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The Materialists has a lot going for it. Directed by Past Lives' Celine Song; headlined by Dakota Johnson and Christ Evans; and offers an endearing performance by America's Sweetheart Pedro Pascal. And with its charming setting and premise, it almost delivers. The plot revolves around Lucy (Dakota Johnson) who, up until this point in her life, is a successful match maker in New York City, but despite this success, she lives a modest single life in Manhattan (how does one survive on 80K?). This solitary existence seems to be challenged when she serendipitously becomes the object of desire of a rich socialite in finance (Pascal) on the night of a client's wedding, but, surprise (!), she is also reunited with a past lover (Evans) in the same evening. As she is pursued by a new lover, she is constantly reminded of her lost love and is forced to consider "what if?". This simple premise runs parallel to Song's attempt to examine the commodification of dating and the utility and ultimate frailty of marriage. This secondary intention sounds worthwhile, but is, in the end, told through simple terms and offers a resolution less compelling than what is wanted by its viewer. While all roles involved are well-acted and the love triangle offers a compelling narrative, the film ultimately does not do much with it with important character motivations being explained either in exposition dumps or far too brief flashbacks. The audience is left wanting to know more about these characters and what pulls them together but is essentially left to fill in a lot of blanks on their own. And this is a bummer since the talent of the actors and the aesthetic of the film really compels the viewer to spend more time in its space. While successful in so many areas, The Materialists almost fumbles its promise. By rushing through its plot and connecting threads in addition to not fully committing to a genre, this film doesn't leave much of a lasting impression. Not funny enough to be a comedy; not sad or emotional enough for a drama; and not instructive enough to fit any other purpose, The Materialists ends up being an OK two hours but nothing special.

[SPOILER ALERT: This review contains spoilers.]

In a nutshell, The Farewell can be described as a beautifully shot, well-acted family drama. It’s certainly all of those things, but it manages to take on so much more in its 100 minute runtime. Lulu Wang offers a unique insight into a family struggling to uphold tradition and even when it directly contradicts their own values. In this struggle, we see the long dormant dynamics of a New York based Chinese-American family get rattled into action as they travel to China to reconnect with the family matriarch in a time of need. The cast immediately allows these family dynamics to be made tangible. Awkafina as Billi exudes a modern millennial apathy while at the same time balancing it with a sincere sense of sadness and vulnerability that brings the film’s protagonist to the forefront in a realistic, relatable way. The rest of the cast is rounded out by mostly unknowns (with the exception of the as always excellent Tzi Ma as Billi’s father) but they all bring to the screen a verisimilitude to this family that never allows the audience to question their love for one another. Brothers reunited after decades spent on separate continents engage in conversations of family duty and patriotism. A worried mother both admonishes her unambiguous daughter and defends her from other scrutinizing critics in the form of Aunties. And the ailing, frail Nai Nai brings family members from all parts of the globe to a single dining table to share a family dinner making up for lost time. Every scene is so well performed that the actors never appear to be reading lines or memorizing their blocking. The ways in which the family squabbles, cries, embraces, and forgives unfolds in such a real way that you are rooting for everyone even when their goals are in conflict. Beyond the performances, Lulu Wang’s direction brings China to life in a way few other films have achieved. While most Hollywood-backed films set in China tend to exoticize the location, The Farewell treats the setting with both a reverent and casual hand. The film depicts the changing infrastructure of China by highlighting the high rise buildings and modern architecture that replaced quaint, ancient communities. City streets lined with neon show China as a modern country that has all of the qualities a modern audience needs to anchor themselves into the narrative. But, thankfully, this modernity is juxtaposed with a view of China a western audience may never get to see. The dynamics of the kitchen and dining room implying the importance of a family meal shared where a family can both come together and hash out differences. A particularly moving and funny scene involving a visit to a gravesite allows a brief view into the importance of family within this culture that extends even into their passed ancestry. Without ever explicating, The Farewell offers to the cannon of cinema a compelling look into an unfamiliar landscape while making it accessible to even the most untraveled viewer. The Farewell stitches many threads into its final woven masterpiece. The compelling and ultimately satisfying story leads the viewers to observe sadness, glee, and fear while giving them reasons to acknowledge those emotions within themselves. Actors who have an important, admirable job of bringing to life traditional customs unknown to their audience. And ultimately, a better understanding of ourselves and choices made in our own relationships. The Farewell will provide you with answers to questions about life you didn’t even know you had while beckoning you to rewatch before much time has passed.

Inside Llewyn Davis offers a seemingly bleak yet realistic view of what it takes to break into show business. Within its runtime, the film puts on centerstage a struggling, talented musician and slowly chisels away at him revealing his raw, flawed soul. The Coen Brothers are known for their ability to tell stories about criminals, would-be criminals, and ex-criminals with a lightness and humor that seems to contradict their character entirely. While Oscar Isaac’s Llewyn Davis is not a criminal, he does embody many of the unfavorable and unsavory qualities an audience may not typically find sympathy for. But Isaac’s performance along with the Coens’ dialogue create a shadow of a once-thriving man now forced to bum cigarettes, sleep on couches and survive on the good graces of his closest friends. A third act revelation helps to explain his downward trajectory and almost entirely justifies every bad choice he’s made up until that point. For much of the movie, Isaac is playing opposite a heart-felt and surprisingly funny performance by Carey Mulligan as well as an appropriately subdued Justin Timberlake. They act as both his enablers by encouraging his transient lifestyle and provide for one of his biggest conflicts in the film. From start to finish, the audience feels Llewyn Davis’ motivation, heartache and ultimately his self-realization. Fans of the Coens’ usual fare will take to this film instantly. But anyone unfamiliar with their work will find a thoughtful, gripping story that act as an analogy to anyone’s unfulfilled dream.

