800 Posts! Thank you!

Hey everyone,

for those of you that have been readers for awhile, you’ll know I like to celebrate the little moments, and I had one a few days ago when I published my review for Hobbs & Shaw. That review ended up being the 800th post for this site! It’s rather fitting because many of the Fast & Furious reviews I have written have been among the most popular reviews on the site!

I cannot thank you faithful and maybe first-time readers for tuning in, reading and contributing to the discussion. This has morphed from a hobby to a passion to a daily requirement for sanity, and it’s because of the kind words of so many of you that have helped with that.

All that being said, I’m going to leave a list of the most popular reviews and posts on the site since it started. Feel free to peruse and gander at your choosing.

 

  1. Turbo Charged Prelude (2003)
  2. Poltergeist (1982)
  3. Star Wars: Episode IV – A New Hope (1977)
  4. Frankenstein (1994)
  5. Leprechaun (1993)
  6. 2 Fast 2 Furious (2003)
  7. The Thing (1982)
  8. Zootopia (2016)
  9. The Fast and the Furious (2001)
  10. The Fly (1986)

Here’s hoping Hobbs & Shaw ends up on this this. Three of the Fast & Furious films have ended up on the most-read list, including a short film prequel to the second film. It always strikes me at how many people have looked at the Leprechaun posts I have done. It seems year-round that that post gets views and I don’t understand it, to be perfectly honest.

So there you have it. Thanks again for reading, even if only once. I truly appreciate all of you readers and I only ask that you help like, comment, subscribe and share to keep independent content creators like myself going. All film is truly subjective, so if you’ve never interacted on the site, I urge you to do so. If you loved a movie I hated, let me know your opinion, and if you hated something I really love, I want to know why. That’s part of what makes this part of movie fandom so special. Thanks again!

 

-Kyle A. Goethe

The Biggest Little Farm (2018)

Director: John Chester

Cast: John Chester, Molly Chester

Screenplay: John Chester, Mark Monroe

91 mins. Rated PG for mild thematic elements.

 

The Biggest Little Farm is a documentary about John and Molly Chester, husband and wife who, along with their dog Todd, move onto 200 acres with an attempt to create a farm that is completely self-sufficient. The film is a moving tapestry on the collective complexity and balance of the nature all around us as John, Molly, and Todd try to overcome the numerous obstacles surrounding their endeavor.

If you have seen The Biggest Little Farm’s trailer, then you will know what the movie is like. The trailer sells it quite well. The documentary is a tough but informative viewpoint of a very difficult journey. I saw this family come to their breaking points in the search to be self-sufficient. I learned a lot about waste and the farm life and the difficulties of providing for oneself. It’s a powerful look at this lifestyle, seen on the grandest of scales.

It’s also the story of a family and their dog. Todd is integral to the film, and he is the emotional backbone driving the story. The way John and Molly view their pet as a child that they are unwilling to part with (the driving force of starting a farm is their neighbor’s complaints about barking) drives the central narrative forward with heart.

It’s also maybe a little too unremarkable from a filmmaking standpoint. The animation used to string the film together is rather dull, and the plot does get rather monotonous as problems stack up and solutions are troublingly tough to find. I guess that’s the point, but the film does feel about 20 minutes too long by the end of it.

The Biggest Little Farm is not the most impressive documentary ever made from a technical standpoint, but it also doesn’t really need to be as it tackles an important issue and an interesting story. I love when docs can pull me into a world I know nothing about and teach me without making me feel like I’m being taught. This was a sweet story that may be a little too long but is still quite worth it.

 

3.5/5

-Kyle A. Goethe

Gloria Bell (2018)

Director: Sebastían Lelio

Cast: Julianne Moore, John Turturro, Michael Cera, Caren Pistorius, Brad Garrett, Jeanne Tripplehorn, Rita Wilson, Sean Astin, Holland Taylor, Chris Mulkey

Screenplay: Alice Johnson Boher, Sebastían Lelio

102 mins. Rated R for sexuality, nudity, language and some drug use.

 

Gloria Bell isn’t exactly a movie for me, but I found the trailer quite intriguing. I adore Julianne Moore (The Hours, Bel Canto), but part of me will always assume a movie about aging will be terrible. After all, so many of them are, and it wouldn’t have shocked me if Gloria Bell had taken a similar track. Thank God that didn’t happen.

