Aaron’s Top 10 Films of 2019

Posted on by Aaron White.

2019 is coming to a close and what a wonderful year of movies we’ve had to wrap up the decade. This year I saw 175 new films, 26 of which were documentaries. Finding room in my Top 20 (much less my Top 10) for every film that I want to sing the praises of is always incredibly difficult and this year is no different. The process of narrowing down my favorites to the top ten films of the year was a painful experience that required a lot of reflection and time. The ranking you see here changed constantly right up until I hit “post”, but now what’s done is done and I have to live with it. Since it’s impossible for me to just settle on ten, you will see some of my favorites of the year in the #11-20 special mention spots.

With regards to my criteria, when it comes to ranking films critically, I do that as part of my membership in the Seattle Film Critics Society (see my nominations here and our award winners here). But on Feelin’ Film we focus more on matters of the heart, so my Top 10 films are often ones that I found the most affecting in 2019 – those movies that provided me an incredibly emotional or memorable experience of some sort. Another thing that factors strongly into my ranking is rewatchability, so think of this list as my favorites of the best.

In order to make this a tad easier on myself, and also because they truly are a unique medium unto themselves, I have listed my Top 5 Documentaries separately. It feels like every year is a great one for non-fiction filmmaking and 2019 was no different. At least two of these below would be featured in my Top 10 of the year if these lists were combined; I had to make some very hard cuts in limiting this list to just a Top 5. But as they say… “it’s what it is.”

THE DOCUMENTARIES

5. UNTOUCHABLE – (not the 2019 documentary about Harvey Weinstein) The first documentary I saw in 2019 was this film by David Feige that started making festival rounds in 2016 and finally got its release this year. The film follows Ron Book, a Florida lobbyist and father to a daughter who has been sexually abused, on his campaign that leads to some of the toughest sex offender laws in the nation. The film is special because of the way it gives equal space to the stories of both victims and offenders, as well as their respective loved ones. It is an incredible example of what documentaries at their best can be – not just informative, but balanced and thought-provoking despite covering very difficult to watch & complicated subject matter. While never losing sight of the pain these crimes can cause, it challenges our long-held perception of sex offenders, forces us to see the effects of our strict justice system on them and their families, and offers statistics that question whether our laws are even making a dent in rehabilitation or prevention. (Hear our discussion about “Untouchable” in FF+ here.)

4. LOVE, ANTOSHA – Get ready to cry your eyes out and then embark on a (surprisingly long) quest to watch all of the late actor Anton Yelchin’s films. This film is so well-constructed as a documentary that tells the story of Anton’s life, but its power is in sharing the stories of what he meant to so many people, who could see in him what he maybe never could. It is a beautiful, beautiful tribute to a brilliant artist and wonderful human being gone far too soon.

3. SEA OF SHADOWS – I was blown away by the incredible access to both the bad guys and Mexican governmental agencies that this filmmaking team was able to have. “Sea of Shadows” is a documentary (which feels like an intense geopolitical thriller about cartels and other international criminal groups) that follows journalists teaming with activists and military to expose and take down powerful black-market fish bladder traffickers. The film is engaging and riveting in the way it brings this story of gross human exploitation and the destruction of our planet’s environment/animal kingdom to the forefront of public minds.

2. FOR SAMA – Many films have been made about the Battle of Aleppo, a 4.5 year conflict during the Syrian Civil War, but none like this. Told entirely from a young woman’s perspective, Waad al-Kateab becomes a journalist and documents her life in a sort of video log time capsule dedicated to her daughter Sama. It is an intimate, ground-level perspective otherwise unseen that captures the struggles of Waad’s life as she transitions through falling in love, becoming part of the resistance alongside her doctor husband, and eventually motherhood. It is visceral and painful in a way that caused me to have tears welled inside my eyes for almost its entire runtime. But though it is a horror film, it is also a love story, one that shows the cost yes, but also the deep devotion to justice and freedom that drives the resistance to protect one another and strive to reclaim their homeland from tyranny. It was unforgettable, and I hope that for the sake of retaining our humanity in this world as many people as possible will see it. Tough to get through? Absolutely. But worth it in every way for the beautiful relationships that exist within the chaos, and the inspiring hope these parents bring to not just their own child but the next generation as a whole.

1. APOLLO 11 – For the second year in a row, a documentary provided my most incredible IMAX theater viewing of the year. Composed entirely of newly discovered raw archival footage from the actual launch, mission, and landing, “Apollo 11” is an editing marvel that shares with the world an immersive experience from the past. Presented entirely free of any commentary and backed by one of the best musical scores of the year, this is technical filmmaking mastery at its finest. I held my breath, cried tears of pride and awe, and felt my bones rattle and my seat shake – all part of a spectacular experience that was one of my most memorable ones this decade. (Hear our discussion about “Apollo 11” in FF+ here.)

THE FEATURE FILMS

20. THE LEGO MOVIE 2: THE SECOND PART – (Hear our discussion about “The Lego Movie 2: The Second Part in Episode 149 here.)

