What's new inside: mini reviews from friends
Reviews of movies including "Cats" and "Star Wars: The Rise of Skywalker"
VOLUME 3, ISSUE 2. JUL—DEC 2019
Photo courtesy of A24
HIT OR MISS
By Luka M. (FEAT. Noah Abadano, Austin Bowen, Gavin Bowen, Casidy Chen, Jasmine Liu, Lucas R., Elinda Xiao)
L U K A ' S
foreword When my friends and I huddled around to count down to the new decade, I immediately felt a surge of adrenaline and panic. A new year is one thing, but a new decade is vastly filled with unknown beginnings and new faces. In a decade from now, when we drink RosĂŠ instead of apple cider, we will be a completely different group of people from when we started the new decade. Regardless, I hope our tightknit friend group will never fall apart and our ‘20s will be fruitful with little secrets of the universe yet unlocked. As for Hit or Miss, I hope it prevails. I hope to finally create a website featuring more articles and welcoming contributions from around the world. I hope we gain several more readers and fans throughout this decade. I don’t know what sort of career I will be taking on in my 20s, but I hope I continue assembling magazines like these, no matter how chaotic my life will be. As a new decade begins for all of us, I only wish the very best. I hope everything good will come to you and every effort will be paid off. May your future be successful, warm and full of love. Happy new decade!
Frances Ha (2012)
Photo courtesy of IFC films
AD ASTRA Directed by James Gray // Release Date Sep. 20, 2019 // Starring Brad Pitt, Ruth Negga
BY GAVIN BOWEN 2019 is the year of Brad Pitt. After an outstanding (and standoffish) performance in “Once Upon a Time in Hollywood,” Pitt once again brings his A-game in this thriller-turnedexistential-character study "Ad Astra." Roy McBride is the complete opposite of Hollywood's Cliff Booth, yet Pitt slips into this reserved and soulful role seamlessly. Pitt is the core of “Ad Astra,” and transforms the drab monotony of space into a deep and reflective landscape. The film itself tackles multiple complex themes through Pitt's character with varying degrees of success. McBride's inner desolation resulting from his father's abandonment was crystal clear, as was his increasing disillusionment with modern consumerist society. I'd call “Ad Astra” intricate enough to deserve deeper consideration. In terms of execution, there's a lot I could complain about, but the film was ambitious and I'd rather reward its initiative than nitpick how it could have done more or preached less. The ending left a sour taste in my mouth for its heavy-handedness, but there was certainly a lot left to untangle. In particular, I didn't appreciate how sparse the final father-son dialogue was, as the movie shined most when Pitt was on-screen alone. The visuals were undoubtedly the best part of this movie. Each outer landscape reflected McBride's inner turmoil. From the drab video rooms to the starry vacuum of space, the movie disassociates the audience from civilization without mitigating the hostility of outer space. While McBride is captivated by the unknown, each step further alienates him and the audience from society. As his arc comes full circle, he succumbs to humanity's pull and plummets back to the beautiful mural of Earth, unable to prevent himself from being confined once again within our tiny prison. Overall, "Ad Astra" is a fantastic character study deserving of multiple watches by sci-fi fans and casual movie-goers alike.
4 out of 5 1 |
HIT OR MISS
Photo courtesy of 20th Century Fox
Ford v Ferrari Directed by James Mangold // Release Date Nov. 15, 2019 // Starring Matt Damon, Christian Bale FvF (“Ford v Ferrari”) had my veins pulsing with adrenaline and my eyes wide as it could possibly open. It was the new “Baby Driver” for me. It was so incredibly fulfilling to watch, that I distinctly remember feeling that pumping “yes!” in my heart. After the movie, when I was basking in the closing credits, I sank in my seat and thought to myself, I’m happy to be alive. Inseparable friends Carol Shelby (played by Matt Damon) and Ken Miles (Christian Bale), congregate to put their cocky auto tech minds together to fabricate their dream car that’s fast as hell. In real life, the Ford GT40 that they produced won Le Mans five years in a row. It’s intimidatingly hot. Its choreography of sound and visual elements exceeds standards. It’s not a viewing entertainment anymore; it’s an experience. We’re blessed with fast camera movements and the high-hat going nuts! I started nodding my head to the downbeats, my eyebrows knitted with impatience.
