Boyhood (2014) - Movie Review

Afterschool daydreaming. Mom says to pay more attention in class. Rock collections. Crumpled homework. Watching Pokemon on TV. Being six years old and having that friend that introduces you to 'boobs'. Gameboys. That terrible experience of bowling without bumpers. Harry Potter. Star Wars. Camping. Petty arguments with a sibling. Bunk beds. Wii boxing. Awkward middle school conversations with girls (actually just awkward middle school). Supporting Obama in 2008. Parties. The 'talk'. 'Photography. High school football games. Are these my experiences, or Mason's?

Answer: both. For three hours, I watched most of my life's experiences flow back to me through Ellar Coltrane's Mason, a cute young boy that grows into a bold young man. From the opening shot of drifting clouds to a conclusion in the canyons, Boyhood shuttled me through a life so familiar and fantastic, once the credits rolled, I knew with teary eyes that this movie was a masterpiece for the books.

Alongside the fantastic Ellar Coltrane is Patricia Arquette as Mason's flawed but strong mother, Ethan Hawke as his fun-loving father, and the director's daughter Lorelei Linklater as Mason's endearing older sister. All four parts are played like people you would know, and all of it is superb. The movie should've been titled Boyhood 3D, because the main people involved are so complex and multi-layered, and yes, three-dimensional.

Is the movie perfect? In my eyes, it is. No, it's not perfect perfect. It's a little overlong and some supporting characters weave in and out aimlessly (especially Mason's friends), but the movie is like someone you know and love: imperfect, but their imperfections make them quite the opposite. It's not really a movie, but a compilation of memories.

Let's talk a little about me. I'm fifteen years old, and most of the movie was stuff I remembered so well about my life. What is ahead of me in life, I have no idea. I'm afraid. But watching Boyhood showed me what to expect, how to live in the moment. Mason was an excellent tour guide to the future. I love the movie all the more for it.

Richard Linklater, director of last year's Before Midnight, has made the sum of his career, possibly the sum of cinema history.  If you are a parent with children or a child with parents, or none of the above, Boyhood is a movie to remind you of what you once were, and how much you changed, and how that change has changed others. When Boyhood unfolds, you will laugh, you will cry, and you will love.

Also, the soundtrack, featuring Gnarls Barkley, Phoenix, The Black Keys, Vampire Weekend, and Soulja Boy is delightful.

The Grand Budapest Hotel (2014)- Movie Review by Sean Wu

What a joy! It's only March, but The Grand Budapest Hotel is one of the most wholesome, funniest, and overall best movies of the year, a lock for my top ten. The film follows the escapades of the most valued concierge working at the Grand Budapest Hotel (the place, not the movie,), M. Gustave H., played in sublime fashion by the usually dramatic Ralph Finnes. In the process of training new lobby boy Zero, he is framed for murdering the extremely old and extremely wealthy Madame D., and goes on the run. 

This is director Wes Anderson's eighth film, and easily his best. He is regarded for his instantly recognizable style, a double-edged sword. He has the acclaim of cinephiles and hipsters around the world, but has the increased potential of retracing his own footsteps, doing what he has done in the past. Based on the trailer, it appeared Wes would rehash the subplot of kids on the run, a la Moonrise Kingdom. I say with great relief that his is Anderson's most original film to date, a murder-mystery with his largest cast and most gratuitous violence. There is a prison break scene in the movie that had me trembling in my seat, out of utter hilarity and superb suspense. From 1996 to now, Wes Anderson has evolved so much as a director, one that tried to be great by being unconventional, but is now great. It's utterly unique, a joy to watch.

Now that 'kids on the run' has been mentioned, it goes to show how dense of a plot the movie has. There are many stars in the movie, enough to make a new constellation, and many of them are underutilized, like the French maid Clotilde, played by Lea Seydoux, or the Author, played by Tom Wilkinson. It sounds horrible for a director to have so many people with unequal representation, but when you've got Ralph Finnes doing offbeat comedy, who needs anything else? I sure didn't.