Gloria Bell (Moore) is an divorcee in LA who spends many a night out at the nightclubs for older ladies and gentlemen, clubs that play songs from a more youthful time in Gloria’s life. Gloria seems very unsure of herself when she meets another divorcee, Arnold (John Turturro, Barton Fink, The Big Lebowski), and is quite taken with him. As the two form a budding and affectionate relationship, though, Gloria starts to learn some strange pieces of information about Arnold and she wonders if the two have as close a connection as she is hoping for.

The film is, at its core, an emotionally powerful character piece about a woman searching for love of herself again and love for life. As I watched her in the nightclub scenes early in the film, you can see she is feeling herself in the music but not really letting loose or freeing herself up to it. She knows she loves it, and she loves a great deal of life, but after becoming single again and losing her children to their own respective journeys, Gloria is merely asking an important question: is there a point in starting over now?

This emotionally arresting character arc is made by Julianne Moore’s award-worthy portrayal. For someone like me, who may not truly understand this part of her journey as I haven’t had to experience it, I was taken in by her subtle and nuanced performance. There are layers to the way Gloria uses her line of sight in the film. I kept following Moore’s eyes as she examined the world around her, and I was enthralled by it.

The film, directed by Sebastían Lelio (A Fantastic Woman, Disobedience), remade from an earlier film of his, is a little by-the-numbers, and without a strong central cast, it may not have worked as well, but Lelio is very collaborative with his performers, and that may stand as to why the movie works. He has a vision that is palatable across languages and cultures, and he understands character, and that’s what makes Gloria Bell such an interesting character.

Gloria Bell works because of a director who lets his performers perform and doesn’t offer a ton of flair and a central performance that should not be underestimated. While the story is less memorable that it should be, it’s the journey of its lead that carries the audience, supported by a truly incredible cast that help Moore shine. This is worth checking out if you missed it and need a little self-love.

 

3.5/5

-Kyle A. Goethe

ReMastered: Who Shot the Sheriff? (2018)

Director: Kief Davidson

Cast: Bob Marley

57 mins. Not Rated.

 

ReMastered is a monthly music-themed docuseries on Netflix. The first of these documentaries, directed by Kief Davidson (The Ivory Game, Bending the Arc), examines the mysterious shooting of Bob Marley and the possible CIA connection.

For me, Who Shot the Sheriff? doesn’t really scratch the surface of this mystery. They make some interesting claims, but I didn’t feel like they got anywhere deeper than surface-level assumptions based around conspiracy theory without any real discoveries. That’s the real failure of the documentary. I was very interested in the portions of Bob Marley’s life from a purely biographical aspect, but the mystery of the shooting is essentially a non-story based on the doc.

The doc should have focused more on the power of Marley’s music and the effect he had on so many. It spends some time on this portion in the doc but not enough. The power and effect of his music and presence is where the documentary is at its absolute best.

Who Shot the Sheriff? is a so-so documentary. I don’t think the film really knows what it wants to do. It plays itself as a mystery, but it never really delves any deeper into it. This one isn’t worth it for anyone outside of Marley super-fans.

 

2/5

-Kyle A. Goethe

[Early Review] Greta (2018)

Director: Neil Jordan

Cast: Isabelle Huppert, Chloe Grace Moretz, Maika Monroe, Colm Feore, Stephen Rea

Screenplay: Ray Wright, Neil Jordan

98 mins. Rated R for some violence and disturbing images.

 

I was told by a pretty reputable colleague who had caught Greta at TIFF last year that I needed to see it when it hit theaters, and earlier this week, I was given that opportunity. I didn’t realize that the film was directed by Neil Jordan (The Crying Game, Byzantium) until the credits started to roll, which raised my expectations considerably, but I did not expect the seasoned director to turn in something quite like Greta.

When Frances McCullen (Chloe Grace Moretz, Let Me In, Suspiria) finds a purse left behind on the subway, she makes a point to do the right thing and drop it off with its owner, a woman named Greta Hideg (Isabelle Huppert, Elle, Eva). Upon meeting the older widow, Frances begins a friendship with her until she discovers that Greta has a number of secrets. She’s a very lonely woman and Frances isn’t able to cut ties with her very easily. As the cat-and-mouse game spirals out of control, Frances finds that Greta isn’t ready to let go.