However, there’s an abhorrent number of advertisements from the likes of Coca Cola and Coppertone sneaked into the movie. It doesn’t completely ruin the world-building, but it irks you when you see it. Instead, the other heart-bursting scenes make up for it. FvF is well-liked by most, but criticized and diluted to “another dad movie.” Some of its “dad movie” qualities are evident: it has cars, beers and a literal dad, but the energy and pure drive isn’t limited to one group of people. Movies should be given a chance before it’s dismissed by its genre. FvF is fantastic. It makes me feel good to be a part of society. It made me remember marching band in high school, when we did 12-hour practices every Saturday. I feel bonds with people with discipline and hard work. Naturally, I felt it with FvF. It made me feel like anything’s possible and it made me glad to be a part of this generation of cinema. I only hope that you feel that when you watch FvF.
lu k f a v a 's o ri te Photo courtesy of 20th Century Fox
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CATS CATS CATS CATS CATS CATS
Directed by Tom Hooper // Release Date Dec. 20, 2019 // Starring Jennifer Hudson, James Corden “Cats” is stomped on all over the internet. Twitter users compare the computer graphics to the ‘90s book series Animorphs, but a really disturbing rendition of it. They criticize the PG movie for being overly sexual and weird. After all, every cat character is crotchless. ...But is it really that bad? No. In fact, the musical performance and dance numbers were beautiful, well practiced and elegant. Jennifer Hudson’s solo gave me chills that I didn’t anticipate myself getting before I watched the movie. Their synth version of Jellicle Song is catchy, too. But “Cats” still doesn’t deserve a high praise. It’s boring and lacks direction in plot. It’s essentially a playlist of music videos, which most of them were shot in the same background and scene. We are introduced to about nine different characters, one after another, and each has their own song. They belch and trill their own tune, and baton pass it to the next character. It’s exhausting. Not to mention, the genre of music changes drastically from one song to another. It goes from a party-high to a melodramatic-low to a comical-high without any trace of transition. I got a headache, 30 minutes in. It’s boring, but that’s not exactly why so many flames “Cats.” It’s because it’s peppered with oddly sexual innuendos and the cats are all smooth. One Rotten Tomatoes critic was flabbergasted at “the orgy scene” and some were shunning the “weird sex scenes.” Spoiler alert: there are none. Let’s grow up. Would it have been better if the cats had camel toes and hanging balls? I would be far more repulsed if I had to see Jason Derulo wildly swinging his nut sack. I sensed no sexual or kinky atmosphere through the dancing or singing, and I doubt there’s a hidden, secret layer of metaphor that suggests this was one big orgy party. “Cats” doesn’t deserve half the unified hate from critics and audience members. Though tiring and painful to watch for two hours, it’s still grand and breathtaking, that made it magical in some way.
still a 2 thumbs down out of 5 5 |
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"It’s peppered with oddly sexual innuendos and the cats are all smooth."
