Writer. Library person. First in the world to platinum Epic Mickey 2: The Power of Two on PS3.
“Italians ain’t white!”
Certainly the most surreal, unexpected, hilarious, and altogether timely film of the year so far.
My VHS cover pull-quote: “This is one of those movies people should go see completely unaware of what’s about to happen so the less said on this phantom VHS cover the better.”
“I missed you every second of every day.”
As with Disney’s last big, originalish non-remake live action movie Tomorrowland, the intention, message, and overall sentiment of A Wrinkle in Time helps to compensate for some structural problems and narrative messiness in some parts. As with all things, it succeeds most when things start getting dark and trippy. Overall, it’s an excellent adaptation of a book long thought to be unfilmable with an inspiring message of self-worth that everyone could stand to hear once in a while.
My VHS cover pull-quote: “I said it’s like Tomorrowland, but I really enjoyed Tomorrowland.”
“You haven’t eaten your primordial soup.”
Despite the American marketing team’s attempts to convince everyone otherwise, this is 100% a football/soccer sports movie about a primitive Manchester United. Even so, Early Man still has all the heart, stop motion artistry, absurdity, British tomfoolery, and general lovability of any of Aardman’s other films.
My VHS cover pull-quote: “*Various British noises*!”
“Is this your King?”
A superhero movie with heavy 007 vibes and both narrative and emotional complexity as important in the evolution of the modern genre as last year’s Wonder Woman. The celebration and incorporation of African culture in all aspects of the film, from the setting to the memorable score, offers a more than welcome new perspective to the MCU.
My VHS cover pull-quote: “Lest we forget the trailblazer Luke Cage, though, who took the MCU to aid Harlem and later beat up many ninjas for the good of the world. With how separate the Netflix shows seem to be from the Iron Mans of it all, I doubt these two worlds will ever meet, which is a damn shame.”
“No shit.”
One of Spielberg’s stirring serious swells of strings pictures, but still an important story to be told, especially right now. It often plays like an episode of The Newsroom, wearing its message on its really long sleeve that it keeps slapping you with the way kids used to do because they had small arms and their shirt used to be their big brother’s, but the film still hits the right spots at the right moments.
My VHS cover pull-quote: “Halfway through the movie, Meryl Streep broke character and addressed me personally, saying ‘Nick, literally everyone else at this theater is seeing Black Panther tonight. What are you doing here seeing this milquetoast country club shit?’ Only when I assured her and, later, Bob Odenkirk that I’d be seeing Black Panther this weekend did the picture continue. I’ve contacted Mr. Spielberg about this event during the 10:15pm showing of The Post at the United Artists’ King of Prussia, but received only a recorded message from him about how incredible Kendrick Lamar’s work on the Black Panther soundtrack is. Needless to say, I’m excited to see Black Panther in a couple days.”
“I don’t do nothing for nobody for nothing.”
This is the most charmed I’ve been by a movie since Hugo way back in 2011. Paddington 2 shares a distinct love of wonder and sheer entertainment with Hugo, as well as the visual craft that goes into every marmalade slathered frame. It also shares a nearly idyllic version of its splendorous setting, where it feels like the worst thing happening in the world is quite possibly a dissociative Hugh Grant stealing a pop-up book. Prison is an amazing place in a Wes Andersen sort of way, criminals are lovable and merely gruff or roguish, and most everyone has the capacity for self-awareness and change. I want to live in this world.
My VHS cover pull quote: “One of the most substantial and timely things this movie does is keep the Peruvian bear intact as a stand-in for immigration by way of Peter Capaldi’s Mr. Creary and his unfounded fear of the adorable Paddington. Dynamite!”
“I think we should form a Dahmer fan club.”
There is no sympathy here for (or glorification of) the cannibal serial killer Jeffrey Dahmer, but there is a bit spared for Jeff Dahmer, who was a weird high school kid in need of a best friend and some hefty psychiatric care. Ultimately, this is a tragicomic coming-of-age film that’s, at times, hilarious and harrowing in equal measure.
Jeffrey Dahmer tried really hard to not become Jeffrey Dahmer.
My VHS cover pull quote: “In the context of watching this movie, I was worried that my fashionable hipster glasses might be too Dahmeresque.”
“You have no idea what you’re dealing with.”
And with that line that has appeared in a myriad of other films like it, the ball begins to roll in Jeff Nichols’s straight sci-fi effort. In many ways, Midnight Special feels like Spielberg making Cameron’s The Abyss, and I can’t imagine anyone would (nor should) take that as a criticism. But Nichols has obviously taken many cues from directors before him here, even if his rural Americana vibe and affection present in Take Shelter and Mud (both “better” films) remains intact. Most everything works, though. The kid has an apt young-Culkin quality to him, the plot is indeed soulful, and the effects are just understated enough. Plus, the actors — Michael Shannon in particular (as always) — really help sell everything that’s happening.
My VHS cover quote: “Not since Star Wars VII has there been a science fiction film featuring Adam Driver.”
“Because honor demands it.”
There’s a lot of Terence Malick in this Alejandro Iñárritu film. Considering they share a cinematographer in Emanuel Lubezki, this makes a lot of sense. But still, the pacing and the unabashed use of evocative dream imagery and how the latter serves the narrative both visually and thematically entered Tree of Life territory for me. Like that movie, this is an exploration — not only of humanity and all its intricacies (wants, desires, shortcomings, beliefs) or of the classic frontier setting, but of its role in nature. Nature is brutal. Animals are brutal. Humanity is brutal, with a distinct capacity for cruelty (and honor, too). So for the most part, this film is brutal. It’s a deliberate, seemingly perpetual crucible (and spirit quest!) for Hugh Glass with only a few instances of true decency to lend the viewer and Glass some hope and solace until the next instance of despair. Iñárritu’s much-lauded single takes (even the manufactured ones) and close-ups serve to heighten each of the gory, savage moments as well as those crucial lighter ones — those shining cracks in this world’s brutality. The same can be said for the sound effects and sparse (yet near perfect in its function) score.
My VHS cover pull-quote: “Watch Leo DiCaprio suffer for the deserved but elusive Oscar that may never grace him with its golden nudity.”
“…but you are only quite a little fellow in a wide world after all.”
As good an ending as one could expect from the overlong, flawed, but — you know what? — still endearing trilogy of films. While it should have been a duology, what happened happened and this is what we have. So let’s all just chill out and hang with Martin Freeman, Ian McKellen, an aggressively digital Billy Connolly and company.
My VHS cover pull-quote: “Lord of the what? Return of the who? Oh, right. Lord of the Rings: Return of the King, the crowning achievement in a trilogy of crowning achievements. Yeah, this isn’t as good as that, but it isn’t terrible and Middle Earth is always a fun place to visit.”
Nick Perilli