Tag / 2022

by Jaime Rebanal

‘The Fabelmans’ TIFF Review: Steven Spielberg’s Bittersweet Ode to the Magic of Movies

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Over his long and incredibly prolific career, Steven Spielberg shows yet another side to his own filmmaking that only reaffirms his status as one of the greatest working American filmmakers. To a filmmaker like Steven Spielberg, merely watching the movies alone isn’t a magical experience, but the building blocks for making them are just as magical – and have shaped an entire world for him. But the greatest thrill about watching Spielberg taking his audience to his own childhood is that for those of us who have been watching his films for so long, he’s showing us where everything we loved about his works has come about, in a work that’s clearly an extension of himself in The Fabelmans.

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by Jaime Rebanal

‘Decision to Leave’ TIFF Review: A Seductive, Erotic Mind Game from Park Chan-wook

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No one makes thrillers like Park Chan-wook does, whether you’re watching a film like Oldboy, Lady Vengeance, or The Handmaiden, they always feel like there’s much more going on beyond the usual mystery at hand. This is where now, with Decision to Leave, Park Chan-wook goes forth with making a film clearly echoing the films of Alfred Hitchcock and the like, and he shows himself to be the closest thing we have to a modern-day equivalent. Like The Handmaiden, it’s very evidently romantic, but also just deeply twisted in ways that tap into the darkest desires of those around you, to the point that the central mystery isn’t the entire thrill as much as it is the whole world that Park builds to surround it.

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by Jaime Rebanal

‘The Whale’ TIFF Review: A Shattering Comeback for Brendan Fraser

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When you look at the premise for a film like The Whale, one can only imagine how this premise could be difficult to pull off successfully. In the hands of a filmmaker like Darren Aronofsky, much suspicions could be raised, but he manages to pull off what might be his most hopeful film thus far. Perhaps that’s not to say he doesn’t find himself potentially dragging his viewers back into a territory of simple misery porn when the central focus is Brendan Fraser’s character and his deathly obesity, yet the case being presented is far more thoughtful. And like Requiem for a Dream was for many, The Whale can be tough – but when Darren Aronofsky is at his best, he shows himself to be a wholly thoughtful filmmaker. This is where I find The Whale lands.

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by Jaime Rebanal

‘Triangle of Sadness’ TIFF Review: Palme d’Or Winning Satire Comes Packaged Without Filter

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Ruben Östlund wins the Palme d’Or at Cannes again, following his first win with 2017’s The Square – and he certainly hasn’t gotten any less vicious ever since. With Triangle of Sadness, Östlund goes without being filtered, his satire feeling like it’s reached a new height, showing the lifestyles of the rich at their most vulnerable. It’s only the least of where all the riotously funny moments from Triangle of Sadness come about, but watching everything come together is where one could only get the feeling that it’s only playing out like a time bomb and as the audience, you’re waiting for everything to explode at some point or another. And the moment the explosion hits, it’s hard to look away from the chaos.

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by Jaime Rebanal

‘Bros’ TIFF Review: Baby Steps First, but a Nice Leap for Mainstream Queer Representation

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Bros is a romantic comedy like most others you’ve seen in the past few decades, but what sets itself apart comes from how this is the first film released by a major studio to feature an almost entirely LGBTQ+ cast for a wide theatrical release. This is the one aspect about Bros that gets touted most, especially by its director Nicholas Stoller and co-writer/star Billy Eichner, but to a certain point you can clearly tell that this is something getting to Eichner’s own head. Yet there’s still much to love about how Eichner and company care about how they want this film to provide a voice for gay viewers within mainstream film, and on that end, Bros is very cute all around.

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by austinshinn

Beavis and Butt-Head Do The Universe Review: As Much Effort As The Characters Give

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I own the complete DVD set of Beavis and Butt-Head. I bring that up at the start of this review to stress this is not a review coming from the perspective of a past tense fan who only remembers the show. No, I watch it frequently as an adult. I love the show’s darkly nihilistic look at people who never had a chance and who you start to think don’t deserve one. There’s a grit and sleaze to the animation. And of course the fantastic 1996 film looms large for me, a razor sharp parody.

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by Jaime Rebanal

‘RRR’ Review: Radical, Revolutionary, and it comes highly Recommended

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Rise, Roar, Revolt: these are the three R’s that make up the acronymous title of S. S. Rajamouli’s RRR, a Telugu blockbuster now catching the eyes of viewers in the west. As the film made waves around said viewers, it’s hard to go ignore how people have been talking about the film compared to western blockbusters: but that also shuts out talking of this Tollywood (not Bollywood!) film on its own terms, where it’s just a great time all around. I certainly am not the first to admit my experience with Indian cinema happens to be very limited, but nonetheless I can’t help but be taken aback by the scale of RRR.

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by Jaime Rebanal

‘The Northman’ Review: Valhalla Arises in Robert Eggers’s New Epic

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The third feature film of writer-director Robert Eggers isn’t a horror film much like The Witch or The Lighthouse were, but the way in which Eggers brings you into his worlds whether it be through the usage of old age English or the elaborate sets – when considering the historical settings of his films, is nothing short of impressive. It was easy enough to see that from The Lighthouse onward, Eggers certainly would have found himself growing to become more ambitious as a filmmaker and it’s perhaps best reflected by what you’re seeing in The Northman, which may just as well be his most visually stunning film to date. Yet to Eggers, it’s not simply about mere aesthetic, it’s all about transporting the audience back through time, which I believe he succeeds at beautifully in here.

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by Jaime Rebanal

‘Chip ‘n Dale: Rescue Rangers’ Review: Supposed Riff on Reboots Too Self-Serious for Its Own Good

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Amidst Disney’s own trend of live-action remakes of their most popular live action films, surely enough it took a while before they decided to go ahead and catch up with rebooting one of their own animated series. With director Akiva Schaffer taking the helm at bringing Disney’s beloved chipmunks to the screen to a completely new generation of viewers, what he brings out with Chip ‘n Dale: Rescue Rangers seems to be born out of a parody for how they’ve continuously seen their animated fare as of late – but even knowing that this is still under Disney’s own noses, they can’t fully reach the levels of lampooning that you know the material at hand would be opening themselves up to.

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by Jaime Rebanal

‘Everything Everywhere All at Once’ Review: So Much Said, So Little Time

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The directing duo Daniels (Dan Kwan and Daniel Scheinert) make their second feature film together with Everything Everywhere All at Once, whose title may just as well be an apt descriptor for what the viewers can expect themselves to experience from watching it. In fact, a film like Everything Everywhere All at Once seems to try and reach out as many people, going from those who were fascinated by the concept of the multiverse to film lovers, and maybe even to the inner child in most of us, for the ride that’s provided goes through most facets of life, from the happy to the mundane, while being thoughtful and ever so frantic. But underneath all of that, there’s something so much sweeter. If anything, it best states the film as a labour of love, all in a package that’s only set to overflow.

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