Photo courtesy of Universal Studios
Photo courtesy of Universal Studios
Francesca Hayward (left) as Victoria the White Cat and Robert Fairchild (right) as Munkustrap
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Star Wars: The Rise of Skywalker Directed by J.J. Abrams // Release Date Dec. 20, 2019 // Starring Daisy Ridley, Adam Driver
BY ELINDA XIAO “Star Wars: The Last Jedi” was, no doubt, one of the most controversial movies ever made. Its sequel TROS (“The Rise of Skywalker”) desperately tries to be inoffensive and safe to woo back lost fans. Perhaps it does succeed—but I would argue at the cost of creating a fulfilling movie. TROS feels more like an apology than a conclusion. From the opening line onwards, the audience is thrust into a repetitive cycle. Rey (played by Daisy Ridley) and her friends in the Resistance must go to a location. Then, Kylo Ren (Adam Driver) follows her, whether physically or through the force-bond. Rey and friends sneak around, see a few references to the Original Trilogy, interact with some cute and possibly merchandisable alien creatures, and then are attacked. Ren then asks Rey to join him, she refuses, they fight, she escapes to another location. Rinse and repeat three more times. It’s truly like pulling teeth. Director J.J. Abrams, to his credit, has created wonderful characters. Photo courtesy of Walt Disney Studios Motion Pictures
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The general audience adores Rey, exStormtrooper Finn (John Boyega) and pilot Poe Dameron (Oscar Isaac), and even minor characters are perfectly cast. So why does it feel like we’re not seeing any of them? Sure, we get to see Dameron say a few pithy quotes, or maybe we learn a little bit about their history, but nothing’s really explored. In the third movie, our connection to these characters should feel stronger than ever, but this film only makes them feel like strangers to us. Characters that were interesting and motivated, who had conflict and love for each other, are suddenly onedimensional. It feels as if the director of this movie were afraid to make the audience think or linger on any point in the movie. It’s infantilizing. Answers are spelled out, painfully so; for the first half of the movie, Ren is little more than a walking exposition machine. Anything not given a clear answer is something that the movie doesn’t want you to think too long on, and is brushed off as soon as possible. The power hungry General Hux (Domhnall Gleeson) is revealed to have been the First Order’s spy. This is a big twist for his character — the
audience thinks that perhaps now Dameron will have to learn to work with Hux, or that Hux will reveal the logic behind his damning betrayal. Instead, Hux gives a vague onesentence explanation about hating Ren and is immediately killed in his next scene. It’s like the movie is being held together by tape. It revokes plot points mentioned in the previous movies, handwaves entire characters and begs its viewers to not think too hard. There’s no moral or message below its red-and-blue surface. It’s not a space opera or a fairytale (both two common descriptors used to describe the Skywalker Saga). It’s simply a connect-the-dots race to get to the finish line. The movie sends out the same message that I felt while watching it: “I just want this to be over.” Ultimately, it’s a shame that the films that inspired such a powerful, positive response ended the way it did. With death, with repressed emotions and an uncertain happiness. As Rey looks to BB-8 in the barren, lifeless desert of Tatooine, I look to myself and wonder: where has all the joy gone?
2 out of 5 Photo courtesy of Walt Disney Studios Motion Pictures
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Doctor Sleep Directed by Mike Flanagan // Release Date Nov. 8, 2019 // Starring Ewan McGregor, Kyliegh Curran “The Shining” is a beloved '80s classic. Its movie posters blanketed our childhood walls and the creepy twins are made into Halloween costumes each year. It’s one of Stanley Kubrick’s most prided filmwork and a favorite for millions. The sequel to that was released this year, six years after Stephen King’s sequel to the original novel, both titled “Doctor Sleep.” The movie follows Danny nearly 40 years after the cursed incident at the Overlook Hotel. It’s “The Shining” but with a modern twist and a creative interpretation of the shining (a special psychic ability) used by a cult leader and a middle school girl who watches anime. Several praised the adaptation. My biggest hunch is because Abra (the awesome and smart middle schooler who unfortunately watches anime), who's played by Kyliegh Curran, is portrayed by a young black actress instead of the usual blue-eyedwhite-skin girl. Hurrah for representation, but this movie still does not do “The Shining” justice. It relies solely on the original magic it casted on and captivated its audience 40 years ago. There isn’t enough push; just a lot of experimenting. The genre is unfocused. Rather than a horror sequel, the genre has somehow shifted into a young-adult-fantasy-thriller. I was confused at Rose’s (played by Rebecca Ferguson) outfits. She wears Lululemon leggings, a fedora and an oversized mom sweater... altogether. I was laughing at Terry Anderson’s, the costume
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designer, intentions but nobody else in the theater did. Her wackjob outfit was a cross a twelve-year-old and a depressed yogist. How can we take her seriously? Also, the lack of focus applies to the characters. Early in the movie, they introduce Snakebite Andi (played by Emily Alyn Lind) as a promising rookie to the team and even give her a very long time under the spotlight. However, there’s no pay off for the blonde goth. She contributes a little to the story, but not much. She’s insignificant. Sort of important, but not really. “Doctor Sleep” wasn’t boring or hard to watch, per se. It was just a little scattered. It reminded me of my English professor who is really nice but is all over the place. It was kind of embarrassing to watch. If it dropped its ties with “The Shining” and made it a stand-alone movie catered towards adventurous teenagers, I think it would have landed a higher score than its current C+ grade on Rotten Tomatoes. The story outline matches with popular young adult stories we keep seeing this decade. Either way, I see no future for “The Shining” franchise. I pray no triquel happens even if Stanley Kubrick rises from his grave and permits consent. I’m glad “Doctor Sleep” experimented a little, but it’s time for the lab to shut down.
