Raúl Alejandro Mendoza is a visually impaired Chicano filmmaker based out of Houston, Texas and creator of The Nerd Corps. A cinephile and artist, Raúl loves the cinematic arts and discussing them whenever he has a chance.
Star Wars: The Rise of Skywalker is a solid closing to a 42-year story that must sacrifice its thematic choices in the process.
The newest and final installment in the Skywalker story has arrived and with it brings an array of controversy that is not foreign to Star Wars. Rey, Finn, Poe, Leia, and the whole gang are back for one final mission to bring down the first order in the new film directed by J.J. Abrams. The final story in the new trilogy that started in 2015 with Abram’s The Force Awakens and continued by Rían Johnson’s 2017 movie, The Last Jedi was met with a mixed critical reception and has once again left the fandom of Star Wars polarized.
There is a lot of things that The Rise of Skywalker does right, but the picture is far from being perfect. The first twenty minutes of the film are very rushed and feel out of place with the overall film. They feel like an epilogue to what could have been Abrams’ Episode VIII. Once the action and story really start to flesh itself out, you are once again reminded about what makes Star Wars a cultural phenomenon.
The movie has heart, laughs, and tear-jerking moments that made this man transport back to age 6 when I fell in love with a galaxy far far away. Sadly, there are character choices and some dialogue that does not land as well I thought it could have that makes this my least favorite in the new trilogy. Underneath the chaos of a movie that is just good, there is a movie that can grow on you with multiple rewatches.
Go watch The Rise of Skywalker in theaters and may the force be with you, always.
Director Noah Baumbach crafts a meaningful emotional piece of art that just cannot stick the landing even with its incredible performances.
This story of the divorce of a couple trying to get past a troublesome relationship between each other is written and directed by Noah Baumbach. The film stars Adam Driver as Charlie Barber a famous theater director in New York City who is undergoing a divorce alongside his soon to be ex wife Nicole Barber who is building her acting career in Los Angeles portrayed by Scarlett Johansson. The picture also includes an incredible performance by Laura Dean as she plays the lawyer helping Nicole Barber.
I am not one that says I have high expectations for movies. I think movies are consumed best when we enter the theater without any notions of what we want the movie to give us. That’s how I went into Marriage Story but came out not entirely satisfied.
The film is incredibly performed by Johansson and Driver, and if you were to just rely on the performances itself than this is as perfect as it gets. The plot feels a bit rushed especially for it pretty long runtime. There are some odd editing choices that made the movie feel a little out of place. It also feels a bit lopsided, for example I felt that it was a film majorly concentrating on Charlie and not Nicole, which could’ve been improved by adding a bit more depth to her character.
Marriage Story is one of my favorite movies of this year but has been a difficult one to put up against other incredible releases this year like Parasite, The Farewell, and Honey Boy. Noah Baumbach’s picture asks us to do probably one of the hardest things us humans can do and that is to feel. I recommend you all give this movie a chance like I did, and not listen to people on the internet posting a scene from the movie passing judgment without context.
Watch Marriage Story on Netflix today or if you can catch it in a theater near you still definitely do that!
Parasite is Bong Joon-ho’s masterpiece of 2019 that takes a simple family drama and creates a layered thriller about classism.
Parasite, the 2019 Palme d’Or winner at the Cannes Film Festival directed by Bong Joon-ho and written by him and Han Jin-wan. The film follows the family of father Kim Ki-taek, mother Chung-sook, son Ki-woo, and daughter Ki-jeong as they infiltrate the Park family house to gain jobs to hopefully pull themselves out of their impoverished life.
This is not the first time that Bong Joon-ho has brought a hit to the United States. Bong Joon-ho directed 2006’s The Host, 2013’s Snowpiercer, and 2017’s Okja that was released on Netflix. Parasite won the grand prize at the Cannes Film Festival this year, and since then would come to the US to sprout some interesting conversations. As we approach The Academy Awards those conversation have begun to circle around the film getting a Best Picture nomination.
