“I promise I am not going to break your heart.” To All the Boys: P.S. I Still Love You delivers on that promise and does not disappoint. There are so many aspects of the first hit movie, which debuted on NETFLIX in 2018, that I’ll never forget. Peter Kavinsky’s (played by Noah Centineo) smile and ruggedly handsome good looks that will give you so many young Mark Ruffalo vibes. Lara Jean’s (played by Lana Condor) adorable dimples, relatable inner monologue, and amazing fashion sense. Younger sister, Kitty (played by Anna Carthart) with her quick-witted remarks, annoying little sister behavior, and endearing motivations. These are all aspects in To All the Boys I’ve Loved Before that really made the movie stand out, and you’ll love seeing more of the same in this fun and enjoyable sequel.
Besides the occasional cheesy moment, out-of-character break of the 4th wall, and some rushed pacing, I feel this sequel did a great job of continuing the story. It further develops the characters–showing how teenager’s poor decision-making skills can spiral into some unwanted consequences. The new characters that were introduced also helped support the main plot’s development. From John Ambrose (played by Jordan Fisher), another recipient of one of Lara Jean’s love letters, to Stormy (played by Holland Taylor), an elderly woman living at the Belleview Retirement Home where Lara Jean volunteers. They both helped move the story of this sequel along, and pushed Lara Jean to learn and grow.
Like a good majority of sequels, this one does not beat out the first. It’s missing some of the iconic and symbolic imagery that director Susan Johnson brought to the first one, which I felt was dang near perfect. Essentially, if a romantic comedy can leave me wanting to see more of the love story, I call it a success. In all, To All the Boys: P.S. I Still Love You had me rooting for the characters, holding my cheeks in embarrassment, bopping along to the catchy soundtrack, and falling more in love with Noah Centineo’s and Lana Condor’s acting.
Recommendation: STREAM IT
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By André Hutchens — 2 months ago
It’s extremely rare when you watch an animated movie and forget that you’re watching…an animated movie. It’s extremely rare that an animated movie has a production, story and overall quality that takes you out of a normal animated experience and gives you (to a certain extent) the feel of a live-action film. Thus was my experience while watching Justice League Dark: Apokolips War.
‘Apokolips War‘ is the fifteenth and final film in the current DC Animated Movie Universe (DCAMU), and the direct sequel to Justice League Dark (2017). It debuted on May 5, 2020 as a direct-to-video release by Warner Bros. Animation. The movie was co-directed by Matt Peters and Christina Sotta, and is loosely based on the graphic novel, “The Darkseid War” by Geoff Johns. ‘Apokolips War‘ tells the story of our DC heroes taking on their arch nemesis, Darkseid, on his home planet of Apokolips in an all-out final battle. Unlike many happy-go-lucky superhero movies of today, ‘Apokolips War‘ does not shy away from showing real world consequences to having these god-like beings duke it out, and the inevitable casualties and collateral damage that ensue.
‘Apokolips War‘ is going to have wide appeal to any DC fan. Whether you’re a fan of DC Comics, DC movies, or both, you’ll find a lot to like about this movie. Superhero team-ups are abundant; you’ll see most of your favorite DC characters ranging from the Justice League, to the Teen Titans and the Suicide Squad. With so many characters to juggle in one movie, it can be very challenging finding enough screen time to give to each character, while also not feeling overcrowded and bogged down with too much at once. ‘Apokolips War‘ does well in finding enough screen time for the DC superhero favorites to shine, while also allowing the less popular characters to have their own moments and appeal to their own subset of fans.
As first time directors in the DCAMU, Peters and Sotta do well in guiding the movie along a fairly complex storyline, and doing it in just under 90 minutes. Peters and Sotta deliver a dark, bloody, and sometimes shocking film with this animated feature. With the critical and audience reception being very successful, don’t at all be surprised when Peters and Sotta ultimately find themselves back in the director’s chair for future animated movies.
As much as I enjoyed this movie, there are a couple of things that really bothered me on initial watch—something that Superman said that felt…well, just felt very “un-Superman”-like. Here is the quote:
“I want to make this perfectly clear—we are facing an existential threat to the planet. We can’t wait for Darkseid to make the first move. That could mean the end of us. We have to attack!”Superman in Justice League Dark: Apokolips War (2020).