19. SPIDER-MAN: FAR FROM HOME – (Hear our discussion about “Spider-Man: Far From Home” in Episode 174 here.)

18. BATMAN: HUSH – (Hear our discussion about “Batman: Hush” in FF+ here.)

17. THE FAREWELL – (Hear our discussion about “The Farewell” in FF+ here.)

16. A HIDDEN LIFE

15. PORTRAIT OF A LADY ON FIRE

14. FORD V FERRARI – (Hear our discussion about “Ford v Ferrari” in Episode 198 here.)

13. TOLKIEN – (Hear our discussion about “Tolkien” in FF+ here.)

12. MISSING LINK – (Hear our discussion about “Missing Link” in Episode 160 here.)

  • I broke this into a Top 11 because I couldn’t bear to cut (heh) “Uncut Gems” from my Top 10. It’s that great. #SorryNotSorry

11. UNCUT GEMS – Remember. To. Breathe. “Uncut Gems” is an E-X-P-E-R-I-E-N-C-E. This is a one-of-a-kind stylish anxiety attack that captures the highs and lows of compulsive gambling like I’ve never seen before. It often feels like complete chaos and manic screaming of dialogue throughout, but that is actually the Safdie Brothers in complete control of a career-best performance from Adam Sandler. It’s terrifying to watch unfold – like a horror movie without the slashing or supernatural – and the gigantic breath I finally took at the end is like the greatest gasp of air I’d ever had. Bonus points for a huge sub-plot involving Kevin Garnett and one of the year’s best scenes where said NBA superstar caresses a rock lovingly.

 

10. BOMBSHELL – There’s always room for a stellar biopic with Oscar-worthy performances and a biting script in my Top 10, and this year it was director Jay Roach’s riveting story of how brave women at Fox News took down its infamous sexually abusive CEO and a culture of toxic sexism. It is a slick, entertaining, and highly uncomfortable film that is so much more than just a history lesson, though. It tells this very important story from a perspective that audience members may never experience otherwise, opening my eyes via dramatization in a way that mundane and cheesy workplace sexual harassment videos never have. I feel empowered to look for, notice, and stand up against sexual harassment of any form anywhere it exists. (Hear our discussion of “Bombshell” in Episode 205 here.)

 

9. TOY STORY 4 –  Shame on me for doubting Pixar and one of the most perfect trilogies of all-time. It took me two viewings, but once I took in the film detached from my expectations of what a Toy Story film “should” be, I fell in love. Not only is it heady and thoughtful in ways the series has never quite tried, it still packs the emotional punch I expect and crave. I laughed my ass off. I cried hard. I became obsessed with Forky. New characters won me over and this fourth entry manages to somehow create a new conclusion that makes perfect sense. (Hear our discussion about “Toy Story 4” in Episode 172 here.)

 

8. JOKER – Todd Phillips’ “Joker” is exceptional, elevating the type of stories we are accustomed to from our comic book characters into previously uncharted artistic territory. As Phillips’ muse, Joaquin Phoenix carries the film with a phenomenal physical performance that imbues the titular villain’s tormented soul with both a growing madness and a painfully affecting pathos. It took a lot of nerve for Phillips to depict a “beloved” villain in this way and style,  knowing that many fans would not approve, but his approach allows for a powerful conversation to be had about mental illness and violence. I was completely enthralled throughout the film, both with its narrative and its artistic elements. I left the theater floored and impressed beyond belief. (Hear our discussion about “Joker” in Episode 191 here.)

 

7. PARASITE – What hasn’t already been said about director Bong Joon-Ho’s delightfully dark social satire? It’s a commentary on class warfare and capitalism that plays out in a funny yet thrilling story that crosses several different genres and surprises at every turn. Worthy of every bit of praise and all of the awards that it is winning this year, “Parasite” is one of the best live-action foreign films of the decade and should be seen knowing as little as possible.

 

6. 1917 – “1917” is an astonishing exercise in immersion that left me utterly shaken. It is a true technical marvel, with emotional power that creeps up slowly, and then forces the viewer to reconcile with the futility of war in a manner that lingers long after the credits roll. Featuring my favorite score of the year and the best cinematography, as well, the film is stunning on every level, a tour-de-force in the genre, and an absolute must-see theatrical experience. (Episode coming in January 2020)

5. THE PEANUT BUTTER FALCON – A simple, moving adventure story of friendship and family. Never condescending. My eyes were hardly dry throughout. I love this movie. Every single moment. The cinematography, the score, the acting, but of course the story most of all. And for me, the depiction of people on the fringes – a care center runaway with Down Syndrome and a troubled thief –  who come together and become a non-traditional family is one of the sweetest I’ve ever seen. (Hear our discussion about “The Peanut Butter Falcon” in Episode 199 here.)

