In order to continue keeping this site as active as possible while I have not been able to write as many full-length film reviews as I had planned initially, I figured that another solution would have come by in placing my Letterboxd entries starting from the week before here as a placeholder for eventual full-length reviews that are set to come by, if I were able to find the time to write another one. But as is, these are quick thoughts that I figure would be nice to keep afloat so that the site will remain active on a regular basis.
First-time viewings are noted as such. You can follow me on Letterboxd right here.
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When watching the films of Quentin Tarantino, there’s always that energy of wanting to show off his love of cinema on every frame but given the setting of his latest, it could either have been his most self-indulgent effort to date or maybe the love letter he’s been meaning to bring to the screen for a long while too. Once Upon a Time in Hollywood, fittingly titled after Sergio Leone’s Once Upon a Time trilogy, is every bit a blast from the past of the final years of the 1960’s as one could ever expect Quentin Tarantino to make a film about Hollywood in the era to be, but it also might be the director’s most beautifully entertaining film to grace the screen since Inglourious Basterds. If anything else best sums up what makes Once Upon a Time in Hollywood such a delight to watch, you’ll find all of it speaking clearly from the first frame to the last: for it still remains intact with the eagerness on display out of love for the films that have formed everything we’ve loved seeing in Tarantino’s work too. Though I’ve always enjoyed Quentin Tarantino’s work as a whole, I haven’t loved his films as much as I used to as a teen who was getting into movies, but Once Upon a Time in Hollywood reminded me why I’ve always been so captivated by the stories he’s brought to the screen.
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One knows already how predictable the Academy Awards can become after the route of the Golden Globes and the SAG Awards among many more, but in the 90 years that we have seen them moving onward, what they had managed to turn forth was not only one of the strongest lineups in a while but also one of the most pleasantly surprising, knowing where their own habits lie. If there was anything else to be said about what the Academy Awards have in store for us this year, then it only makes this year’s ceremony – unlike the past few at least, worth looking forward to.
Bold indicates my vote for said category.
Underline indicates who I think will win.
To read more about the picks this year in the major categories, click “read more.” Continue reading →
Walking out of David Ayer’s Suicide Squad left such a bitter taste in the mouth, the taste that I was not hoping for in the slightest. I can certainly say without any hesitation that Suicide Squad is indeed better than Zack Snyder’s Man of Steel, but since most things fall under that area, that’s not saying very much unfortunately. Excitement jumped up a bit more after a surprisingly positive reaction towards Batman v Superman: Dawn of Justice, but it seems to be quite a lucky hit now that I come to think of it. I saw potential rising from the idea that David Ayer, a filmmaker with an extremely gritty style could bring a new turn for superhero films, but I don’t even know if I can say what I saw was close to being a David Ayer film. The tagline alone promised the “worst heroes ever” and maybe there was an extent to which it did live up. Continue reading →