2.5 out of 5
Photo courtesy of Warner Bros. Pictures
Photo courtesy of Warner Bros. Pictures
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Photo courtesy of Panorama Studios
Photo courtesy of Panorama Studios
"I am convinced that the script was written by Lele Pons and Jake Paul. It’s like it was trying to target the younger audience, but it’s so forced and raunchy at times, that it's very difficult to point where the targeted demographic was supposed to be." 11 |
HIT OR MISS
PAGALPANTI Translated to "Madness"
Directed by Anees Bazmee // Release Date Nov. 22, 2019 // Starring John Abraham, Anil Kapoor There are hot girls running in heels, sports cars ramming into each other and guns firing every which way. There’s a dance break every half an hour, accompanied with glitchy CGI backgrounds. This is “Pagalpanti.” “Pagalpanti” is big, bold and extravagant, but has the same quality as a mediocre video, cheesily edited with iMovie. They use CGI lions, but it’s not Spielberg quality. It’s more or less like a college student’s project. Even Twitch streamers can utilitze green screens better. The scriptwriting is even worse. Their moral at the end was written by a confused individual. The team of youngsters criticize a billionaire for embezzlement of Indian citizens, so they proceed to rob his entire mansion. You would think they would return the money to the citizens and be India’s heroes, but they instead use the money to buy themselves designer clothing and pay off their debt. Not to mention, they bought themselves a mansion that vaguely reminded me of Team Ten’s. The tables have... turned? What exactly is the moral? I am convinced that the script was written by Lele Pons and Jake Paul. It’s like it was trying to target the younger audience, but it’s so forced and raunchy at times, that it's very difficult to point where the targeted demographic was supposed to be. It’s not enjoyable for middle school tweens, adults or seniors. It’s also a painful two-and-a-half hour long movie, but it feels like a century. They even had an intermission in the middle to save the audience from melting our brains out in the hard-ass theater seats, but it was hard to watch even with the little snack break. This whole movie could be cut down to a 20-minute YouTube vlog and still convey the same information. To be honest, “Pangalpanti” is Bollywood. It’s meant to be ridiculous. Maybe it’s a hit for hardcore Bollywood fans, but it wasn’t for me. It most definitely doesn’t deserve a spot on the big screens. Good thing T-Series has 121 million subscribers on YouTube. They could be the next big vloggers instead. Who knows?
1 out of 5 12 |
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mini reviews from friends "he said society" — Lucas R., Joker "donuts. thats it." — Casidy Chen, Knives Out "every movie should have willem dafoe doing the funny accent. also give him an oscar just for having to eat that much dirt while monologuing" — Lucas R., The Lighthouse "THE LIGHTHOUSE SLAPS, BEST MOVIE I'VE EVER SEEN GO WATCH IT RIGHT NOW" — Austin Bowen, The Lighthouse
"my favorite part was seeing everyone walk out of the theater with a look of mild disgust and confusion" — Noah Abadano, Midsommar
"jj abrams really wants you to know that he’s seen the original star wars guys" — Elinda Xiao, Star Wars: The Rise of Skywalker 13 |
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Meme courtesy of Jasmine Liu
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