'Solo: A Star Wars Story' review - Silver Screen Beat
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‘Solo: A Star Wars Story’ review: Ron Howard delivers a solidly entertaining galactic heist movie

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Solo: A Star Wars Story
LUCASFILM LTD.

Despite the loss of original co-directors Phil Lord and Christopher Miller due to so-called “creative differences,” rumors of Lucasfilm ushering in an emergency acting coach to help star Alden Ehrenreich “more convincingly channel [Harrison] Ford’s swashbuckling effect” in the original Star Wars trilogy, and numerous other reports of a big-budget Hollywood production gone-to-hell, Solo: A Star Wars Story turned out pretty well, for the most part.

Indeed, Solo begins just like any other installment in this long-running intergalactic franchise with a static blue text that reads, “A long time ago in a galaxy far, far away,” followed by an ellipsis with an extra dot on the end, of course. However, similarly to 2016’s stand-alone Star Wars hit Rogue One: A Star Wars Story, the movie is not introduced by John Williams rousing, iconic theme song, nor are we given a traditional opening crawl.

When we first meet young Han (Ehrenreich), it’s on his home planet of Corellia, where he and his companion Qi’Ra (Emilia Clarke) are like a futuristic Bonnie and Clyde, doing odd jobs for a notorious gang headed up by the reptilian-looking crime boss Lady Proxima (voiced by Linda Hunt). Little does Proxima and her gang know, though, that Han and Qi’Ra have hatched a plan to leave Coriella once and for all.

Oh, and little do Han and Qi’Ra know that their plan to escape Coriella would run amok, leading Han to a dangerous life of an Imperial mudtrooper and, Qi’Ra, well, we don’t really know how she ends up where she does. But Han’s decision to fight for the Empire ultimately pays off as it leads him not only to his two-centuries-old Wookiee pal Chewbacca (Joonas Suotamo), but also a little gang of career criminals comprised of Beckett (Woody Harrelson), Val (Thandie Newton), and Rio Durant (voiced by Jon Favreau) that will unexpectedly allow him to cross paths with Qi’Ra once again.

While it would’ve been exciting to see what sort of fun, comedic flare Lord and Miller would’ve brought to the table with Solo, veteran director Ron Howard, who reportedly re-shot 70% of what the two previous directors had already done, works with Lawrence and Jonathan Kasdan’s script just fine. Perhaps Howard plays things just a little too safe, not bringing anything particularly new or exciting to this stand-alone story, but he handles the material just fine.

Ehrenreich is genuinely outstanding as the title character, flawlessly bringing young Han to life in a way that is his own, and yet he somehow still manages to stay true to Ford’s iconic scoundrel we all know and love from the original trilogy. Harrelson’s Beckett is also wonderful, bringing a certain sense of charm, wit, humor, and excitement with him wherever he goes. Clarke is great too, and by the third act, you’ll constantly be questioning Qi’Ra’s true intentions.

But it’s Donald Glover’s smooth, charismatic Lando Calrissian that really stands out in Solo, and it’s a shame that he isn’t provided with more screen time than he gets. When Lando is on screen, though, it’s a real treat, especially when he’s with his co-pilot, L3-37 (voiced by Pheobe Waller-Bridge), a self-made droid assembled from astromech and protocol parts. Their chemistry is impeccable and always delightful to watch—maybe even more so than Han and Chewie’s.

There’s also a lot to admire about Solo from a visual perspective, whether it’s Bradford Young’s gorgeous lighting and cinematography, Neil Lamont’s outstanding production design, or Dave Crossman and Glyn Dillon’s stylish costumes, especially when it comes to Lando and his many colorful capes. Even if you can’t get invested in the story, there’s no denying that Solo is one hell of a dazzling, visual feast.

Fans will undoubtedly be divided when it comes to Solo: A Star Wars Story, much like they were when Disney released Rian Johnson’s sequel Star Wars: The Last Jedi last December, and it’s easy to see why. Solo just isn’t a movie for everyone, and that’s OK. But there’s certainly enough space-based heist shenanigans and fan service to please, at the very least, even the most casual of Star Wars fans.

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‘Aquaman’ review: James Wan manages to deliver a satisfying underwater superhero origin story

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Aquaman
WARNER BROS.

Well, it appears that audiences will be forced to find another superhero to make the butt of a joke.

James Wan‘s Aquaman is a spectacular comic book film that proves itself a leap in the right direction for the DC Extended Universe. This incredibly well-crafted underwater adventure creates a spectacular world that truly has no match in visual delight, making it one of the most vibrant and colorful stories in the DC film series yet that demands to be seen in theaters. Flawlessly traversing genres and providing a little bit of something for everyone, Wan has given audiences the perfect comic book experience.