Bong Joon-ho’s Parasite is a tour de force of a film, and is one that weeks after watching is still lingering throughout my head. There has been a small amount of movies this year that have done the same like The Farewell, The Lighthouse, and Honey Boy. The film is masterfully crafted by the cast and crew throughout its runtime of two hours and twelve minutes. The story grips you and absolutely never lets you go even after its incredibly executed climax that left me speechless. The theme of classism is profoundly present throughout the picture and creates an interesting theme to talk even after the credits roll on the silver screen.
Director Bong Joon-ho has truly created one of or possibly the best movie of 2019. Parasite is a film that we will be including in discussions when we speak on the medium of filmmaking for years after 2019. Watch Parasite at your local theater that is showing it before this year ends!
1917 is an incredibly crafted war film that offers nothing past the surface of its impeccable technical merits.
1917 is the new World War I film directed by Sam Mendes written by him and Krysty Wilson-Cairns. The picture stars George MacKay and Dean-Charles Chapman as two soldiers who journey to relay a message to hold off an ambush at the frontlines during the height of The Great War. Roger E. Deakins also reunites with Sam Mandes as cinematographer since 2012’s Skyfall.
The film is masterfully crafted, the sound design is exquisite, production design is superb, and of course the cinematography by Deakins is absolutely jaw dropping amazing. It feels like a single one take except for one instance in the movie but other than that it truly flowed like Birdman, or The Unexpected Virtue of Ignorance to recount another film that has done the same. The sound design and mixing stood out to me the most, the explosives, reloading of the rifles, and planes coming in truly make you feel like you are right there on the war front of the picture.
Sadly, that is all that the movie could offer. The technical characteristics feel like they are the one and only important part of this movie throughout its very dragged out paced runtime. I never felt captivated or interested by the story because I felt as if the story was of little importance. 1917 just feels like there’s all these incredible chances for storytelling but it never makes it past the surface. Don’t get me wrong, this is an anxiety inducing movie and really does work if you want to see the isolating brutality of war. I was just disappointed that the story was not executed as well as it could have been.
I am still very interested to see what else Sam Mendes does in his next movie. Make sure to watch 1917 when it launches in the United States on December 25th, 2019 and January 10th, 2020 in the United Kingdom.
Martin Scorsese comes back with a bonafide mobster picture starring Robert De Niro, Joe Pesci, and Al Pacino to make one of the best films in his filmography.
Martin Scorsese is back with his newest picture since 2016’s Silence. The three hour and 30 minute tour de force film from Scorsese stars Robert De Niro, Al Pacino, and Joe Pesci (yes, you read that right) in this mobster epic. The film is an adaptation of the 2004 book, “I Heard You Paint Houses.” It is no secret that this has been a passion project of Scorsese, and in 2019 it has landed on Netflix with a limited theatrical release in time for Oscar consideration.
Martin Scorsese directs an incredible story about Jimmy Hoffa (Al Pacino) and the mobster Russel Bufalino (Joe Pesci) as they employ Frank Sheeran (Robert De Niro) as a mafia hitman. It is easy to look at this as just another mobster movie from Scorsese, but this was one of his most different takes on the genre. The Irishman makes for a very somber, melancholic, and epic story to add to this incredible year of movies.
Robert De Niro’s aging mobster is an incredible performance that really adds weight and depth to the atmosphere of the picture. Joe Pesci plays a very cool, calm and collected mobster which is a little out of place from what we are used to seeing from him. Either way Pesci does an incredible job with Russel Bufalino that makes the list of my favorite performances this year. Of courser, Al Pacino is on a roll with playing Jimmy Hoffa and gives a once in a lifetime performance. The fact that this is the first time that these three are working together with Scorsese makes me sad that this might be the one and only time this gets to happen.
Martin Scorsese adds a lot of depth to this story about isolation and truly taking secrets to the grave. It’s one of his most intimately crafted films that is beautiful to look at. The editing is once again another achievement for Thelma Schoonmaker that is hopefully to be awarded during the Oscars next year. The length of the film never weighs on you as the story is always hitting every beat to make this story worth watching. This might not be on the level of Goodfellas, Taxi Driver, or Raging Bull but it is a Scorsese beast of its own that blew me away.
Make sure to watch The Irishman in theaters or on Netflix.