Zimm score Movie Guide

Netflix today has released an original film called IO, a “post-cataclysmic” sci-fi that comes in at just around 90 minutes. If it looks like the number 10 (as I had to make a double take), it’s not. It’s IO, which is one of Jupiter’s four moons, as well as one of the mortal lovers of Zeus, a bit of greek mythology that gets dispersed all too often throughout the film. For those that are drawn to minimalism as a film genre and perceive themselves as anti-Hollywood, IO may be entertaining. For the rest of us, we may have wished we had stuck with the tried-and-true. 

After learning that soon the last pocket of sustainable air on Earth will be gone and that there’s a final shuttle leaving Earth to head for a colony on Jupiter’s IO moon, an isolated girl is surprised to see a traveler arrive with a somewhat specific intention. But when she reveals a sad truth to her new partner and agrees to go to the final launch that will soon depart from Earth, Sam Walden (played by Margaret Qualley) must learn to not underestimate the power of human connection. 

After watching the trailer for IO, I was anticipating an entertaining sci-fi film that we could stream on Netflix. Unfortunately, I should have listened to my own wisdom that says to still take trailers with a fine grain of salt. Two minutes of images and music is much different from 90 minutes of images, music, and dialogue… and dialogue… and dialogue. 

The central problem to the film, like many lackluster films that have been released on Netflix, is the pacing of the story. Whether up and coming directors have a bit of pretension in their work, striking against the Hollywood empire or not, I’m not entirely sure. If it’s the case, though, Netflix has failed to understand that the majority of movie viewers want to watch an entertaining story that has a solid tempo with twists, beauty, profound messages, etc. 

In IO, the director and writer hit film minimalism right on the nose. We have a relatively decreased amount of tension or conflict, a passive or inactive protagonist with internal as opposed to external conflict (generally), and an ambiguous ending of choose your own adventure. (And no, you don’t actually choose your own adventure as in Netflix’s Black Mirror: Bandersnatch.) 

And as in all of my reviews, that’s not to say that IO lacks any strong points or redeemable qualities. I think Anthony Mackie (playing the traveler Micah) does what he can with a diluted script and young Margaret Qualley gives a decent performance, as well. Additionally, visuals in the film are a standout. A couple of astronomical (wink wink) images that are digitally rendered and cinematography of shots on Earth were a delight to watch. 

Ultimately, however, IO is a film with a clear agenda from director Jonathan Helpert that lacks an enjoyable adventure to come alongside it. (Sam’s off-screen romance is a guy named, Elon!) We’re to believe that tensions are increasing and stakes are being raised, but we don’t see any urgency in the two characters. They progress with a simplistic apathy that begs to join with the minimalist genre that it’s attached to. 

IO for me is to ask, what would happen if we threw WALL-E and The Martian into a blender, but only after adding a large glass of water for a diluting effect. While the visuals (and music at moments) shine in this sci-fi film, IO is a film this weekend you can bypass in favor of something that is more out of this world entertainment that Netflix has to offer. 

Zimm Score: 5.5/10

As I prepared my movie review for today, it dawned on me that this will be my third review of a foreign film that Netflix has released in the new year. Undoubtedly giving a chance for international filmmakers to gain a much wider audience, perhaps this is something standard for Januarys on Netflix in the past that I would have been oblivious to. Either way, in this post I’ll be reviewing Solo and not Solo: A Star Wars Story. Why these two films were released so closely together, I’m not aware. Solo is a 90 minute Spanish film, directed by Hugo Stuven. Read on to get my take of this beachy/survival film!

After learning that his best friend is moving to Canada to settle down with a Canadian woman, a diehard surfer is forced to shockingly let go of a literal cliffhanger and fall into the ocean below. But when he chooses later to persevere at the last second beneath the ocean surface, Alvaro (played by Alain Hernandez) comes to realize that he must learn to survive alone. 

