Aespa World Tour in Cinemas

Aespa World Tour in Cinemas; The allure of K-Pop lies in tight choreography paired w/driving beats & vocal gymnastics across slightly uniquely tailored personalities. Aespa is no exception, clearly fleshing out each individual performer through brief vignettes between bops. Well done, great fun; B+

Rebel Moon - Part Two: The Scargiver

Rebel Moon - Part Two: The Scargiver; Snyder knows how to visually construct worlds & stage elaborate action sequences. The attempts to make main characters likeable and more than just cool assassins is less successful. Undeniable artistry happening across departments in service to a tired story; B+

Monkey Man

Monkey Man; A more brutal John Wick (if that’s possible) revenge style action film. The fights hit hard while the emotional through-line gives it added oomph with each blow the Monkey Man dishes out and takes in. The scenes simply refuse to cut away at the points where one wants to look away; A-
 

The Great Mouse Detective

The Great Mouse Detective; Short, sinister and slightly surreal. Taking Sherlock Holmes into mouse mode with high stakes and high adventure is a bold choice for the House of Mickey Mouse. It pays off, as a dark tale surprisingly capped off by a slick soundtrack and silly little lines; B
 

Cars 2

Cars 2; Setting the Cars characters in a James Bond/M:I spy genre is an inspired choice. Too bad Mater’s stupid schtick is the driving force of the film, as his annoying dumbness is infuriating to watch. Some good jokes, some great animation but the clueless guy mistaken for suave spy falls flat; C+

An Extremely Goofy Movie

An Extremely Goofy Movie; Feels like Rodney Dangerfield’s Back to School with more heart and animated angst borne out of father/son anxiety and weirdness. It’s crazy how straight to DVD era Disney gave us this lower quality tier silliness compared to the ambitious feature films of the 2010s; C
 

The Wonderful Story of Henry Sugar

The Wonderful Story of Henry Sugar; Russian doll story within a story within a story climbing back out of itself is expertly performed by a most exquisite cast. Dahl’s clever and fun prose is hard to transfer to the screen but the way Anderson uses sets and framing to unfold it all is perfection; A
 

The Rat Catcher

The Rat Catcher; The stylistic choice to keep the original short story narrative almost spoken word performed by a sparse talented cast, in what feels like an improv game played to wild perfection, comes across as insane genius. Pairing Dahl’s darker work w/Anderson’s aesthetic is fantastic; A-

Aquaman and the Lost Kingdom

Aquaman and the Lost Kingdom; This was truly bonkers, which seems to be the only way to make an Aquaman movie. Gotta love Mamoa going for it, knowing how goofy it all is on the page, and having a great time with the lamest character. It’s astounding we got two of these given how silly it is; C

The American Society of Magical Negroes

The American Society of Magical Negroes; The balancing act btwn cutting satire & conventional, accessible rom com doesn’t quite come off throughout each scene but the leads are adept at both. If only direction/script succeeded to a better degree. Worth a watch for the deeper discussion to follow; B
 

Taylor Swift: The Eras Tour

Taylor Swift: The Eras Tour; Overly ambitious in scope & length, it’s made for true Swifties, who will respect the breadth of catalog & style changes w/each era, along w/ the quality of concert capture. But the lack of any extras, insight or BTS makes it all seem very one note for casual viewers; B-

This Is Me...Now

This Is Me…Now; Lopez has been equally fascinating & frustratingly cheesy throughout her career, displaying glimpses of extraordinary talent & work ethic alongside questionable choices. This extended long form album/music video has the same highs & lows. Cameos are super fun, rest not so much; C+

Bob Marley: One Love

Bob Marley: One Love; Does an excellent job of capturing what the singer meant to his family, friends, fans & his people. Follows biopic trend of focusing on a particular era rather than his whole life story, centred on the music. Ben-Adir & Lynch are equally phenomenal in their portrayals; A-

Dune: Part Two

Dune: Part Two; Every aspect of the craft of filmmaking is exquisitely done by each department, distracting from the relatively boring story. One would (and very well still could) fall asleep if it weren’t so spectacular to look at and listen to. An insanely talented cast adds to the ruse; B+

Killers of the Flower Moon

Killers of the Flower Moon; A real slow burn of seedy, detestable characters subtly played expertly by an astounding cast. Despite its long runtime, Robertson’s score keeps the pace moving towards its tragic conclusion. Scorsese’s been a truth teller all his career, this story may be the ugliest; A-

Poor Things

Poor Things; Wild production design + eccentric performances establish a framework for the bizarre story of Bella Baxter on a feminist awakening from woman child to expressing agency in her own affairs. The film has to be seen to be believed, and not for audiences who are adverse to the perverse; A-

Damsel

Damsel; Not exactly what it seems, yet every bit as predictable as a fairytale. Heightened by big budget effects and the powerful acting of agony by MBB, the realistic take on fantasy content is a bit jarring, unsettling but hard to turn away from. The story is simple yet strongly executed; B-

Lisa Frankenstein

Lisa Frankenstein; Wears its influences proudly while venturing into some dark territory that doesn’t quite measure up to the films it references. Tonal shifts are insane, but deftly played by the talented leads, notably Newton and Soberano. Twisted, comically demented nostalgia for today’s teens; B

The Marvels

The Marvels; Super appealing trio are given little to work with, up against an uninteresting villain whose plans are neither memorable nor engaging. I’d rather watch the three go to lunch w/Nick Fury and talk about comics. Some cool use of light powers in fight scenes but feels too lightweight; B-