 

4. WEATHERING WITH YOU – It’s no secret how much I adore Makoto Shinkai’s “Your Name.” This film also features a central teenage romance with fantastical elements and natural disasters on the horizon but is a much more serious and dramatic work that takes its time moving the story along and has Shinkai exploring the very real issue of climate change (and humanity’s conflicting response to it) through the decisions that its romantically inclined protagonists face. In what has become the norm, Shinkai delivers breathtaking visuals yet again and they perfectly synchronize with another beautiful RADWIMP’s score. There is just something about how Shinkai consistently tells stories that move me deeply and affect my soul in ways that very few filmmakers do. “Weathering With You” is an incredibly layered animated dream and I can’t stop thinking about its characters, their relationships, and the challenging situations they must deal with, but also what my own feelings about those things ultimately say about me.

 

3. ONCE UPON A TIME… IN HOLLYWOOD –  Where Quentin Tarantino’s storytelling shines the most in “Once Upon a Time… in Hollywood” is in the relationship between movie star Rick Dalton & his stuntman/best friend Cliff Booth. Their friendship is touching and hilarious, and their stories are compelling enough on their own to carry a nearly 3-hour long movie. In addition, the satisfying and respectful retelling of Sharon Tate’s tragic murder within this alternate history grounds this film in the time period that QT is clearly making a love letter to. I could watch these characters in this world for hours upon end and never tire of it. Exceptional production value and acting all around plus great messages about friendship and how we remember people make this a slamdunk top film of the year for me. (Hear our discussion about “Once Upon a Time… in Hollywood” in Episode 178 here.)

 

2. MARRIAGE STORY – “Getting divorced with a kid can be one of the hardest things you can ever do – it’s like a death without a body.” I relate very deeply with much of what’s depicted in this story, and from personal experience, I agree that divorce *is* like death without a body. What makes “Marriage Story” brilliant to me, is that Baumbach captures the waves of changing emotions and challenges that many, many couples face perfectly, despite the setting being that of two celebrities parting ways. “Marriage Story” is a reflection of this beautifully flawed couple that gives insight into the awful process of divorce, and it hurts like hell to experience but can also serve as a cautionary tale for those in relationships now. It is the rare film that comes along that has impeccable filmmaking artistry, is entertaining, and has a huge personal relevance, making it an easy choice for this spot on my list. (Hear our discussion about “Marriage Story” in Episode 203 here.)

 

1. LITTLE WOMEN – When was the last time a pure drama, period piece, with Hollywood star power, contending for awards had a PG rating? Greta Gerwig’s masterful retelling of Louisa May Alcott’s classic is a love letter to the source material that is as delightful as it is artistically terrific. Updated with a fun new meta twist that could have gone terribly awry, instead, Gerwig’s storytelling device highlights the theme of owning your own story and hammers home Jo’s arc in an impactful new way, while also portraying Amy’s important story quite powerfully, like we haven’t seen before. The acting is just as brilliant as you’d expect from this supremely talented group of young actors, and supporting roles by such veterans as Laura Dern, Meryl Streep, Tracy Letts, and Chris Cooper are every bit as perfectly cast. Each and every element of the film adds to its delight – from the production design to the score – and it’s likely Gerwig’s film will go down as the best telling of this famous story for many a viewer, and may just inspire a whole new generation of little women too. (Hear our discussion about “Little Women” in Episode 207 here.)

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Cats

Posted on by Aaron White.

Debuting in 1982, CATS is the fourth longest-running musical on Broadway and has amassed millions of devoted fans worldwide. It was only a matter of time until someone decided to tackle the challenge of bringing the innovative fourth-wall-breaking stage musical to film, and that crazy person is Tom Hooper, directing his second musical adaptation after 2012’s “Les Misérables”. Based on “Old Possum’s Book of Practical Cats” by T. S. Eliot, the story of “Cats” is a selection of poems put into song and it is notoriously hard to follow. Eliot was known for his fanciful made-up words and names, so keeping everything about this unique world and the characters living in it straight is certainly difficult the first time through. 

The plot is fairly simple, yet at the same time utterly confusing. Over the course of a single night, a tribe of cats called the Jellicles make what is known as “the Jellicle choice” and decide which cat will ascend to the Heaviside Layer and come back to a new life. So basically, all of the cats are anxious to die, go to Heaven, and be reborn again… dark. The Jellicles consist of an ensemble cast portraying cats of various personalities, all of whom are likely to break into song and dance, of course. The audience is first introduced to Victoria (Francesca Hayward), a new arrival, and through her POV the first half of the film revolves around introducing members of the tribe who explain how competition to be “the Jellicle choice” goes. There is a villain, Macavity (Idris Elba), who wishes to ascend to the Heavyside Layer at any cost, and he’ll gladly play dirty to get there. Elba’s role is expanded from that of the musical and he mostly satisfies despite going way over the top in a few scenes, but the animation used for his “magic” is laughably bad. In the second half of the film, several cats audition to be “the Jellicle choice” in front of the cats and Old Deuteronomy (Judi Dench), the elder and decision-maker of the tribe. This half also provides much more time with Grizabella (Jennifer Hudson), the outcast cat, who is the emotional center of the story and sings the musical’s most well-known and powerful ballad, “Memory”. Dench’s performance as Old Deuteronomy is great and a nice connection to the stage version, where she once played Grizabella on Broadway. Hudson meanwhile steals the show, belting out “Memory” as powerfully and beautifully as it’s ever been sung before.