If you found my synopsis above a bit interesting, you’re not, wait… alone. Solo has a primal and therefore great premise: “what would happen if a surfer slipped on some sand and was forced to jump off a cliff and survive on his own?” Yet where the film goes once this jump occurs I thought was problematic. I will say that personally, no matter how good a film is, I seem to struggle a bit more with survival films than perhaps some others do (Even though there are some great films, e.g. The Pianist or Cast Away). 

I don’t think it’s because of anything that may look graphic along the way that the character has to endure. Rather, I think it has more to do with levels of conflict I want to see. I want to see internal, personal, and extra-personal conflict all happening. With survival films, I think one or more of these areas are missing for me. 

With Solo, the cinematography was amazing. There are some beautiful landscape shots of the Atlantic Ocean and of the Canary Islands that the camera men or women produced excellently. This really was what I loved most about Solo. Yet the greatest strength of the film I felt was done at the expense of a believable storyline. There are multiple scenes that are simply confusing or unbelievable. Why would he do that? If I wanted to survive, there are just some decisions the protagonist makes that don’t make much sense or are that conservative. In fact, I felt that such actions were made to set up beautiful cinematic images through the cinematography! 

In contrast to certain weaknesses in the story, I felt that the main supporting character, Ona, played by Aura Garrido had the best performance. We believe the emotions she is feeling and experiencing. Yet I cannot say the same for the main character, Alvaro, played by Alain Hernandez. The events that occur while he is attempting to survive on the beach on his own made me feel like I was watching the attempts of an actor and not an actual character’s experiences. 

Solo is not personally a film I can quite recommend. A weak performance by the lead actor and problematic writing in terms of structure and believability I think really hurt the film. For those strictly interested in a foreign film that brings some beautiful images to the table, you may enjoy Solo. Otherwise, know that you wont’ be missing much in another new release from Netflix. 

Zimm Score: 5.5/10 

Growing up, I didn’t necessarily have a favorite actor or actress. Nonetheless, there’s a short list of actors that I grew up watching in various comedies or adventures. Two of these actors were Chevy Chase and Richard Dreyfuss. Movies like National Lampoon’s Christmas Vacation, starring Chase, became a family tradition! So when I saw that Netflix had released a new comedy with both Chase and Dreyfuss, The Last Laugh, I thought that I might get a few laughs in as these two embarked on a new journey. 

After reluctantly moving into a retirement center, an elderly man persuades an old friend Buddy (played by Richard Dreyfuss) to perform on a comedy tour, while he manages the final hurrah. But when he meets a new woman on the road and surprising events unfold, Al Hart (played by Chevy Chase) must figure out how to truly live with meaning during the twilight of his life. 

For those curious about The Last Laugh, it’s neither a great nor a bad movie. As one reviewer put it, “it’s a classic ‘watch while folding laundry’ movie.” I laugh as I unfortunately also agree with this. Is laughter in ample supply? I wouldn’t really say so. When remembering the laughs that both Chase and Dreyfuss brought in movies I’ve seen earlier in their careers (e.g. Caddyshack, National Lampoon’s Christmas Vacation, or What about Bob?), The Last Laugh seems quite diluted in comparison. Ironically, I felt the first act of the film that takes place at a retirement center was more entertaining and funny than when they leave to go on a comedy tour. 

This isn’t to say that it’s a bad movie, however. Chase and Dreyfuss in the latter part of their careers I still thought give good, believable performances, even if they didn’t display a very wide range of emotion. Essentially, the heart of the film rests on the give and take between these two. Whether it’s joking or more escalated conflict, at no point did I cringe or find difficulty in watching their performances. 

The Last Laugh is your mostly formulaic mixture of a “buddy story” with a “road movie.” We’re introduced with fairly light music, indicating a light-hearted story to follow. And while the movie takes some turns I was not expecting that I thought made the film less interesting, it still for the most part follows a standard procedure that studio execs look for and that some of us in the audience have grown accustomed to. 