[SPOILER ALERT: This review contains spoilers.]

Miranda July’s Kalillionaire offers a glimpse into the lives of a cartoonishly frugal family **** to survive in LA county. They keep their clothes modest and live adjacent to a soap factory which keeps their living quarters routinely seeping sudds. These choices aren’t bohemian or gypsy in nature. This family is cheap. While a common struggle often creates a strong bond, there is no suggestion that this family is any closer because of their seemingly endless struggle. The audience sees just one afternoon of this family’s routine, but we get to see this family commit non payment of rent, fraud, and a federal offense to top it all off. But this life of crime isn’t for any larger scheme; it’s to survive. When this family’s luck runs out and is on the brink of eviction is when the plot kicks in and we see how deeply this family’s problems are rooted. The narrative takes no pauses to allow the audience to keep up. An hour into the movie, and the viewer may still be unsure of the protagonist’s name (which does get revealed in a hilarious anecdote). Nor does the audience necessarily need such handholding. The humor and wit of the writing distracts from the possibly confusing meandering. This is ultimately the heart of the story: the audience develops a strong, loving bond to the characters (some more than others) without really knowing why or how. But the viewer definitely bonds with Evan Rachel Wood’s protagonist. Both cajoled by her parents to live a life of crime (both petty and federal) to pay bills and survive in Los Angeles and completely emotionally neglected, the protagonist garners sympathy from the viewer and maintains an intrigue throughout the narrative. Gina Rodriguez’s Melanie acts as foil to Evan Rachel Wood’s character exuding confidence instead of doubt, obvious beauty instead of oversized track suits. As their relationship develops, both the characters and the audience gain a glimpse into the humanity of being wanted and appreciated. In a particularly poignant moment, the protagonist is rebirthed in a moment of terror accepting everything she was denied and realizing everything she will seek to gain a sense of self going forward. The culmination of both characters’ arcs leaves a satisfying, sweet taste that lingers and urges a second viewing. Knowing nothing of Miranda July’s catalogue, I knew not what to expect from this film. Based on this viewing, it could be assumed that July’s MO is to break convention, and every moment of the film that broke away from filmmaking standard are what endeared me to this film so immediately and profoundly. The acting is great, the humor unexpected, and the narrative completely novel; any one of these elements would make a film worth viewing, but together, create a film you cannot miss.

Bong Joon Ho’s 2019 release opens with a sub-ground level view out of a semi-basement window outlooking the alleyway of a Korean slum that will play the setting for most of the first act of the film. As the camera settles on this view, Hangul characters discreetly faze into frame and are quickly translated to the American title: Parasite. This seemingly menacing title (for who has any good memories of a parasite?) is in stark contrast to the equally seemingly innocuous backdrop. This opening frame acts as the films first (of many) contradictions that keeps the viewer intrigued and constantly guessing what will happen next all the way up to its thrilling and touching finale. The film centers around the Kim family: a hard-on-their luck family existing (just barely) amongst the previously mentioned alleyways of the slums that make up the bedrock of this unnamed Korean metropolitan. The family is shown as goofy, well-meaning, cheap, and ultimately entirely relatable. The interesting characters are brought to life by the apparently impeccable talents of the entire main cast. Kang-ho Song acts as patriarch to the Kim family but never acts as the boss. Each family member has a strength to balance any apparent weaknesses they may have. The performances are broad yet nuanced and the dialogue reaches every emotion on the spectrum while always maintaining a hint of comedy. Every character is given a chance to pine as well as get a laugh. If the trailers and posters scare or baffle you, know this: the acting in this movie is worth the cost of admission on its own. The cinematography and writing are all icing on this character-driven cake. That’s not to say the look and writing of this film are not high points on their own. American viewers will automatically find the Korean setting to be a breath of fresh air with great shots of modern architecture contrasting the dreary shambles of the slums. In every frame of the film, the filmmaker attempts to make the background just as important a character as the people delivering lines. And as the viewers become more accustomed to the diverse settings, the plot constantly creates doubt in our securities and hints at something sinister behind every corner. At the moment you feel most safe, Bong introduces something new that shakes and upturns every notion you built up to that point. This all culminates in a showdown that both strips the viewer of all safety while at the same time establishes a new hope. Walking into the cinema as this film begins, the viewer has a pretty good idea of what kind of film they are in for. But as each scene shifts and every conversation is had in the film, the viewer is treated to something completely new and equally satisfying. The viewer will laugh and cry, cheer and gasp, all while cringing and gripping their seats and this is not an experience offered often to a modern audience. In an age of paint-by-numbers blockbusters, this gem offers a shining example of how great storytelling can be different and completely unsafe. Bong Joon Ho’s own concern about Western audiences reservations about subtitled films rang even more resonant after my viewing as Parasite offers one of the best reasons to hurdle that 1-inch barrier.