The majority of the film flows like most musicals do, from one extravagantly choreographed number to the next. Much ado has been made about the CGI fur and bodysuits the actors wear, and visually the film definitely leans on the creepy side. Even the mice and cockroaches have tiny human faces, truly the stuff of nightmares. But for all its wackiness, visual absurdity, and strange movement, most of the film was still a joyful experience and certainly one that you can’t take your eyes off. The songs turned out great, with rock stars like Jason Derulo and Taylor Swift providing memorable numbers, and veteran actors like James Corden, Sir Ian McKellen, Ray Winstone, and Rebel Wilson all infusing their cat with loads of personality.

“Cats” may be full of weird, but its heart is shown in numbers like “Memory”, “Beautiful Ghosts”, and “Mr. Mistoffelees”, and the finale of “The Ad-Dressing of Cats” is always a fan favorite that will have feline lovers heading home to hug their kitty companions. Hooper’s version of the story may be an ambitious mess with spurts of visual horror, but “Cats” is still a crowd-pleasing treat that evokes laughter, joy, heartache, and a rousing desire to sing at the top of your lungs.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Star Wars: The Rise of Skywalker

Posted on by Aaron White.

“Star Wars: The Rise of Skywalker” faced a nearly impossible task: end one of the grandest, most-beloved ongoing stories of all-time in a way that would universally appeal to what has become a largely fractured, and always passionate, generation-spanning fan base. It was never going to succeed at this, and what happens within this final film will most certainly have fans divided once more. Much of the reason for mixed opinions will, naturally, come down to story decisions such as the answer to Rey’s parentage, the conclusion of Kylo Ren’s character arc, and the reasoning behind why Emperor Palpatine has reappeared to be woven into this final trilogy. In order to ensure the mystery remains for readers, all that I can really say on this front is that I emerged from my viewing of the film conflicted – appreciating some of the directions director JJ Abrams went while being both baffled and extremely frustrated by others. If you were hoping for a wrap-up that would be loved and praised by all, well, I can simply say that you’re not going to get your wish.

“The Rise of Skywalker” is a lot of movie. A lot, a lot. It’s nearly two and a half hours of non-stop, action-packed, exposition-filled, video game quests. I happen to enjoy the style of adventure video game progression that we see emulated and so I had quite a bit of fun with the planet-hopping escapades of Rey, Poe, and Finn. But I also can acknowledge that this will absolutely not be everyone’s cup of tea. Hard and fast editing cuts, the quick pace of new information being revealed, and frequent tying up of plot points made it hard to remember details upon exiting the theater. Even now, less than 24-hours since seeing the film, I couldn’t recount the plot trajectory to you without going back to look at my notes. Exciting and not without spectacle, but also very, very messy.

Things that worked the best for me were some emotional moments between main characters, a healthy dose of smartly included fan service (much of which makes sense for story reasons), and the way in which General/Princess Leia is sent off. One major thing that did not work for me was the details surrounding the reappearance of Emperor Palpatine, his motives, his level of power, and ultimately his place in this saga. Other elements that bothered me were the lack of defining set pieces to rival the greatest ones the series has offered and a story that feels like it was written specifically to cater to those who’ve expressed disappointment with “The Last Jedi”. It is very clear that this was not a three-part story arc planned out from the beginning, and the way in which this film treats its direct predecessor is pretty rude. The film also frequently creates high stakes only to undo them moments later, draining a much stronger potential emotional investment away. With regards to Palpatine, his inclusion has the unfortunate effect of altering the impact of certain events from Anakin’s past in ways I did not appreciate. And also he yells… often and loudly. The action, while quite nice to look at, never provided me the kind of unforgettable single scene that I was hoping for, like the Holdo Maneuver, taking down an AT-AT with tow cables, or the Millennium Falcon navigating an asteroid field against overwhelming odds. Just as with superhero films, the more frequently we see amazing action sequences in this universe, the harder it becomes to stand out from the crowd. 

“The Rise of Skywalker” is epic, though, without a doubt, and resembles a condensed mixture of all three original trilogy films, for better and worse. It features immersive, loud sound effects and another incredible score by John Williams, is beautiful to look at, provides opportunities for our heroes to shine, and lets us once again have a blast experiencing stories in a galaxy far, far away. There’s slightly more good than bad, but this is yet again a Star Wars film that will be debated for years (if not more) to come. Like many of the Millennium Falcon’s landings, JJ Abrams brings this nine-film saga to an end in a gloriously cinematic but messy crash. Not ideal, but also not fatal. It gets the job done.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Spies in Disguise

Posted on by Aaron White.

Based on Lucas Martell’s 2009 short film “Pigeon: Impossible”, in which a pigeon briefly becomes a spy and almost sets off nuclear war, “Spies in Disguise” remixes the story by having a spy become a pigeon instead. The premise is nonsensical and silly, of course, but that’s not a criticism. Early on we meet Walter Beckett (Tom Holland), a young inventor with a passion for creating non-violent gadgets and a dream of helping to save the world, who is written off by most who meet him as “too weird”. Walter eventually grows up to work for a super-spy organization of which its star operative is none other than the smooth-talking, ultra-fly Sterling… Lance Sterling (Will Smith). After Sterling is framed by a mysterious villain for stealing a dangerous piece of tech, he is forced to go on the run from Internal Affairs agent Marcy (Rashida Jones) and her sense-focused investigative team of Eyes (Karen Gillan) and Ears (DJ Khaled). This leads to a team-up with Walter and an accidental transformation into a pigeon. Yes, it’s ridiculous. But also, it absolutely works! 