While some may find it inspiring, The Last Laugh I think for many others will fail to provide the ample amounts of laughter or strong message that we would hope for. Both of the lead actors give good performances, but if you’re skeptical towards checking it out and you came to the end of my review, know that you may now have the last laugh. ; ) 

Zimm Score: 6/10 

Hey, everyone! On Wednesday Netflix released Solo: A Star Wars Story, a space western that hit theaters last May. For those less familiar with the Star Wars franchise, Solo takes place approximately 10 years before the events of Star Wars (1977), later retitled A New Hope. Because of what some labeled as “Star Wars fatigue,” Solo: A Star Wars Story did not do well at all at the box office when compared with the astronomical budget of the film and expectations that Disney had going into its release. Yet now for only $9.99 per month, you too can view Solo as many times as you want within those 30 days! So whether you want to see if you agree with my take of the film, or you’d like to know whether Solo is worth your time, buckle up and let’s get to it! 

After being separated from his girlfriend as he attempts to escape an oppressive world, a reckless young man joins a criminal gang, hoping to return for her. But when he is once again and surprisingly reunited with his lover, Han Solo (played by Alden Ehrenreich) must realize that we all need a partner in crime we can trust. 

 

Solo: A Star Wars Story is one fun space adventure. It is a standalone film, and is not necessarily meant to be wedged between two films from the Skywalker saga. (Unless you’re like this fanboy, and would be curious to see how a character crosses into one of these other stories!) I think the cast in Solo shines, especially Alden Ehrenreich as Han and Donald Glover as Lando Calrissian. After watching it my first time on Netflix and second time overall, I was amazed at how much Glover seems to coincide with Billy Dee Williams’s performance as Lando in The Empire Strikes Back and Return of the Jedi. 

Additionally, the visuals and action sequences very much keep one’s attention. Where there is action, it doesn’t feel as though I was waiting for it to finish so the story could advance. No, the thrills in these sequences were at times clocked for many minutes, but viewers I don’t think would even notice. Visually, whether it’s a spaceship, a fired laser, beaches, or a deadly, tentacled and freakish monster, many scenes and images look fantastic. 

What I do think was a weaker side to the film was the script. Lawrence Kasdan, who has The Empire Strikes Back and Raiders of the Lost Ark on his screenwriting resume, was initially hired by George Lucas to write the story for Solo. But a bit of a shift occurred when Lucas sold his company to Disney. Now, Kasdan would help finish The Force Awakens, while his son, Jonathan, would be in charge of writing Solo. While still an amazing achievement for the 39-year old, I felt that the story included mentions of too many characters, as well as too many terms that seemed either irrelevant or difficult to remember. Nonetheless, this is more targeted at the first act of the film. I do think the story smoothes out more as it progresses, with more simplicity and understanding. 

If you’re looking for a fun space adventure and perhaps was someone who passed on Solo at the box office, I recommend checking it out on Netflix. If you’re very much into the visual presentation and critique streaming services, I personally think it still looks great on Netflix. Though lacking I think in emotional depth and story intelligibility that say, Rogue One carried, Solo: A Star Wars Story still gives a thrilling ride in its attempt to focus on one of the most well-known fictional heroes of all time. 

Zimm Score: 7/10 

Like me, many of us may not be aware of large and successful film industries that exist around the world outside the United States. One of these is the Nigerian film industry, nicknamed Nollywood. Last weekend, Lionheart was the first Nigerian film to splash onto the streaming service, Netflix. As a successful achievement for the film industry nationally, let’s look at the film in particular and see how it fares for viewers. 

After the Chairman of Lionheart Transport appoints his brother over the company, a frustrated and hard-working woman now must face the realities of working alongside her more free-spirited uncle. But when she learns that Lionheart only has ten days to remain as an independent company before being bought out, Adaeze (played by Genevieve Nnaji, also film director) must learn the importance of perseverance and to never “stop swinging.” 

My biggest critique with Lionheart is that it doesn’t really know what it wants to say. As some may know just by movie viewing, screenwriters will often be conscious of the need to have a centralized and main theme, or “controlling idea,” as one screenwriter puts it. This is different from plot, where we want to know what the story is about. Though some early reviews critique the story’s direction, I didn’t think this was really a problem. Nnaji, as both actress and in her directorial debut, places key plot points where there are twists and stakes that are raised. 

