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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This year was a real game changer for a person like myself. To kick things off, it was the first year in which I was able to attend TIFF as a press member rather than as any other audience member. It was a defining moment for myself, though I don’t want to brag a little too much about what happened there. It was just a good year for cinema in general. That’s all I can really say, and I want to bring more attention to the many films that I absolutely loved this year – and so many of them came around this year and so forth. We’re already nearing the end of a decade, and through the good and the bad, the cinema has always been able to provide nothing but the greatest pleasures through and through. Although as we look through the films that have come to define 2018 as a whole, there were many surprises that came along the way just as there were disappointments – all of which came in between the very best and the worst in cinema through the year. So without further ado, let us begin. Continue reading →
If there’s anything to be said about Barry Jenkins, his track record is already setting himself up to become one of this generation’s best working filmmakers after his Academy Award-winning second film Moonlight, so how does he manage to follow up with his third film? Adapting the words of James Baldwin onto the screen shouldn’t seem like such an easy task for just about any writer-director, yet Barry Jenkins shows himself to be the perfect choice with relative ease. But as every small detail starts to come together in order to form what Barry Jenkins manages to bring to life in his own adaptation of If Beale Street Could Talk, you already start to feel that this film was so clearly made out of love for the text of Baldwin. This is a romance story on the surface, but Jenkins also takes that template to make something more meditative, just as Baldwin’s own social critiques would have inspired from American society back in his time – for watching this film we only find his message is still alive. There’s no better way to put how fully realized an effort like this is, and for all I know it may very well be one of the decade’s most beautiful films.
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