Aquaman is the story of Arthur Curry (Jason Momoa), the half-bred Prince of Atlantis, born to a surface-dwelling lighthouse keeper named Tom (Temuera Morrison) and the queen herself, Atlanna (Nicole Kidman). Arthur is raised knowing about his Atlantean heritage, but not aware that his half-brother Orm (Patrick Wilson) has been declared king in his absence. When Princess Mera (Amber Heard) seeks out Arthur to stop Orm from declaring war on the surface world, Arthur must reluctantly challenge him to claim his rightful throne as the king that the seven seas needs.

The pure passion for a character that was seen in Patty Jenkins’ direction of Wonder Woman in 2017 is similarly seen in how James Wan handled Aquaman. Wan embraces the fact that this fish-talking superhero has been a joke for decades, but instead of taking an unnecessarily dark look at this hero’s origin story, he has boundless fun with its potential. This film is the splash of creativity and liveliness that was desperately needed in the midst of audience’s other favorite heroes going through some rough times after a certain snap of the fingers. Where Wan exceeds most, however, is his ability to take this story in so many different directions without making it appear sloppy. It is quite difficult to place a genre on this movie, as it seamlessly transitions from science-fiction to comedy to horror to romance and everything in between without missing a beat. Throughout the film, Wan seems to take inspiration from his own experience in horror, as well as iconic franchises like Star Wars, Indiana Jones, and Lord of the Rings, just to name a few, while blending them all together beautifully.

Comic book purists will be very satisfied with this film as well, as Wan has certainly done his research on that front. Aquaman is a perfect culmination of the Aquaman mythos that has been constantly built upon since his first appearance in 1941. Paired with an undeniably catchy, synth-pop soundtrack, the balance between this character’s original story and its modernity for the current scene in cinema is fantastic. Since the character of Aquaman was introduced in 2016’s Batman v Superman: Dawn of Justice and brought back for last year’s Justice League, he has evolved to truly make his own film the best entry into this shared universe. There still exists a bit of Zack Snyder’s signature polish in this movie as he is an executive producer, but not much of his directorial influence is seen, which is undoubtedly for the best. Wan was the greatest possible choice to helm this character’s wild solo film in its vividly royal, underwater setting, making for a picture perfect fantasy adventure.

David Leslie Johnson-McGoldrick and Will Beall’s script is the one unfortunate aspect of this film that fails to deliver the same amount of epic quality. This type of story has been told before and much of the dialogue throughout this film was consistently weak. While effective, the majority of this script is full of tropes and one-liners that can venture into painful and cheesy screenwriting territory. The surprising benefit of this, however, is how self-aware the writing is. These two screenwriters knew that they were writing a film about one of the most ridiculed heroes in pop culture history and because of that, the story does not take itself too seriously. This film knows that it doesn’t have to pretend to be something that it’s not and it has no need to try either. Knowing there is nothing to lose means that the writers are simply there to please moviegoers with a purely entertaining story. Despite the generic writing, Momoa, Heard, and the rest of the ensemble have an absolute blast with their characters. Each actor and actress emits passion and energy through their performances and it is obvious that they put so much care and effort into creating something special.

This film is wonderfully done in all of its technical parts as well. The colors and visuals that entranced the world of the undersea kingdoms were simply stunning as visual effects supervisor Kelvin McIlwain has a tremendous eye for not just beauty, but fantasy world-building too. While DC’s previous films have had quite a lack of color and even Marvel films stick to a certain grading, this movie breaks that formula in the most appealing ways possible. The fight choreography, coordinated by Jon Valera, was very exciting and brilliantly utilized the different powers and abilities that the various characters had. These action sequences were also aided by the very fluid cinematography from Don Burgess; his use of wide shots and lots of twisting of the camera created some mesmerizing scenes. Regardless of how much CGI was used throughout this movie, there were also many fantastic shots that aimed to establish the absolutely wild tone of whatever genre Wan was switching to next.

Aquaman is an unapologetically fun thrill ride that is the epitome of a great adventure movie. James Wan holds nothing back in terms of gorgeous visuals and relentless entertainment value and the entire cast and crew make this underrated superhero one of the best fantasy films ever. There’s also a scene where an octopus plays the drums, so make of that what you will.

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‘Roma’ review: Alfonso Cuarón’s black-and-white family drama is nothing short of a masterpiece

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Roma Netflix
CARLOS SOMONTE/NETFLIX

As someone who has long championed Alfonso Cuarón‘s 2006 dystopian thriller Children of Men as being the best film in the Oscar-winning Mexican filmmaker’s career, I was astonished when I slowly began to realize about halfway through watching Roma, Cuarón’s latest offering, that my opinion about Children of Men was no longer the same.

Roma, Cuarón’s semi-autobiographical black-and-white love letter to his hometown of Mexico City and the women who raised him, is arguably his best work to date for an assortment of different reasons, mostly because it’s a stunning achievement not only in Cuarón’s personal filmography, but rather cinema as a whole.