Rather, her character development and the thematic material (or what the story wants to say) I thought is what suffers more here in Lionheart. I didn’t know what the director wanted me to come away with primarily. Feminism is one of the topics touched on in the film. And early on, I think that this will be about a diligent and hard-working woman who outshines her slightly eccentric uncle in the business. This would be the conflict we need throughout a story. 

Yet because family is one of the values strongly examined and performed in a Nigerian context (which I was grateful to watch), the story loses the conflict that I, the viewer desire. I want to see the protagonist struggle throughout and end with some sort of climactic finish. Personally, I understand that family is a life value that should be emphasized. Yet conflict is also an unfortunate reality, and it’s what makes for a captivating story. 

I also was unsure of the story’s tone. Musically, the melodies and lightness that I heard were personally reminiscent of a romantic-comedy. Yet there is a fight with baseball bats in the opening scene, a prison scene (yet still light), and an apparent heart attack that a main character has in the beginning. Perhaps I’ll be the only one, but for some categorizing it as a comedy, I didn’t find it as so, but rather more of a drama.

Lionheart is a light-hearted film from Nigerian director, writer and actress, Genevieve Nnaji. Though the script, as I’ve mentioned, is the biggest drawback to the story, Nnaji’s performance was strong and believable. The story also touches on topics such as legacy, family, and the gender gap in Nigeria, a real gender gap that Nnaji is combatting with an international film now on Netflix. Though personally I won’t quite recommend streaming the film, viewers still will find the value in family and equal opportunity for all in this softhearted story. 

Zimm Score: 5.7/10 

As we begin 2019, January is not usually seen as the best time for catching one of the best films of the year. Nonetheless, Netflix continues to release new films each month, and this month is no exception. Released this weekend, and one that I’m taking a look  at in this post, is an Icelandic drama, And Breathe Normally. Being screened last year at the Sundance Film Festival, it won for the World Cinema Dramatic Directing Award. As a film that may go unnoticed this month, amidst the awards season that has just begun, here’s my take on And Breathe Normally, now streaming on Netflix. 

After being contacted by an Icelandic collections agency and the local police department, a struggling single mother and her son are later evicted from their apartment. But as the stakes are raised even beyond these difficulties, Lara (played by Kristín Þóra Haraldsdóttir) must soon confront the necessity of taking on some sort of help. 

I was pleasantly surprised by And Breathe Normally, as I think it’s a great addition to what Netflix has to offer out of its new releases. While it may not become a sleeper (as it may just remain quite unnoticed), the film I think offers a universal message for all of us, regardless of age, gender, or race. Adja (played by Babetida Sadjo) is the supporting actress in the film and carries the main theme throughout. Both Sadjo and Haraldsdóttir I thought perform as their characters in a quite believable way with the circumstances they’ve found themselves in. 

Visually, it’s quite the treat to enjoy a film that takes place in Iceland, as well. The cinematography not only captures some great landscape images of Iceland’s Southern Peninsula (the story’s setting), but even in the most mundane locations, camera angles are executed to portray beautifully framed shots of both character and backdrop (e.g., an empty office room or sidewalk bench). 

The story itself I think also is a very earthy, realistic one that many of us can relate with. Because it is a drama that attempts to portray a character struggling with real-world, day-to-day obstacles, some may find it a bit slow, when compared to action, fantasy, or superhero genres. Yet the director/writer I think gives enough symbolic clues for us to pick up on, and to find the strength contained within the story. For winning such a noteworthy award at Sundance last year, and now after viewing the film, I wouldn’t be surprised if it earns a nomination in the coming year for best foreign language film. 

And Breathe Normally (the Icelandic translation) serves as one example of being the antithesis of a popcorn blockbuster. So for those who are normally drawn merely to cacophonies and eye-popping visual effects, this will not be an entertaining story. Yet for those interested in enjoying a story that looks at two women intending to escape the circumstances they’ve found themselves in, And Breathe Normally is a great take on our need at times for the unexpected bonds of generosity. 