Newcomer Tony Revolori is Zero, and he holds his own admirably. The film gives Adrien Brody his best part in a long time as Madame D.'s profane and spoiled descendant, and Jeff Goldblum is impossible funny as the oddly-speaking hotel curator. I can recycle sentences all day talking about how fun and great and perfect the movie is, but instead you have to see it for yourself. It's as sweet as a Mendl's pastry and as masterful as the painting 'Boy with Apple'.

Note: This is Wes Anderson's most emotional movie to date. It came as a surprise to have this goofy action comedy tug on the heartstrings, utilizing sentimentality in the best way possible. It's amazing that this movie was not released last year, for it would have been number three on my top ten and a definite Best Picture nominee. I hope there's Oscar glory for Wes and company.

Noah (2014)- Movie Review by Sean Wu

I'm going to be honest, I was really tempted to walk out of this movie around the forty minute mark. I thought, has Darren Aronofsky gone sentimental? At that point, the film was a string of scenes, nothing inherently complete.

Noah is not a perfect movie by any means, but when the ark hits the water, sh*t hits the fan in the best way possible. It's thrilling to see Russell Crowe command the screen, delivering power not seen since 2000's Gladiator. And with the film being PG-13, it's amazing how gore, guts, and overall grim atmosphere Aronofsky can shove in two-and-a-quarter hours.

Do you read the Bible? Are you religious? Both questions are irrelevant, because you must surely know the story of Noah's ark and the great flood. Writers Aronofsky and Ari Handel appear to have been very thorough when writing the film, digging through the Old Testament like ark-eologists (haha). Their creativity is superb, but when they try their hands at poetry, it falters. It tries hard to be like John Ridley's script for 12 Years a Slave, but comes off like Terrence Malick, without the improvised feelings.

Outside of Crowe, the cast is solid. Jennifer Conolly returns as Russell Crowe's devoted wife, a la A Beautiful Mind, and she gets a very strong scene of her own (you'll know it when you see it, which you should,). Emma Watson is really good, believe it or not, holding her own against the likes of Anthony Hopkins and Russell Crowe. Speaking of Anthony Hopkins, his character was poorly developed. He's the film's main source of comedic relief, and his mystic powers as the legendary Methusulah can only be revealed through internet articles about the movie. Ray Winstone is a good villain in the movie, he has motives and explains his character in a way the audience might agree with his ideals.

What makes Winstone's Tubal-cain so agreeable is that Aronofsky really develops the idea of internal conflict in Noah, the biproduct of burdening one with the task of saving animals and killing people. Noah believes that humanity should no longer continue after the Great Flood, and is convincing in his unjust belief. Tubal-cain, the animal of a man that he is, believes in the ethics of saving humanity, also convincing. I thought I was going into a disaster movie, but I instead I needed my thinking cap, and it made the movie so much better.

However, I am not singing my praises. There are characters in the beginning that are similar to the mechs in Pacific Rim, assuming they could talk. It's totally silly, even if it is one's artistic interpretation of the Bible, it doesn't work on-screen at all. It's unnecessarily silly, as if Aronofsky decided to make the first forty minutes in Middle-Earth instead.

As a whole, Noah ain't the masterpiece that has been decades in the making, but it is a good movie that works as both a blockbuster and moral drama. I liked it.

Her- Movie Review by Sean Wu

Finally, I can shut the book on 2013. And there is no better way to cap out the year with Her, the best film of 2013. As a whole, this bizarrely beautiful Spike Jonze love story is so perfect because of three scenes:

First, after Joaquin Phoenix's mopey Theodore Twombly meets his OS, he brings her to work to help him proofread his letters he's ghostwriting. His system Samantha reads them out loud at first, and Theodore tells her she doesn't have to. She responds with an unenthusiastic and somewhat disappointed okay. An awkward silence falls occurs, and Theodore tells her that she can. She responds with an enthusiastic and jovial "Okay!"

The scene, on paper, sounds good. But on the screen, it's beautiful. Scarlett Johansson performs so brilliantly with just her voice alone, my heart honestly melted at the moment she said the second "Okay!". Maybe because the OS voice is so human and so familiar that I was able to relate to Samantha on a human level.