Let me be clear: Greta is a little cheesy. There are elements of it that fall into cliché. After leaving the film, I began to think more about the nature of the characters and I found a couple of plot holes I couldn’t wrap my head around. But all that didn’t really matter to me. The film sets out to tell a creepy stalker thriller, and it succeeds.

Director Jordan propels himself out of these problems by keeping the runtime as tight as possible. There’s only a moment or two toward the end of the film where the pacing struggles, but there’s no time to think as he rockets the narrative forward.

He’s also placed confidence in his leads. Moretz and Huppert are on fire as they match wits onscreen. Huppert’s Greta turns from a sweet older woman into a mild annoyance before evolving into a menacing terror. Seriously, I had my hands shaking during some of the more intense and tightly plotted scenes. Jordan’s film oozes with tension in large part to Huppert’s performance.

Greta’s filled out nicely with solid performances from Maika Monroe (It Follows, Tau) as Frances’s friend Erica, a woman who is a bit more focused on fun than fear, Colm Feore (Chicago, TV’s The Umbrella Academy) as Frances’s father, who is attempting to rebuild a relationship with his daughter after the loss of his wife, and especially the terrific turn from Stephen Rea (V for Vendetta, Black ’47) as the private investigator who is hired to find out more. It’s amazing how much Rea can do with so little screentime.

Greta is pure cheese at times, but I didn’t mind it because I was so entranced and tense during my experience in the theater. The trailers give away a bit too much but overall, this is a very fun and creepy stalker thriller that kept my nerves tight the entire time. I highly recommend seeing this one in the theater this weekend.

 

4/5

-Kyle A. Goethe

 

 

For my review of Neil Jordan’s Interview with the Vampire: The Vampire Chronicles, click here.

[#2019oscardeathrace] Kyle’s Oscar Predictions

Hello everyone and Happy Oscar Day! This one came up quickly but I’m so happy it is here. Today, I thought I would share my Oscar Predictions with you. It’s something I haven’t done in a while but I will try again tonight. Below I will put what I think should win and what I think will win for each award. Feel free to share your thoughts as well in the comments below! Let’s get started…

 

Best Visual Effects

What Should Win: First Man

What Will Win: Avengers: Infinity War

 

Best Film Editing

What Should Win: Vice

What Will Win: Vice

 

Best Costume Design

What Should Win: Black Panther

What Will Win: Black Panther

Best Makeup & Hairstyling

What Should Win: Vice

What Will Win: Vice

 

Best Cinematography

What Should Win: Roma

What Will Win: Roma

 

Best Production Design

What Should Win: First Man

What Will Win: The Favourite

Best Sound Editing

What Should Win: A Quiet Place

What Will Win: A Quiet Place

 

Best Sound Mixing

What Should Win: Bohemian Rhapsody

What Will Win: Bohemian Rhapsody

 

Best Original Score

What Should Win: If Beale Street Could Talk

What Will Win: If Beale Street Could Talk

Best Original Song

What Should Win: “Shallows” from A Star is Born

What Will Win: “Shallows” from A Star is Born

 

Best Animated Feature Film

What Should Win: Spider-Man: Into the Spider-Verse

What Will Win: Spider-Man: Into the Spider-Verse

 

Best Foreign Language Film

What Should Win: Cold War

What Will Win: Roma

Best Documentary Feature

What Should Win: Free Solo

What Will Win: Free Solo

 

Best Documentary Short

What Should Win: A Night at the Garden

What Will Win: Black Sheep

 

Best Live Action Short Film

What Should Win: Fauve

What Will Win: Marguerite

Best Animated Short Film

What Should Win: One Small Step

What Will Win: Bao

 

Best Original Screenplay

What Should Win: Vice

What Will Win: The Favourite

 

Best Adapted Screenplay

What Should Win: BlacKkKlansman

What Will Win: BlacKkKlansman

Best Supporting Actress

What Should Win: Regina King, If Beale Street Could Talk

What Will Win: Regina King, If Beale Street Could Talk

 

Best Supporting Actor

What Should Win: Mahershala Ali, Green Book

What Will Win: Mahershala Ali, Green Book

 

Best Actress

What Should Win: Melissa McCarthy, Can You Ever Forgive Me?