Zimm Score: 7.3/10 

With the biggest box office opening this year and as the fourth-highest grossing film of all time, a recent release to Netflix last week was the superhero film, Avengers: Infinity War, directed by Anthony and Joe Russo. Set as a closing chapter within the Marvel Cinematic Universe, it is the first of a two-part series, with its direct sequel set for release in April 2019. Taken here as a stand-alone film, let’s look and see what works in this action-packed blockbuster!

After obtaining his second powerful gem (or “Infinity Stone”), a sociopathic sort of demigod sends his chief lieutenants to retrieve the third of six stones. With all six Infinity Stones, he will be able to bring peace and balance to the universe, as he believes. But when he learns of what it will take to retrieve the remaining stones on his journey, Thanos must learn that “the hardest choices require the strongest wills.”

I have to say at the outset that I very much enjoy the Marvel Cinematic Universe. Beginning in 2008 with Iron Man, I have followed the progression of this universe with every film that has led up to this climactic moment of kairos. I say this because as a stand-alone film, there are some apparent weaknesses to Avengers: Infinity War. Yet for those who have followed the previous 18 films (!), the story in this film will make much more sense. As a result, fans debate whether this is revolutionary for film in general, or whether it hurts this movie in particular. 

Visually speaking, Avengers: Infinity War has spectacular digital effects. With an ensemble cast (to even put it mildly), some have joked that there is so much movie in this movie! Action scenes and visuals are thrilling and look amazing. With some tough competition this year, it has some early nominations for best in the visual effects department. 

One area that can be discussed is the script. The Russo brothers had a task never before seen in film: direct a script for one movie that includes a range of 20 to 25 superheroes (depending on interpretation and screen time), and is a culmination of 18 previous films. I am going to say that the makers succeeded in telling one story with so many characters. Others, targeting it still as one film, will say it is too muddled with as many characters as are shoved into it. Nonetheless, the script works with both emotional weight and humor as well (often as self-deprecatory), aside from some occasional weak spots. 

I must also say that for any who have seen maybe a few films within this large series, Infinity War is a heavier and perhaps more thought-provoking film than some of the other comic book movies that have been released in this saga (e.g. Ant Man, Spider-Man: Homecoming, or Guardians of the Galaxy). Topics like the human condition, sacrifice and cooperation are all presented or discussed, adding depth to the film. For those who have followed the series, the opening for instance is both shocking and emotionally invested, with somber music that accompanies the long prologue. 

Avengers: Infinity War is a great film, especially for those interested in superhero or action-fantasy films. Though it lacks much of any character development, it’s both a curse to the film itself, but also a strength. It’s a strength to the fact that 18 previous films have developed so much development of each character, that it is unwarranted for those who have followed the cinematic series. With great visuals, humor, action and emotional depth, Avengers: Infinity War is a great selection on Netflix that touches on the obsessions of one’s destiny, the cost of sacrifice, and the need for teamwork. 

Zimm Score: 7.8/10

Okay, everyone! In this post I’m putting a Netflix movie review on hold and am going to present what I think were my top 10 films of that last 10, yes 10 years! As we’ve reached 2019, this will cover films from 2009 through 2018. Before I reveal what I thought were my top 10, a few explanations are in order first, so let me briefly explain. Or, feel free to jump down to my list! Lol. 

In making such a list with only 10 films, I understand that like any decade, there were many, many great films that were released during this period. As making a top 100 list would be daunting for me to compile, and too daunting for some of you to look through, a top 10 list is much more feasible. 

Secondly, a movie is a form of art. As art, there will be great subjectivity as to what one person deems as a “good movie” and what another deems as an “awful movie.” The only objectivity I can really state about a film is to say, for example, Sandra Bullock is acting in the movie, Gravity. Or, the color green has been used in every scene that I’ve noticed. But did such examples help make the movie a good movie, or help to make it worse? This is where subjectivity, like any form of art, comes in. 