“Spies in Disguise” makes no apologies for referencing the spy films we all know and love. In fact, its narrative emphasizes Walter’s journey as much as Sterling’s, giving it a balance that most live-action star-driven franchises don’t have. Imagine a movie that focuses on the career goals of Bond’s research specialist Q, and allows him to be present in James’ adventure and necessary to the plot instead of just a behind-the-scenes supplier of cool toys, and you’ll have an idea of the dynamic “Spies in Disguise” operates with. Walter believes in teamwork and has an emotional backstory that is easy to empathize with, but his pacifist views are in direct conflict with Sterling’s more aggressive, pro-violence, fight fire with fire and always fly solo methodology. It’s a wonderful theme to explore within this animated world and the relationship between the two isn’t just fun and exciting, it’s quite touching as well. 

The evil cyborg villain, Killian (Ben Mendelsohn), doesn’t have a lot of screen time but is perfectly voiced. Mendelsohn has a way of sounding cleverly sinister like few actors can. His motives are not revealed early on and one thing that sets “Spies in Disguise” apart from typical kid-friendly animation is just how evil Killian can be. The tech he steals is an assassin drone and several murders are very clearly committed on screen. His menacing nature makes him feel like a legit threat and not the bumbling idiot or goofy bad guy that you might expect. 

Another area where “Spies in Disguise” separates itself from other PG films is in its writing, which is very funny but definitely skews more toward teenage sensibility than that of younger children. There is even a “50 Shades of Grey” joke that is just as hilarious as it is surprising. The film is still great for all ages, however, with slick animated action set pieces set to a hot soundtrack, an abundance of cool spy tech, and plenty of bird-related shenanigans while Sterling is a pigeon. 

It might sound shocking, but “Spies in Disguise” takes advantage of the charisma and swagger that Will Smith brings in a way that few films this decade have. Holland is the perfect sweet, geeky companion and going on this adventure with them is a purely joyful experience. It’s hard to imagine a better blend of silly children’s animation with the genre-defining elements of spy films that fans love. The story sets up perfectly for sequels and I, for one, am absolutely here for it. Bring on more avian hijinks. #TeamWeird all the way!

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Jumanji: The Next Level

Posted on by Aaron White.

Finally… The Rock, has come back… to Jumanji!

Two years ago, “Jumanji: Welcome to the Jungle” released around Christmastime with relatively little hype and plenty of critical reluctance. It proceeded to shock the world with a nearly $1 billion box office haul. Audiences everywhere fell hard for contemporary changes that the sequel to Robin Williams’ 1995 film made – primarily the fact that its characters were stuck inside of a video game and not a board game, as in the original. The film also surprised by having its four primary characters – Spencer (Alex Wolff), Bethany (Madison Iseman), Fridge (Ser’Darius Blain), and Martha (Morgan Turner) inhabit the bodies of four avatars instead of playing the games as themselves. This gender-bending, personality-conflicting experience provided for hilarious comedy and the sequel does the same.

After saving Jumanji and returning to their lives with a new bond between them, the primary foursome has now graduated high school and are dealing with new challenges. Spencer and Martha are no longer dating and he, apart from the group due to attending college away from them in New York City, is experiencing a lack of confidence. In an effort to regain what he once felt while playing as Dr. Smolder Bravestone (Dwayne Johnson), Spencer pieces together the old broken console he’d kept hidden from his friends and makes the dangerous and reckless decision to go back inside of the game alone. Eventually, his crew follows him to Jumanji in an attempt to ensure he survives and bring him home, but Spencer’s grandfather Eddie (Danny DeVito) and his former restaurant co-owner Milo (Danny Glover) are accidentally sucked in as well.

Unfortunately for the returning players, not all goes as expected and they end up inhabiting different avatars than before. This fresh take allows for new interplay to exist between the foursome of Dwayne Johnson, Jack Black, Karen Gillan, and Alex Wolff. I don’t want to spoil who ends up playing who, but both the chemistry between this group and their comedic talents shine as they portray different personalities than what you’ve seen before. It is simply a joy to watch them interact with one another, making this the kind of film you smile and laugh out loud throughout. 

The dynamic between Eddie and Milo is one of two old friends reconnecting after 15 years apart, trying to reconcile heated emotions around their different view of how their business venture ended, and it was my teenage son’s favorite part of the movie.  Whether it was the veteran comedy duo of DeVito and Glover or the hilarious way in which other actors portrayed their avatars as if they were those two, the age and physicality differences provided for fresh new comic material that was incredibly funny. Also making her first appearance in the series is Awkwafina, who continues to prove that she can do no wrong. Every scene she’s in is a treat, and the multiple characters she acts out are incredibly entertaining and hilarious.