Inside Llewyn Davis (2013)- Movie Review by Sean Wu

There was a poll on Letterboxd in November, asking if you were to erase either Inside Llewyn Davis or The Wolf of Wall Street off the face of the Earth, which one would you pick? Consensus had it with Inside Llewyn Davis would be mystery while Scorsese's latest being history. I picked to erase The Wolf of Wall Street, a film that I was much more excited for, but I already knew that Inside Llewyn Davis was a great film, and at the time, The Wolf of Wall Street was not even complete. Now after seeing Inside Llewyn Davis, I can say that it might be the best film of the year, and maybe even the best film that the Coen brothers have ever done.

American Hustle- Movie Review by Sean Wu

Based on the first trailer, and the first scene of the first trailer, there is only one thing you need to know about the film: That there are two sides to everything and everyone. This is initially telling when Irving Rosenfeld (a hugely chubby Christian Bale) points out a forged Rembrandt picture to FBI agent Richie DiMaso (an off-the-walls Bradley Cooper).

So everything is more than meets-the-eye, and that's what makes the movie great. Literally everything is detailed, every main character is three-dimensional, every scene is thorough and fleshed-out, and many hilarious lines of dialogue mean more than they seem. It's a work of genius, the film, because it is so intelligent, well-crafted, and well-made.

Nebraska (2013)- Movie Review by Sean Wu

The midwest is a place I know well, for I am an Iowan. Nebraska is a film with a cast of Nebraskan small town folk, stereotyped in a greedy way. Is it offensive at all? Not really, because it is also very hilarious.

As a whole, Nebraska is one of the funniest films of 2013. Debut screenwriter Bob Nelson uses hilarious situations to his advantage, having his characters say the darndest things and having incredible stupidity, similar to what the Coens did to Minnesotans in Fargo. The best performer of  Nelson's dialogue is June Squibb, a character actress that lit up the screen at age 84, and elicited a laughter in almost every scene she was in. She's certainly worthy of an Oscar nomination.

Dallas Buyers Club (2013)- Review by Sean Wu

The moment the screen faded to black and the little title cards finished, a word popped into my mind. It started with the prefix trans.

Transsexual? There are characters like that in the film. Transportation? The lead man Ron Woodruff, played by Matthew McConaughey does transport himself worldwide. Transformative? That's the word. Why?

The word transformative applies to the work that both Matthew McConaughey and Jared Leto do in the film. The hype for the film began last year, when both underwent astounding weight losses to participate in the film. Was it worth it? For a shot at a little gold man come March? You betcha.

The Hunt (2012)- Movie Review

After the explosive acclaim of The Celebration, Thomas Vinterberg hit a rough patch in his filmmaking. In 2012, The Hunt was released to great reviews and resulted in lead actor Mads Mikkelson winning the Best Actor prize at Cannes. He was 100% worthy of the award.

The Great Beauty (2013)- Movie Review

Federico Fellini just might be my favorite director. He was a man that could handle humanity, emotions, and all-out goofiness into one satisfying movie experience. One of his best films (not saying much or anything) is La Dolce Vita, a film that may display a high life of sex and glamour, but has a heart as bitter as brown tea. To say that Pablo Sorrentino's The Great Beauty owes something to La Dolce Vita is an understatement: This film is a spiritual remake of the film, down to the sex-filled parties and the disillusioned writer.

Gravity (2013)- Movie Review

I've always wanted to be a part of an movie 'event'. I've always envied the youth that lined the block on the opening weekends of Jaws and Star Wars, those that witnessed Apocalypse Now on the grand Cannes stage. Despite seeing Avatar twice in one week, I feel that I've finally seen a future classic while it was a new film. This masterpiece is Alfonso Cuaron's Gravity, one of the greatest sci-fi films ever made, and easily one of the best films of the year.

In 2006, Cuaron released the uber-realistic sci-fi Children of Men, a film where a yet-to-be-born child is the ray of light in the soon-to-be-extinct dark world. With the help of Emmanuel Lubezki, Children of Men had incredible, almost dreamlike shots stretching into ranges of up to four minutes. Since seven years have passed between Men and Gravity, expectations have been unrealistically high.

Ain't Them Bodies Saints (2013)- Movie Review

2013 marks the year of cinematic beauty. Visually,  Terrence Malick's To the Wonder presented the ideas of undying love in fields of eternal wheat, and Shane Carruth's Upstream Color discussed the eternal longevity of life, transferred from organism to organism. Based on poetic reality, there was the warm hearted Before Midnight and the youthful The Spectacular Now. 