The notion that Superman is willing and ready to make an offensive attack on his enemy without his enemy attacking first seems to go against everything that Superman stands for. It’s a statement and sentiment that feels hopeless, and one based on fear. Even after Superman presents this plan to the Justice League and the Teen Titans, neither Batman nor Wonder Woman make any objections. The only voices of reason come from Flash, Cyborg and Lex Luthor—yes, THE Lex Luthor—who offered the only other alternative plan opposed to Superman’s. This plot point felt all too convenient, and just too sloppy for my liking. With an extra 10 minutes of movie time, a backstory sufficient enough could have helped to build up to this point.
Lastly (and not to give any major spoilers away) I’ll be very vague with this critique. Time travel has become an oft used plot convenience for many superhero movies today. I would like to see some writers let go of that crutch and really dig deep in giving audiences something more…permanent.
If you’re an animation fan; if you’re a DC fan; if you’re just a fan of superhero movies in general, I definitely think you should give Justice League Dark: Apokolips War a shot. You might find yourself wanting to go back and start at the beginning of the DCAMU. For those of you who are interested in where to start, the following is the DCAMU in order from beginning to end:
- Justice League: The Flashpoint Paradox (2013)
- Justice League: War (2014)
- Son of Batman (2014)
- Justice League: Throne of Atlantis (2015)
- Batman vs. Robin (2015)
- Batman: Bad Blood (2016)
- Justice League vs. Teen Titans (2016)
- Justice League Dark (2017)
- Teen Titans: The Judas Contract (2017)
- Suicide Squad: Hell to Pay (2018)
- The Death of Superman (2018)
- Reign of the Supermen (2019)
- Batman: Hush (2019)
- Wonder Woman: Bloodlines (2019)
- Justice League Dark: Apokolips War (2020)
Recommendation: STREAM ITPost Views: 289
By Parker Johnson — 6 months ago
The first thing that piqued my interest about this movie was the title. And then I learned that it was a French film. But not just any French film, it was an LGBT+ romance. By the time I saw the trailer, I knew that this film needed to be firmly on my radar. Unfortunately, since Cache Valley is relatively small compared to the rest of Utah, the chances of seeing any independent film that wasn’t nominated for Best Picture at the Oscars at our local theater is pretty slim. Thankfully, Broadway Center Theaters (operated by the Salt Lake Film Society) answered my cinephile prayers by showing all the lesser- known indie movies that I could want. I want to give them a huge shoutout for being awesome, and accommodating film buffs like me!
I was not prepared for this two-hour work of art I was about to experience. This movie was so impeccably crafted that when the credits began rolling, you could see my tear-stained face in the reflection of the screen. Normally when I review a movie, I like to get all the things I didn’t like (my quibbles, as I like to call them) out of the way before moving on to the things I thought were well done. Well, (and I can’t believe I’m saying this) I have nothing to report that I didn’t like! This movie was THAT good. So, this entire review is just going to be me gushing about how good this movie was.
Noémie Merlant (who plays Marianne) and Adèle Haenel (who plays Héloïse) are absolutely phenomenal as the two leads. All the acting is spectacular, and the two leads really bring their A-game to this movie. One thing I really appreciate about international and independent cinema is the different approaches they have to the way acting and emotion could be conveyed on screen. This film had the potential to be overly-melodramatic, but it is more meditative and thoughtful. Every facial expression has meaning and adds depth to the characters. I became so focused on what their expressions were saying that the first time that Héloïse smiles, I wanted to cheer! Every desire, every confession of love, every heartbreak is written all over their faces without having to ham-fist it down your popcorn-stuffed throat. And the acting is only enhanced by the cinematography…
There are certain movies where the cinematography is the main standout of the film. Movies like 1917 or Birdman, (or The Unexpected Virtue of Ignorance) where the one-shot technique is the device, or like The Lighthouse, where it was filmed entirely in black and white and on a 1.19:1 aspect ratio. Portrait of a Lady on Fire does not boast of any major achievements or innovations in cinematography. Nevertheless, it is one of the most well-shot movies I have ever seen. Every camera angle and movement is geared toward highlighting the emotion and thoughts of the characters—I hate to use the cliché “every frame a painting,” but that’s what this movie felt like.