What Will Win: Glenn Close, The Wife

Best Actor

What Should Win: Christian Bale, Vice

What Will Win: Rami Malek, Bohemian Rhapsody

 

Best Director

What Should Win: Spike Lee, BlacKkKlansman

What Will Win: Alfonso Cuaron, Roma

 

Best Picture

What Should Win: BlacKkKlansman

What Will Win: Green Book

 

So there you have it. My picks for the Oscars and my predictions for what will take home the statue. This year I find myself in agreement with my predictions more than most years, but I’m curious where your picks end up. What do you think will win tonight and what do you think should win tonight? Let me know/Drop a comment below!

 

-Kyle A. Goethe

[#2019oscardeathrace] Free Solo (2018)

Director: Jimmy Chin, Elizabeth Chai Vasarhelyi

Cast: Alex Honnold, Tommy Caldwell, Jimmy Chin, Sanni McCandless

100 mins. Rated PG-13 for brief strong language.

  • Academy Award Nominee: Best Documentary Feature [Pending]

 

I’ll be honest. I had no idea what the term Free Solo meant before I saw this movie.

Free Solo is the documentary covering Alex Honnold’s unprecedented climb of El Capitan Wall in Yosemite. The climb, over 3,000 feet high, was completed without ropes or any safety gear at all, hence the term Free Solo. That means is Alex were to slip or fall, he’s a dead man. A documentary crew followed him on this incredible trek, a dangerous idea adding more stress to the climb.

I’ll put it as simply as I can: Free Solo is one of the most intense and exhilarating experiences I have had in the theater in quite some time. Everything leading up to the big event is shown with such gorgeously captivating cinematography. There were times I felt a little light-headed because you feel like you are up there with Alex. That’s the magic of this cinematic experience. Directors Jimmy Chin and Elizabeth Chai Vasarhelyi (Meru) depict this insane sport and the toll it has on those around the climbers. They took me on the climb with them. I felt like a fly on the wall.

I really liked what time they spent diving into Alex’s childhood leading to his decision to become a climber and, eventually, a free solo climber, but I do wish we got some more of that in the film. It’s my one nitpick because I really wanted to study the mind of these daredevils and what makes them do what they do. The surface is merely scratched in the film, and I would have liked more.

The most centralized relationship in the film is between Alex and girlfriend Sanni, and it’s really nicely detailed. I felt for her as she tried to reach him and make him understand what this sport was doing to her, and it’s a great emotional argument of the film.

Free Solo’s striking visuals and its intense personal story is a powerful combination, making it one of the strongest documentary features of the year. I feel bad for you if you missed this one in IMAX, but seek it out when you can and experience this incredible feat for yourself.

 

4.5/5

-Kyle A. Goethe

The Death of Superman (2018)

Director: Jake Castorena, Sam Liu

Cast: Jerry O’Connell, Rebecca Romijn, Rainn Wilson, Rosario Dawson, Nathan Fillion, Christopher Gorham, Matt Lanter, Shemar Moore, Jason O’Mara, Rocky Carroll, Patrick Fabian

Screenplay: Peter Tomasi

81 mins. Rated PG-13 for sequences of violence and action including some bloody images.

 

I remember seeing Superman: Doomsday when I was younger. The animated movie sounded incredibly exciting to me, even though I had not read The Death of Superman, the comic it was based on. It was, to me, probably the most famous Superman run that I could remember, and it was incredibly intriguing as an idea. The animated film version wasn’t very good. I remember finding it slugglishly boring, and that was that. Probably wouldn’t see another version of that story play out, especially with the reception of the most-recent live-action Superman film, Superman Returns. I just figured that was the end of it. To my surprise, DC’s animated films have decided to play this out again, and this new incarnation, The Death of Superman, is thankfully much better.

Clark Kent (Jerry O’Connell, Stand by Me, Boy Band) is struggling internally to tell the love of his life, Lois Lane (Rebecca Romijn, X-Men, TV’s The Librarians) his biggest secret: that he is really Superman. He can see that his secrecy about his past is straining things in their relationship, and if he plans to move forward with their courtship, he needs to figure out how to deal with his identity. He sees fellow Justice League members Batman (Jason O’Mara, The Siege of Jadotville, TV’s The Man in the High Castle) and The Flash (Christopher Gorham, The Other Side of Heaven, TV’s Insatiable) moving forward with their real lives and he wants the same thing. Meanwhile, a team of astronauts led by Hank Henshaw (Patrick Fabian, The Last Exorcism, TV’s Better Call Saul), on a mission aboard the Excalibur space shuttle, witness a boom tube opening and unleashing a meteorite toward Earth. When it crashes, a giant creature is released from the wreckage, and it has a trajectory for Metropolis.