But the most beautiful film of the year (so far) is debut director David Lowery's Ain't Them Bodies Saints. It is a postcard of a film: You are invited to see only small blips of Texan life that happens to form a cohesive narrative. It is a film with humanity so deep and soft, that it aches the heart. It is one of the year's best films, and a masterpiece of the decade.

Rush (2013)- Movie Review

Ron Howard is a director that easily falls prey to melodrama, cheese, and sentimentality. His Oscar-winning A Beautiful Mind is an audience favorite, but that film is soapier than Tide and Dove. However, his 2008 boxing-match of a film, Frost/Nixon avoided sentimentality like the plague. It brings me great pleasure to say that Rush is in the same boat as Frost/Nixon: a ruthless, unforgiving film that will leave you satisfied once out of the theater.

The Spectacular Now (2013)- Movie Review by Sean Wu

James Ponsoldt's The Spectacular Now (Emphasis on the spectacular part,) is one of the year's best movies, easily.  Right now, I would say that it is nothing short of spectacular.

The film follows the senior year of hard partyer/alcoholic high school student Sutter Keely. I can't even begin to describe Sutter Keely without even mentioning Miles Teller's astonishing work in this. This is his first serious movie outside of 21 and Over, and this definitely won't be his last. He, with co-star Shailene Woodley (more on her later) together exercise a strong chemistry and a loving type of humanity only seen outside of the movies.

Blue Jasmine (2013)- Woman on the verge of a nervous breakdown (3½ Stars)

...and the winner of Best Cast at this year's SAG awards will be Woody Allen's Blue Jasmine. Well, I wish it could be the winner. Blue Jasmine is a film with great dramatic talent and comedic dialogue, especially with Cate Blanchett's leading performance that will rattle your mind.

Lee Daniels' The Butler (2013)- Not the year's best serving (1½ Stars)

Now let me say this: I like the 4-star rating system. It allows a certain amount of lenience to film ratings, without being too specific. Although 1½ Stars doesn't sound too nice, that's the most that The Butler deserves, star-wise.

There's a joke/idiom/old quote that reads like this:
"The early bird may get the worm, but the second mouse gets the cheese."
In this situation, I am the second mouse, mainly because I did not get this cheese-fest of a film. The Butler (ahem, Lee Daniels The Butler) is a film that sounds like a good story, but is not a good film, primarily due to lackluster performances, bizarre style (Kuleshov Effect?), and jarring overlength.

Fruitvale Station (2013)- Train-ing Day (3½ Stars)

Ryan Coogler wrote and directed the Sundance-prize winning Fruitvale Station, and much hype has been given. Does it deserve it all? Most definitely not. However, it is well-done retelling on an important event, which will offer a finite amount of timelessness.

Only God Forgives (2013)- 'Drive' on steroids (3½ Stars)

Ever since the first trailer premiere, I've been hotly anticipating what could have been one of the year's best films.

Guess what? It is!

Ryan Gosling stars as a Julien, a Thai drug dealer who also manages a boxing ring. He is conflicted between good and evil when his devilish mother (note: DEVILISH) pays a visit when Julien's brother is killed. A god-like cop played by Vithya Pasingram comes between Julien's mom's plan for Julien to take revenge.

That's just the plot. And the plot is only a small part of the film. That is what is potentially dividing so many viewers: the lack of a strong plot. I thought the plot (at least for material like this) was perfect in importance, since a stronger plot would only complicate the religious themes even more, and a lesser plot... less plot would lead to a pointless movie.

Frances Ha (2013)- Once Upon a Time in New York (3½ Stars)

Noah Baumbach succeeded in making one of the weirdest and darkest films of the past few years when he made the masterful The Squid and the Whale. His latest effort, Frances Ha, is certainly weird, but it is also uplifting and entertaining.

Before Midnight (2013)- One of the greatest films of all time (4 Stars)

Before Midnight is an hour and forty-six minutes long, but feels like thirty minutes tops. It is easily the year's best film so far (I say that a lot, but this is it by a landslide), and will easily nab a spot in my top three by 2014.