“Jumanji: The Next Level” succeeds by once again reinventing its formula for a modern-day audience to great effect. The twist on who inhabits which avatar not only provides a wealth of humorous possibilities but some quality heartfelt moments of relationship building as well. Again the group is on an exciting adventure that takes them to interesting new locations and throughout the film, it is obvious the writers have looked to incorporate as many elements of current era action-adventure games as possible. In one sequence midway through, characters must retrieve a special item and to do so requires wall-running, jumping, and platforming that is heavily inspired by the Tomb Raider games. Later, during the film’s climax, a brilliant sequence includes characters activating unique player abilities, a full-on cinematic set-piece akin to what you’d see in the Uncharted video game series, and an awesome boss fight complete with multiple stages. There is even one moment toward the end of the film where a major action scene had me expecting giant buttons to pop up on the big screen, indicating a quick-time-event was taking place. Non-gamers may not recognize these elements being in the story, yet the film stands on its own just fine without that knowledge because it’s so much damn fun. And for those who do understand game design and can see the clever ways it is implemented in this sequel, it truly elevates “Jumanji” to “The Next Level”. 

If you go into this sequel expecting more of the same, you won’t be disappointed. This is a family-friendly adventure franchise that understands how to innovate while keeping the same creative tone that made it such a hit in the first place. Light on drama, heavy on action, with boatloads of fun and just enough emotional character development to make us care, “Jumanji: The Next Level” continues to break the Hollywood mold of disappointing reboots, remakes, and delayed sequels by providing an experience perfect for holiday enjoyment!

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Bombshell

Posted on by Aaron White.

Once upon a time… in Arkansas, I grew up wanting to be a journalist. And specifically, a journalist that covered politics. I ran for school government, closely followed every election, was downtown partying in the streets of Little Rock when Governor Bill Clinton was elected President, and even volunteered on a state Senator’s successful campaign. Plans went askew, though, and somewhere after 9/11 the political discourse became too volatile and upsetting for me, so I began to tune out. For the past decade, I’ve only mildly followed the news and my awareness of major scandals was entirely through the lens of social media. So going into this film, I shockingly was ignorant to the story that “Bombshell” tells, but I’m sure glad that is no longer the case.

“Bombshell” isn’t directed by Adam McKay, but you’d be forgiven for thinking it was. A major reason why is that writer Charles Randolph (who won an Oscar for writing McKay’s best film, “The Big Short”) employs much of the same fourth-wall-breaking dialogue that has become a McKay signature. Director Jay Roach kicks off “Bombshell” with an entire segment of just this – featuring Megyn Kelly (Charlize Theron) giving us a tour of Fox News and an explanation of how the station operates. It’s an engaging way to introduce the audience to several characters and an important background for understanding the structures of power that exist in this Trump-friendly media empire. Roach shows more restraint than McKay after that, though, and settles into a much more traditionally fluid narrative.

The true story being recounted here is a #MeToo nightmare revolving around a culture of sexual abuse and harassment at Fox News that started at the top with CEO Roger Ailes (John Lithgow) and led to a misogynistic work environment for the women employed there. Female employees were regularly subjected to insults from Ailes, promoted based on their appearance and/or willingness to participate in coerced sexual favors, and expected to show as much leg as possible during broadcasts. Frankly, it is disgusting to watch occur, even in this dramatized manner, and many viewers will likely cringe while relating to the dialogue and power games on display that they may have witnessed themselves. For others, it will hopefully be eye-opening to the behavior women still face in many workplaces across America. Lithgow plays Ailes brilliantly, as the slick-talking untouchable snake of an executive he was. He is creepy and rage-inducing, and it’s easy to cheer for his eventual downfall that is coming.

To bring down Ailes and the toxic culture at Fox, it took many brave women speaking up and risking their careers and reputations. The story in “Bombshell” centers on three of them: two highly-regarded television journalists, Megyn Kelly and Gretchen Carlson (Nicole Kidman), and Kayla (Margot Robbie), who serves as a composite character to represent the experience new female employees went through when trying to climb the ladder of success at Fox News. Over the course of the film, Carlson’s initial lawsuit looms over Ailes, and we experience the struggle of women trying to fight back against men of power, with Kelly’s backing being critical to Carlson’s cause. As I mentioned earlier, it is not always easy to watch what these women endured. Roach took great care to present as detailed of a view of what it was really like at that time as possible, including troubling scenes showing women who supported Roger Ailes despite his blatant harassment.

Theron is incredible in her role as Kelly, fully transforming her voice and facial structure via the use of several prosthetics. It’s a committed performance and one that carries the film, as she tries to hide the emotional weight of what it costs for her to come out in support of Carlson against Ailes. Kidman and Robbie, though, are also amazing, providing two additional viewpoints from which to understand the damage being done. All three women portray both the vulnerable and strong parts of their characters incredibly well, and I found myself feeling heartbroken and angry for them.