Set in the early 1970s in the bustling, upper-middle-class neighborhood of Colonia Roma, Cuarón’s most personal project to date follows the day-to-day life of Cleo (played extraordinarily by newcomer Yalitza Aparicio), who is based on Cuarón’s actual real-life nanny, Liboria “Libo” Rodríguez, to whom the film is dedicated to.

Cleo is relatively quiet and mostly keeps to herself as she does chores around the house of the family she works for like picking up laundry, cleaning up dog poop, and making sure all of the bedrooms in the house are tidy. She even puts the children to bed late at night and is there to wake them up bright and early in the morning when it’s time to start getting ready for school.

In her off hours, Cleo enjoys gossiping and reminiscing with Adela (Nancy Garcia), the family’s cook, and going to the local movie theater with Fermin (Jorge Antonio Guerrero), a martial-arts enthusiast with whom Cleo shares somewhat of a distant relationship with—a relationship that will eventually set them even further apart as the film goes on.

It’s somewhat of a shame that not every person will have the pleasure of experiencing Roma, which is currently playing in theaters in select cities before launching globally on Netflix later this month, the same way I did, in a theater, to fully absorb Cuarón’s masterpiece for the remarkable piece of work that is truly is.

Cuarón’s exquisite 65mm black-and-white photography beautifully captures every detail that comes into frame, making excellent use of long takes and wide shots, while Cuarón’s equally impressive editing allows the story to unfold with an incredible amount of patience, yet it does so with efficiency, never letting the film lag for even a second.

There’s also something to be said about Skip Lievsay’s marvelously complex sound design, whether it’s the sound of a splash of water hitting the ground or gunshots ringing out as a student protest turns deadly, and Eugenio Caballero’s meticulous production design, which utilizes sets that are so simple, yet so intricate at the same time.

A film that is packed with an overwhelming amount of beauty, emotion, and intimacy, Roma is a mighty impressive feat on the part of Cuarón and evidently sets forth a new standard when it comes to this type of personal filmmaking. Or perhaps just filmmaking in general.

Roma’s limited theatrical run is currently ongoing in select cities including New York, Los Angeles, and London. Find out if it’s playing in your city here. The film will launch globally on Netflix on December 14.

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‘The Favourite’ review: Yorgos Lanthimos’ oddball period piece runs out of steam far too soon

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The Favourite BAFTA
FOX SEARCHLIGHT

A year after the release of his brutal, absurdist dark family drama The Killing of a Sacred Deer, Greek auteur Yorgos Lanthimos is back again with The Favourite, an unsurprisingly bizarre, rather over-the-top glimpse into the life of England’s least known ruler, Queen Anne, and the lesbian love triangle at the center of her life in the early 18th century.

The story of The Favourite is actually grounded in some fact, if you can believe it, and follows an obese, gout-ridden, emotionally unstable Queen Anne (Olivia Colman) as she struggles to help guide the country of England through its ongoing war with France from inside the confines of her Royal Palace, a place where she spends most of her time holed up in her bedroom.

Oddly enough, though, for some who’s a Queen and ruler of her nation, Anne is deeply insecure and highly susceptible to manipulation, and so she yearns for the love, attention, and guidance of Lady Sarah Churchill (Rachel Weisz), her life-long friend, political advisor, secret lover, and one of few people who know how to keep her in check.

But when Sarah’s younger, mud-covered peasant of a cousin Abigail (Emma Stone) comes around the palace looking for a job, before eventually becoming a royal herself, things begin to take an absolute turn for the worst as the two battle it out for Anne’s love—even if it means lying to and taking advantage of the Queen herself.

While there’s certainly something to be said about Colman, Weisz, and Stone, who are all beyond extraordinary in their respective roles and deliver what are undoubtedly some of the best performances of the year, I couldn’t help but feel somewhat annoyed by some of The Favourite‘s wild antics and extreme nature.

By the middle of the second act, it felt as though the once witty, profanity-laden jokes had grown old, while the story itself had quickly begun to lose the momentum it so excellently was able to keep up during the first half of the film, leading us into a ridiculously abrupt final act, which features an ending that felt more like a cop-out than anything else.

Nonetheless, though, I still very much admire and respect The Favourite‘s commitment to being an oddball period piece. The posh costume and production designs are downright stunning, to say the least, and the soundtrack, which includes classical compositions from the likes of Handel and Bach, fits it all just so well.

Not to mention there’s Irish cinematographer Robbie Ryan’s dark, gritty 35mm photography, which captures every moment in the film in such incredible fashion. Perhaps he utilized the fisheye lenses one too many times for my liking but the rest of his camerawork is so flawlessly executed that it’s an issue I’m willing to let slide.

Despite its flaws, many of which I believe to be more the fault of Lanthimos than it is of screenwriters Deborah Davis and Tony McNamara, The Favourite is still an exceptional piece of work and will undoubtedly continue to win over the support of awards voters as the Oscar race rolls on thanks in part to its three leading ladies.

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