it should've kept to Twitter.

Joaquin Phoenix delivers (yet again) another incredible performance, this time taking up the relatable, emotional role of "Uncle Johnny". With strong performances from Gaby Hoffman and Woody Norman, C'mon C'mon serves as another great example of Phoenix's explorations into the indie genre. In an interesting decision, the film is black and white - which emphasizes the film's dialogue and emotion. With beautiful cinematography of New York City and New Orleans, and a comforting but dynamic score, C'mon C'mon is a daring, beautiful performance. There were points where the underlying philosophical messaging felt a bit too obvious or "pushy", but the loud messaging is balanced by the thought-provoking scenes and dialogue by which it is delivered. A24 delivers yet another promising cinematic experience in C'mon C'mon.