If you enjoy costuming and production design, those are on point, as well. The costumes are more than just for looks as they play a direct role in how women were judged in the Fox culture. The production design is slick and shiny, just as you’d expect a newsroom to be, and the editing is likewise done through efficient cuts that feel akin to a news broadcast. What I’m trying to say is that “Bombshell” is the total package. It is an Oscar-worthy film, led by some of the best performances of the year, with strong technical elements, and it tells a very important story from the right perspective. In the end, what Carlson and Kelly courageously did will hopefully be inspirational to women everywhere, and provide them the strength and encouragement to stand up against harassment in their own lives. As for men watching, well, you either stand against it with them or you’re part of the problem. And for me? I may not ever end up with that dream career in journalism, but I now have two new heroes in the field, and I think that you will too when you see their story.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: 1917

Posted on by Aaron White.

Practically every conversation about Sam Mendes’ new WWI epic “1917” is going to include the word gimmick, as it relates to the film’s unique structure. This is because Mendes and all-time great cinematographer Roger Deakins have taken great care to craft a cinematic experience that feels as if the audience is following characters on a journey in one long single shot. Much like “Rope” and “Birdman”, two films that employed a similar trick to great effect, this single-take is merely an illusion. With the exception of one intentional break that makes perfect plot sense, Mendes relies on Deakins and the unreal editing skills of Lee Smith (who is also responsible for the same work on most of Christopher Nolan’s filmography, including “Dunkirk”, which this film is bound to be compared to) in order to bind together a collection of very long takes with brilliant transitions and provide the audience with an immersive experience unlike anything witnessed before. The result of this choice is that viewers may feel almost like they’re in a virtual reality video game, as a silent traveling companion to the film’s main characters. This heightens the viewer’s awareness to the point of always observing surroundings just as the soldiers do. We check the horizon for the enemy, hold our breath during daring escapes, and feel our bodies tighten with anxiety as the intensity picks up and the clock ticks down. So despite the negative connotation that typically is applied to using the word gimmick, this is not the ill-advised attempt at Smell-O-Vision from the 1960’s or the failed D-box technology launched with “Fast and Furious” in 2009. Like the viral marketing of “The Blair Witch Project” or the twelve-year filming cycle of “Boyhood”, this film’s single-take design elevates it to become one of the most captivating films ever made in its genre.

There isn’t a lot to be said about the film’s plot, inspired by stories Mendes’ grandfather shared with him about his time in World War I, as it’s fairly simple and straight-forward. The movie begins with two soldiers, Blake (Dean-Charles Chapman) and Schofield (George MacKay) being sent on an urgent mission through enemy territory, to deliver a message to the front lines which will stop 1,600 of their fellow soldiers from walking into a German trap. Among these 1,600 men is Blake’s older brother, giving him a very personal drive to succeed. Suffice to say – the stakes are high. Their journey plays out much like that of Sam and Frodo in “The Lord of the Rings”, though at a much-heightened pace. Along the way, they face obstacles that must be overcome (both from enemies and the environment), strangers they must rely on for help, and difficult moral choices that must be made while traversing the flawless sets of production designer Dennis Gassner. Both Chapman and MacKay offer emotionally compelling and difficult physical performances that are not over-dramatic but capture the internalized pain and fear of their situation in a very moving way. Not to be forgotten is also a tremendous supporting cast featuring brief, never distracting, and impactful interactions for the main pairing with acting giants such as Andrew Scott, Colin Firth, Mark Strong, Richard Madden, and Benedict Cumberbatch.

At a tight 110 minutes long, Mendes keeps the tension high throughout despite only a couple of big war scenes the likes of which you’d usually expect to see. The epic nature of “1917” is not in the scale of its recreated battles, but in the enormity of the task at hand and the way in which the film looks at World War I (and by proxy all war-fighting, really) from the ground-level view of those who fight, cry, and die in the trenches. That being said, due to the incredible sound editing, when there are bullets flying on screen it feels like they’re buzzing through the air right in your theater – to the point that some viewers will slink in their seats or even jump unexpectedly. Another element that contributes so greatly to this immersion is Thomas Newman’s magnificent score. In lieu of constant dialogue and grand speeches, his work provides the emotional context we need and aids our characters’ body language in ensuring we are astutely aware of their mindset at any given moment. In a career of tremendous work, this could be his best, and like Deakins, he could easily be hearing his name called on Oscars Sunday.

“1917” is an astonishing exercise in immersion that will leave you utterly shaken. It is a true technical marvel, with emotional power that creeps up slowly, and then forces the viewer to reconcile with the futility of war in a manner that lingers long after the credits roll. The film is stunning on every level, a tour-de-force in the genre, and an absolute must-see theatrical experience.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Honey Boy

Posted on by Aaron White.

Journaling about one’s feelings and traumatic past can be an effective form of therapy, but it can also be quite painful. “Honey Boy”, which began being written by Shia LaBeouf during a stint in rehab after a 2017 arrest, is the result of one man’s attempt to understand and cope with lifelong PTSD that had left him angry and lonely. In the film, LaBeouf stars as his own abusive, alcoholic father in what amounts to an autobiographical coming-of-age story based on experiences from his own childhood. 