I like the voice cast for The Death of Superman. I feel as though the star players involved really understand their characters and I like how they brought them to life. I also wouldn’t have been able to peg a lot of these performers without having looked at the cast to write this review. The only true standout is Rainn Wilson (The Meg, TV’s The Office), who is woefully miscast as Lex Luthor.

The action is much better in The Death of Superman because it takes the time early on to establish its characters and their motivations. Superman spends the whole of the film fighting with himself to open up and be a normal human. Even The Flash describing his normal life makes Clark pine for one of his own, and yet he is the only meta-human capable to taking down the creature, Doomsday. It’s his internal conflict that makes the external conflict so intriguing.

There’s still some pacing issues in the film, especially with the large-scale fight with Doomsday. It is broken up quite nicely but the narrative does tire out earlier than it should. It’s the same problem that Man of Steel had. Superman is such a powerful guy that the stakes don’t feel like they are there, even knowing how this one is going to end, and perhaps that’s part of it. This is very clearly The Death of Superman, and perhaps it would be a stronger outing to focus on the fact that this is the first part of a two-part story or even just smash it all in one film, a bit of a lengthy film, but perhaps one that doesn’t sputter so close to the finish line.

Overall, though, The Death of Superman is a strong DC Animated film. It stumbles a bit as it builds momentum, but for fans of these animated superhero tales, I think there’s a lot to like on display here. It definitely sets up the sequel really nicely and made me all the more excited to see the conclusion. This is a Superman film for Superman fans.

 

4/5

-Kyle A. Goethe

The Nominees for the 91st Academy Awards

Hey everyone! We officially have our nominees for the 91st Annual Academy Awards. Over the next few weeks, I’ll be going through as many of the nominations as I can, so join me on this journey using #2019oscardeathrace and share your count on our way to 52!

The nominees are:

Best Picture:

 

Best Director:

  • Spike Lee – BlacKkKlansman
  • Pawel Pawlikowski – Cold War
  • Yorgos Lanthimos – The Favourite
  • Alfonso Cuaron – Roma
  • Adam McKay – Vice

 

Best Actor:

 

Best Actress:

 

Best Supporting Actor:

 

Best Supporting Actress:

 

Best Original Screenplay:

 

Best Adapted Screenplay:

 

Best Animated Feature Film:

 

Best Foreign Language Film:

  • Capernaum
  • Cold War
  • Never Look Away
  • Roma
  • Shoplifters

 

Best Documentary Feature:

  • Free Solo
  • Hale County This Morning, This Evening
  • Minding the Gap
  • Of Fathers and Sons
  • RBG

 

Best Documentary Short:

  • Black Sheep
  • End Game
  • Lifeboat
  • A Night at the Garden
  • Period. End of Sentence

 

Best Live Action Short:

  • Detainment
  • Fauve
  • Marguerite
  • Mother
  • Skin

 

Best Animated Short Film:

  • Animal Behaviour
  • Bao
  • Late Afternoon
  • One Small Step
  • Weekends

 

Best Original Score:

 

Best Original Song:

  • “All the Stars” – Black Panther
  • “I’ll Fight” – RBG
  • “The Place Where Lost Things Go” – Mary Poppins Returns
  • “Shallow” – A Star is Born
  • “When a Cowboy Trades His Spurs for Wings” – The Ballad of Buster Scruggs

 

Best Sound Editing:

 

Best Sound Mixing:

 

Best Production Design:

 

Best Cinematography:

 

Best Makeup and Hairstyling:

  • Border
  • Mary Queen of Scots
  • Vice

 

Best Costume Design:

  • The Ballad of Buster Scruggs
  • Black Panther
  • The Favourite
  • Mary Poppins Returns
  • Mary Queen of Scots

 

Best Film Editing:

 

Best Visual Effects:

 

So there you have it. It’s going to be a hell of a month and I’m looking forward to it. Be sure to join me on this adventure and share your thoughts on these nominees.

#2019oscardeathrace

 

-Kyle A. Goethe

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