As a result, my top 10 may be more similar for what some would say, and very different from others. As far as criteria I kept in mind while evaluating my choices, I formed three areas. First, did I find this movie to simply be a very good or well-executed movie, from a filmmaking standpoint? Secondly, was I entertained throughout the film, keeping my attention? And lastly, if I wasn’t as much merely “entertained,” did I find it to have great and profound thematic material that added to its cultural impact and historical significance? Some of my selections fell more easily into two of these three areas, but all in my evaluation were greatly executed and had at least one of the second or third criterion. 

Finally, though I probably don’t need to mention this, I will say that I did consider many other movies not listed. Most of the movies not listed I still have seen, while a few that I considered I have not seen, but are seen by some to be one of the greats. Keeping in mind that judging art is a subjective (and very personal) reality, let me now present my top 10 films of the last 10 years (2009-2018)! Hope you enjoy! 

(In no specific order) 

1.   The Social Network (2010)

With amazing writing from Aaron Sorkin, carried through in acting by a brilliant young cast, and an almost haunting but substantial musical score by Trent Reznor and Atticus Ross, The Social Network is a must-see film for those interested in viewing the dramatized origins of what would easily become one of the most influential and popular realities of the early 21st century. 

2.   Gravity (2013)

Starring Sandra Bullock and George Clooney, Gravity is a gripping portrayal, essentially, of what it means to let go, to enjoy life, and move on from past hurts and regrets. Director Alfonso Cuaron directs a 90-minute survival story in space with spectacular visuals, suspenseful music (with every pivotal decision that Bullock’s character makes), and a central theme that is universally relevant to those of us living in the Western world. 

3.   Roma (2018)

If I were the Academy, I would vote for Roma as best picture this year. Though it may lose to some other contenders, the cinematography, creative screenwriting with usage of motifs and foreshadowing, and ultimately the hero’s journey that the protagonist goes through all are areas that are amazingly executed in a unique way I rarely ever saw for the past decade.

In light of controversial issues in America related to the gender gap, Roma is also a timely look at something so culturally significant right now in America. 

4.   Inside Out (2015) 

I absolutely love Inside Out! Like other films I have on the list, the rewatch ability this film carries for me is pretty strong. As someone with a good amount of informal education about personality theory as something I enjoyed for a few years, I probe Inside Out to try to make connections with what’s going on inside the mind of the little girl the story revolves around (even though experts I know enjoy critiquing the accuracy or lack thereof).  From the minimalist piano melodies, to the beautiful visuals, to the emotional weight of the story, Inside Out is my favorite animated film of the decade and was worthy of its inclusion as one of my top 10 greatest films. 

5.   12 Years a Slave (2013)

In my estimation as comparable to Schindler’s List, there was no hesitation or question to placing 12 Years a Slave as one of the best ten films of the last ten years. For me, this is a must-see film for anyone who has yet to see it. Though it won’t be for the faint of heart, 12 Years a Slave takes a brutal but real look at American slavery during the 1840’s in the American South. As a film that delivers in every cinematic area applicable, it’s also a story with essential and educational value, such a central and influential reality that somehow is still ignored in American history classes. 

6.   Zero Dark Thirty (2012)

Covering a spectrum of ten years in the post-9/11 era, Catherine Bigelow’s Zero Dark Thirty is, what one of my most like-minded movie reviewers called, “the masterpiece of 9/11 cinema we’ve been waiting for.” Though it cooked up much controversy over multiple issues, Zero Dark Thirty brilliantly observes the ambition, trauma, persistence, bravado, and secrecy that went into the manhunt for kingpin Osama bin Laden.

Jessica Chastain, in her portrayal of Maya, an ambitious CIA agent, embodies such ambition, persistence, and even obsession that were traits of the American government, as it sought to climb its way back up the proverbial ladder proudly as the superior superpower. Such a film is immensely significant historically for the 2000s and the early part of the period that this post covers.

7.   The King’s Speech (2010)

Perhaps the film on this list with the greatest aesthetic pleasure through its cinematography, The King’s Speech centers around the future King George VI, played by Colin Firth. The excellence for me in this story, in part, is the primal relationship that the Duke of York (Firth) has with his family and the struggles that come along with that. Additionally, for a historical drama with such emotional weight, it surprisingly also delivers laughs that some may see as something absent in a historical look at British royalty. As I recently rewatched this film on Netflix, it’s a story I think that has held up against the test of time (now over eight years) as one of the decade’s best. 