LaBeouf’s performance is nothing short of mesmerizing, and possibly his best acting work. He draws from memory to depict his father’s behavior at its worst, but also never demonizes him, allowing the audience to empathize through the conflicted and loving eyes of his son – a young version of LaBeouf named Otis, played by the talented Noah Jupe. Otis growing up a child star is shown to be incredibly challenging and complex for both parties, with the relationship between parent and child made particularly abnormal due to the younger providing financially for the elder. Jupe’s performance is every bit as memorable as LaBeouf’s, with him brilliantly showing us a child struggling to reconcile his desire for parental affection and attention against his need to be the adult of their relationship and keep his career moving forward.

Told in long periods of flashback while the current aged version of Otis (Lucas Hedges) is in rehab, “Honey Boy” tends to feel like a repetitive series of often uncomfortable, sometimes fantastical, and occasionally deeply intimate vignettes. Director Alma Har’el does a very good job of managing each individual scene, but its overall structure was a little hard to follow and the film comes to a rather sudden end that left the narrative feeling incomplete. “Honey Boy” is above all else earnest, though, and it’s easy to see how cathartic it likely was for its creator. It serves as a powerful examination of abusive parenting and the rehabilitative process but is not very enjoyable to watch and is so personal and specific that many viewers who can’t relate will simply forget about it soon after the credits roll.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Ford v Ferrari

Posted on by Aaron White.

The 24 Hours of Le Mans is one of the world’s oldest and most prestigious endurance races in autosports. Conducted on an 8.5-mile circuit in the sleepy French town of Le Mans, the race travels over countryside roads throughout the course of an entire day, requiring teams to swap between three drivers regularly, relay-runner style. Drivers and cars must be prepared for the elements as it rains frequently, and within each lap lie both a challenging 90-degree turn and 200+ mph straightaways. Even beginning the race is dangerous, as drivers uniquely line up on the track opposite their cars and at the drop of the starting flag sprint to their vehicles, rushing to take off in a flurry of chaotic action that is as exciting as it is insane. Winning the race isn’t easy, but accomplishing the feat against fellow manufacturing giants of the industry brings the victorious automotive team great glory and often heavy sales. In 1963, Henry Ford II decided that he wanted a piece of this action, and after a failed bid to purchase Ferrari (including its racing team that won the Le Mans in 1958 and every year from 1960-1965), he decided that if he couldn’t own the Italian sports car manufacturer, he would do everything in his power to beat them where it would hurt most – on the track at Le Mans. And in doing so, a rivalry was born.

“Ford v Ferrari” is a biographical action-packed drama from Director James Mangold (“Logan”, “3:10 to Yuma”, “Walk the Line”)  that tells the story of Ford Motor Company’s journey to beat its Italian rivals. The key to this project was automotive designer and former Le Mans driving champion Carroll Shelby (Matt Damon), who is brought on by Henry Ford II (Tracy Letts) to build a car that could compete with the racing titans of the world. Shelby knows that a car is only as good as the man steering its wheel, though, and despite consistent pushback from Ford marketing man Leo Beebe (Josh Lucas), he eventually brings on his close friend, the sometimes difficult but brilliant English engineer and driver Ken Miles (Christian Bale), to hopefully pilot this new machine to victory lane.

Surprisingly, “Ford v Ferrari” has less racing action than you might expect in its 2.5-hour runtime. Mangold really leans into the drama of Ford’s capitalistic motivations and how it complicated the achievement of its own goals due to control issues and typical business-driven decision-making. There are two standout racing sequences, however, that are exactly the edge-of-your-seat, heart-pumping, adrenaline-boosting, high-speed affairs that audiences desire. Expertly crafted and shot, then combined with the delightful roar of racecar sounds and backed with a propulsive score by Marco Beltrami and Buck Sanders, these scenes are intense as can be and evoke a rousing response. Character investment plays a big role in this, as audiences are easily drawn to rooting for the Shelby and Miles racing team due to their depiction as wholesome, driven men of integrity who are navigating a challenging business landscape to chase their dreams.

The cast is full of wonderful supporting performances, but lead actors Damon and Bale play brilliantly off of each other as both longtime friends and similarly-obsessed colleagues, with the latter being especially noteworthy for his portrayal of a devoted and loving family man who treads the line between egotistical and confident when it comes to his skill with a car. Both bring a great deal of humor to their roles, as well, and deliver a script full of wit and technical terminology with talent worthy of awards recognition. Letts is also a highlight as “Deuce”, the Ford Motor Company President determined to live up to his grandfather’s legacy and keep Ford at the top of the automotive world.

Mangold is in top-form, directing with a confidant, fine-tuned precision, and though long, “Ford v Ferrari” is so full of energy and so expertly edited that you never feel its length. Its legendary, wholesome central characters are full of charm and watching their journey is an exciting and joyful treat. “Ford v Ferrari” is undoubtedly one of the best films of 2019, a gripping biopic with thrilling action and smashing performances that is sure to satisfy both fans of human drama and autosports alike, and it will go down as one of the definitive race-car movies ever made.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.