The Score (or lack of)
You would think that such a beautiful, intimate movie would have a haunting, sweeping romantic score to go along with it…. Right? I was so engrossed with the movie that it was near the halfway mark when I was shocked to realize that there was no score. Nothing. In fact, there are only two diegetic pieces in the entire film. One is a piece called “Portrait de la jeune fille en feu” (written for this film) and the other is “Concerto No. 2 in G minor, Op. 8, RV 315, ‘Summer’” by Vivaldi from The Four Seasons. Both come at highly emotional significant points in the film, and the lack of any other music (diegetic or non-diegetic) frees and allows the viewer to take in every sound, every gasp, every whisper. By NOT having an intimate score, it allows the movie to feel even more intimate.
The Subtlety and Subtext
Like I said in my commentary about the acting, the film could have really hammed up the melodrama and not be subtle about its messages at all. Thankfully, the dialogue and themes of the film are just as well crafted as the rest of the movie. In an interview with The Guardian, Céline Sciamma (the director of this film) said that that the French found this film not to be erotic because “it lacks flesh.” And really, they are right. Unlike another French lesbian romance film, Blue is the Warmest Color, Portrait of a Lady on Fire contains very few scenes of nudity, and no sex scenes at all. The story is not about the two leads’ sexual relationship, but the very real love and affection they have for each other. I found that to be quite refreshing.
The motive of the myth of Orpheus and Eurydice, and the various interpretations of that myth that the characters present, is also quite fascinating. The idea that Opheus “chose the path of the poet rather than the lover” by turning back to look at Eurydice was a fascinating observation and gave the outcome of the plot of the movie weight and clarity.
One other thing I really enjoyed is actually getting to see Marianne paint. There was no montage where the finished product sprung into view. We spent time watching her sketch, telling Héloïse how to pose and position herself, mix the paint to create differing colors, and so much more. It allowed time for us (and the characters) to really know Marianne and Héloïse, and understand their feelings and motivations.
Portrait of a Lady on Fire is nothing short of a masterpiece. It was crafted as a living portrait of these two women as they fall in love with the complexities and expectations of the society surrounding them and governing their choices. The acting, cinematography, minimal use of music, and the screenwriting were all masterful. It was announced in December that this film was joining the prestigious Criterion Collection and, in my opinion, it is more than worthy of that honor. If you have the privilege of having this film playing in a theater near you, make this movie one of your top priorities.
Recommendation: GO SEE IT!Post Views: 184
By Sam Cooley — 5 months ago
The first image you see in the newest Netflix original movie, Lost Girls, pretty much sets the mood right off the bat: text with a black backdrop saying “An Unsolved American Murder Mystery”… Welp, this should be a great time. For comparison, Zodiac (2007) is one of the greatest crime thrillers of all time, and it ends in perhaps a suggestive yet ambiguous fashion. But even then, that film knew not to plaster the lack of resolution from the very top. It had plenty of stunning cast members, superb storytelling and dialogue, and relentless tension. The story itself constituted a globally renowned case that struck fear and uncertainty to everyone in California. At the very least it had more than enough entertaining authenticity of a bygone decade. Between all of this, it never had me looking at the clock or anxious that I wouldn’t get all the answers. Lost Girls just didn’t have any of these elements in enough abundance to make it stand out amongst the sea of Netflix Original-forgettables. That isn’t to say it’s bad! Trust me, there are enough full-blown Netflix bombs to have their own category.
This movie did feature decent performances from Amy Ryan (The Office) and Thomasin McKenzie (Leave No Trace, Jojo Rabbit). The skillful cinematography was as dark and harrowing as the story itself, and there was some meaningful dialogue on social classes, police corruption (or just incompetence), and America’s ambivalence toward a victim that isn’t stain-free—that alone makes me think it deserves the semi-decent reviews it’s gotten so far. But at the same time, the movie struggles with poor acting from many of the smaller roles. It’s a story that just doesn’t have quite enough meat to be the engaging crime thriller we need it to be—or at least enough to prevent us from counting the seconds till we can have this checked off and then watch something newly added to Netflix, like Jerry Maguire or Pan’s Labyrinth (WOULD RECOMMEND). During a week as bleak and uncertain as this, who needs a movie this bleak and uncertain?
Recommendation: SKIP ITPost Views: 296