8.   Whiplash (2014)

Somehow, during my time as a musician and as a 20-something, I completely missed seeing Whiplash. Sure, it was a limited release, which would be the main reason as to why I missed it, but having since seen the film, it conveys a story that is just too relevant for singers and musicians alike that have fallen into the phantom of perfection and excessive ambition.

Even for many of us who may never have had an abusive, strict and insulting conductor or teacher, many of us will relate to the desire of wanting to be the best in our field that the world has ever seen. The relationship between the lead characters, the music (which goes without saying), the inspiration, and intensity all lead to a thrilling story of a student, his sacrifices, and a villainous jazz instructor!

9.   The Shape of Water (2017) 

Though some disagreed with the win for Best Picture last year going to The Shape of Water, my wife and I left the film last year in love with it. Even for films of the last ten years, I think Guillermo del Toro brought something unique in terms of color and visuals rarely seen in other films. Along with a solid performance by Sally Hawkins and rich themes as part of an emotionally moving story, The Shape of Water earns its spot for me as one of the best of the best. 

10.   Inception (2010)

Rounding out my list for the top 10 films of the last ten years is Christopher Nolan’s direction of Inception. Along with Inside Out, and probably others on this list, Inception is a film I don’t sense I could wear out it’s watchability. Each time, I’m always seeing the story from a new perspective, analyzing different parts of the visuals or dialogue expressed.

As a film critiqued by some for intellectual ability Nolan apparently demanded by the audience, I rather see this is a challenge and positive trait in filmmaking. Nolan challenges us to better understand the world of dreams and the relationships they have with reality. Bringing spectacular visuals, an amazing cast, a moving premise, a primal dilemma we can relate to, and a monumental score from Hans Zimmer, Inception goes down for me as one of the best of the 21st century so far.

There you have it! I hope you enjoyed my list; feel free to share your favorites I may have considered but didn’t list here or on Facebook! Below are five more that I had to mention! Cheers. 

Honorable Mentions

1. Toy Story 3 (2010)
2. Spotlight (2015)
3. Spider-Man: Into the Spider-Verse (2018)
4. Harry Potter and the Deathly Hallows – Part 2 (2011) 
5. First Man (2018) 

This month, Netflix has released what surprisingly has become the biggest film opening ever for the streaming company. Viewed by 45 million in the first week, Bird Box is a post-apocalyptic thriller that stars Sandra Bullock, among many other notable actors. If you have been seeing the memes but not the movie yet, let’s look and see if Bird Box is worth your time. At the very least, you’ll be able to make some sense out of what has gone viral over the last week, and maybe get some laughs out of it along the way! 

After witnessing mass suicides in her hometown, a lonely woman joins a group of strangers that are hiding from something dangerous that no one can see or understand. But as tensions rise and events unfold, Malorie (played by Sandra Bullock) must learn that merely surviving is not truly living. 

Initially with Bird Box I hesitated to watch it. It just didn’t look all that interesting to me. With the viral sensation it’s become, however, I gave it a go. The story has a clever premise: if you want to be safe and survive, you need to stay inside or shut your eyes. Going outside with eyes open will kill you. The problem is, I didn’t feel I was promised this premise throughout the story very much. This is a thriller on paper, and yet I didn’t sense much suspense or thrill. In screenwriting, a good script will deliver on the promise of showing you the premise. In a way, I somewhat felt cheated of such a promise. 

Such storytelling I thought was performed by a solid cast, however. Sandra Bullock, Trevante Rhodes, Tom Hollander, Sarah Paulson, and John Malkovich all, I thought, did what they could with what they were given to give good performances in stressful situations. 

But again, the direction and writing of the story I thought didn’t quite live up to the potential it had to be a great film. Many times throughout I felt the story just crawling with too slow of a pace. For really any film, there are sequences in a certain place of the film where tension and conflict should be quickly increasing. Unfortunately, there is no such tension until a climactic scene (you know it when you see it) that occurs late in the film. Additionally, I felt the middle of the story sags a bit, without any strong shift or beat to twist the story in a somewhat new direction.