[SPOILER ALERT: This review contains spoilers.]

The production of Tom Cruise’s sixth installment in this decades-old spy series was famously put on hold following a near disaster during the filming of a stunt in which Cruise’s Ethan Hunt attempts to leap from the top of one building across a chasm to the safety of another building. The failed stunt resulted in fractured ankles and 8 weeks of delayed production. The buildup, publicity and the motivation behind this stunt is a perfect analogy for Mission Impossible: Fallout. The minds behind this film set out to create a eye-catching, edge of your seat spectacle and succeed despite several near misses. The premise here is that Cruise’s Ethan Hunt and his Impossible Mission Force team of spies botch a nuclear arms deal and are tasked with retrieving the goods by any means necessary while under the watchful eye of the CIA with a thuggish Henry Cavill acting as babysitter long for the ride on the IMFs exploits. Along the way, the audience is treated to a series of amazing action set pieces including a death-defying skydiving sequence, shootouts, chase-sequences, and the aforementioned leap of faith. Along the way, Simon Pegg does an excellent job of providing the levity and the excellently relentless Rebecca Ferguson acts as foil to Cruise’s Hunt. If the casting sounds familiar, it should since many characters and plot points carry over from McQuarrie and Cruise’s previous collaboration (Rogue Nation), and it is ultimately to the film’s benefit as the casts dynamics work well and helps to flesh out this universe that the filmmaker seems to be building. There are laughs; there are thrills; but most importantly, there is motivation for all of these people to be on screen together which doesn’t feel forced or unnatural. However, despite everything this movie does well, there are a few hiccups along the way. To be fair, at a runtime of 2 hours 28 minutes, the movie does not drag or punish you for sitting through it. The filmmaker at work here does a good job of pacing the action to allow the audience time to breathe and soak in the splendor before jumping into another intense scene. In addition, the exposition (and there is a lot of it) feels natural as spies need to be briefed and debriefed on missions and does not give the audience many reasons to doze off during scenes that don’t contain running or shooting. What does happen though is a case of over extension. Fallout contains what seems like a natural, traditional first, second and third act; yet it decides to cram in a fourth act for the heck of it at the 2 hour mark. It’s almost as if McQuarrie and Cruise wanted to begin the sequel to the film before the credits rolled. And this is what’s unfair to viewers: subjecting them to the overindulgence of the filmmaker rather than giving them a movie going experience they are not soon to forget for the RIGHT reasons. Besides this, the movie also seems to waste great actors at the expense of Cruise’s screen time. Simon Pegg, Angela Bassett and Alec Baldwin all essentially provide cameos when their characters seem to warrant more. And most egregiously, Henry Cavill’s brash, roguish super spy (a role he seems born to play) is unfairly pushed aside on several occasions. Despite a few missteps, and a challenging runtime, Fallout provides a spectacle that few other movies are able to accomplish these days. It awes, provides laughs, and constantly reminds its audience why some movies just have to be seen on the big screen. Similar to the aforementioned stunt mishap, Fallout has every intention of impressing its audience with the sheer size, danger and gall it takes to constantly raise the stakes in a genre that relies on tropes and familiar plots. But as the real-life story showed us, no matter how meticulous the planning that goes into such a risk, it does not guarantee a perfect shot. 3 out of 5 Stars

The World's End might sound more like a depressing disaster flick than a touching comedy-drama that explores the nuance of long-term friendships, but that is exactly what you get in this final installment of Edgar Wright's so-called Cornetto Trilogy. The film follows Simon Pegg's Gary King, along with his high school buddies, on his attempt to recapture his youth along a pub crawl destined to end at the titular World's End. And the film starts out with that simple premise but allows itself to gain momentum to both scale to action-packed heights and descend to melodramatic valleys. Pegg sets off to his home town with his straight-laced buds (which includes an excellent Nick Frost and a perfectly uncomfortable Martin Freeman) to achieve the Golden Mile, a coveted 12 pint pub crawl. Once his doubtful friends begin to lose interest in following through with their weekend plans, all hell breaks loose as Pegg's King discovers that their boring childhood town has a disastrous secret behind its shiny veneer. Wright's and Pegg's (and Frost's for that matter) penchant for movie tropes take center stage from here on out. The audience is treated to a combination of slapstick humor, sharp wit, beautifully choreographed hand-to-hand combat, horror movie suspense, and sci fi gloom and doom. All of this comes together to pinnacle not to a world-ending explosion, but to a thoughtful character revelation that brings two friends closer together than ever before (which nearly brought this reviewer to actual tears). All in all, World's End comes close to recapturing the magic of Shaun of the Dead's first watch and reminds us of how awesome the shootouts were in Hot Fuzz but fizzles as a trilogy clincher. However, it does much to remind us that film CAN be fun without monstrous budgets or high-profile marketing campaigns.