Bird Box has its strong points. It’s why I don’t think this is necessarily a bad movie. The shot locations in California look beautiful, Trent Reznor and Atticus Ross (The Social Network) I thought composed a great score, and the cast give above average to very good performances. The plot structure is even good enough, where I was at least able to follow the story without much confusion or complication. Yet the direction and writing of Bird Box still left me wondering what all the rave was about. Perhaps the source material includes bits that were left out of the film? Either way, I’m going to go out on a limb and suggest the book, like so many other scenarios, over the movie in this review. 

Oh, and if you check it out, make sure to laugh at some great memes afterwards! ; ) 

Zimm Score: 6/10 

For today’s post, I’ll be reviewing a film that repeatedly pops up on Netflix, not under a “Because you watched…” category, but because it’s been under popular and trending categories for weeks (based on whatever statistics the company uses). Starring Meryl Streep, who has to be one of the greatest actors of all time, and Amy Adams, Julie and Julia is a comedy-drama film that contrasts the life of chef Julia Child with the young New Yorker Julie Powell. Released in 2009 and now streaming on Netflix, let’s review what I think works and what this story has to offer for those who have yet to see it!

When beginning to discuss with her husband the acclaimed chef Julia Child and her successful cookbook, an unfulfilled young New Yorker decides to begin cooking every day while following Child’s recipes. But as both exciting and unfortunate events occur along the way, Julie must learn the importance of perseverance, despite the urge to give up.  

Julie and Julia is a film I would not necessarily call profound. As the story is set up in the first 10 or so minutes, light and joyful music accompanies the laughs of Julia Child (Meryl Streep) and the walk to work for Julie Powell (Amy Adams). Though not the only example to support my opinion, the music is one that seems to support a more light and simple tone, not requiring much mental effort. And before I proceed any further, I must say that the film presents parallel stories, a series of flashbacks between the present day and the past. 

Though for some it may go without saying, perhaps the strongest aspect to the film is Meryl Streep’s performance of the late Julia Child, American chef, author and TV personality. Being ranked at the top of many lists for who’s the greatest, I’ve began to notice how effective Streep is by never (in my opinion) seeming to fall into the melodramatic camp. Regarding more recent roles in her career, she makes subtle changes to perform in a dignified and serious manner (e.g. The Post), and subtle changes to perform in a more anxious or gleeful manner (e.g. her small role in Lemony Snicket’s A Series of Unfortunate Events, or here with Julie and Julia). 

Here in this film, Streep upgrades the film I think with joy, optimism, tenacity, and perseverance that Child (according to close acquaintances) exhibited throughout her life. Also, and being partly a comedy, Streep adds the necessary humor needed for the kind of story we are introduced to. Within the contrasting side of the story, Amy Adams I thought gives a strong performance for one of her early roles as a lead character. 

The final point to be made I think, in terms of the film’s ups and downs, is the story’s pacing. Because genre should have nothing to do with how fast or slow the story feels, Julie and Julia I felt could have improved with direction and writing that sped the pace up a bit. Whether it may be the bouncing back between story threads, or scenes that linger a bit too long, I struggled at times to be immersed in the story that these two women journey through. 

I enjoyed Julie and Julia, for one reason being, the main character decides to begin a blog, which I have chosen to do as well! So there was personal relevance for me. The film shines, though, thanks to Streep’s performance and the humor she brings to the dinner table. (wink wink) And if you can get around a slower pace that perhaps lacks deep thematic or thought-provoking material, and want some light and comical entertainment, you just may enjoy Julie and Julia. 

Zimm Score (scored prior to viewing online scores for my amusement!): 6.7/10
Aggregate Critics’ Score on Rotten Tomatoes: 6.7/10 (not using percentage score)
Metacritic Score: 66/100

https://www.rottentomatoes.com/m/julie_and_julia https://www.metacritic.com/movie/julie-julia