The Boy and the Heron

The Boy and the Heron; These films are not for me. They look beautiful and the characters are insane but the way the story goes in fits and starts, annoys me more than it appeals to me. The randomness and fantasy side quests and diversions simply don’t add up in a cohesive way that’s satisfying; C+
 

Mean Girls

Mean Girls: Eschews comedic beats for more emotional ones. None of new cast disappoints while also reaffirming how great original cast was. Cravalho excels along w/Spivey. Changes don’t seem to add much while omissions from stage are sadly missed. Odd choices head scratching but still enjoyable; B

The Best and Worst Films of 2023

For the first time in many years, it felt like theatre going in 2023 was back to routine business. With Covid restrictions loosened (as people continue to increasingly ignore an airborne disease) and release dates in place, 2023 was set to be business as usual, but turned out to be anything but, as two massive strikes by the writers and actors (not to mention this writer's own day job going to the picket lines) impacted the promotion and in some cases, releases of films. That didn't stop social media users from manufacturing the greatest PR campaign ever for Barbieheimer, resulting in the biggest box office success of two vastly different films on the very same weekend, proving that the standard studio PR may actually be money not very well spent. It helps that both those juggernaut films happened to be very good movies, and the whole experience of attempting to see both during opening weekend or at the very least, before the end of July, is a wonderful testament to the different tastes and palettes of moviegoers, many of whom will see any kind of movie, as long as it's good.

It is with this spirit in mind that I present to you, loyal reader, (or casual reader who stumbled upon this by accident), this list of the The Top Ten Films I saw in 2023. I know we refer to them as "best" and "worst" lists, but in reality, it's just ten of my favourites from the 64 films I did see in the 2023 calendar year, 22 of which I saw in theatres, the rest as rentals or streaming premieres. For those not keeping track of my past lists, that's almost twice as many trips to the theatre than last year (though close to the same amount of films watched overall) and exactly double the number of films I managed to screen in total in 2021. In fact, I would have to go back to 2004 and 2007 to find another year where I watched this many movies. Not sure if this speaks to the ever aligning interests between my daughter and I, or an increase of leisure time (sure doesn't feel like it), or the proliferation of streaming companies offering new content (building on what used to be consolidated libraries of older media). Maybe it's a decline from peak TV (though I did manage to watch some fabulous series this year--looking at you Beef, Yellowjackets, The Rehearsal, Jury Duty, Severance) but whatever it is, here's to the ten I enjoyed the most, in alphabetical order (not ranked):

10. Confess, Fletch; I've been ready for a Fletch sequel for almost three decades now. I've always loved the character and I was one of those who lamented the fact that Kevin Smith never got Jason Lee to star in his version of the character, which I thought would have been perfect casting and the right amount of comedy in dialogue and delivery. If passing on that meant we got the Jon Hamm version, I'm happy to have waited, because he's everything I wanted and more. This film got unjustly dumped and distributed with little to no fanfare and it's my hope that home viewing numbers and the actor's passion to play such a devilishly fun scoundrel will result in many more follow ups. This film fills that genre space I so dearly love, the action comedy, with a hint of romance, murder and mystery, that doesn't seem to get the right treatment these days. It doesn't require a big budget, just enough to punch up the script, make the stakes feel real, and keep Hamm happy.

9. Guardians of the Galaxy Vol. 3/The Flash; For those unfamiliar with my top 10 lists, I often manage to squeeze in an extra title, or two (more on that later) when I feel like a few extras deserve some love. These two films represent the superhero film as best presented; plenty of laughs, crazy, elaborate action sequences, with an emotional punch that doesn't feel like it belongs in a summer blockbuster popcorn movie that's more often buoyed by CGI artists, as opposed to solid scripts and performances. The heart at the centre of these two films hold true to the rather eccentric characters found within, as the creators of both films figured a way to ground the galactic storylines and stakes in stories about family, loss, grief, and coming to terms with your failures and actions of the past and finding acceptance in your present. But I don't need all that emotional weight to defend the pure joy found in these films that consistently bring a smile to the 8 year old and 48 year old me.

8. John Wick 4; Few franchises can boast a continued success rate like the John Wick series, as most fall to the law of diminishing returns. Yet there's no drop off here, in the fourth instalment (and even the spin off series The Continental, on Amazon Prime, provided great thrills). It's a testament to the man himself, Keanu Reeves, that he has steadily built upon what he believes in, as he gracefully shifts his legacy from Bill & Ted teenage dolt, Point Break and Speed action film heart throb, to Neo in the Matrix franchise, to now this, his most synonymous role yet. Keanu's zen nature lends itself to the focused, precision killer John Wick, a man of few words but bold action. Further to its appeal, the films have established a rather in-depth lore of contract killer world building, none of which detracts from the casual viewer who knows none of it and just comes for the expertly shot and staged fight scenes and set pieces.

7. Joy Ride; Every generation has its comedic touchstone. A film that defines a shift in cultural levels of crass and laughs. 2023 has offered up a number of raunchy, go for broke, big swing for the fences comedies, a favourite of mine being Joy Ride (with a tip of the hat to Bottoms as well). The talent of these stellar ladies, comfortable sharing a scene through tears of laughter as easily as emotional tears of pain, doesn't so much straddle the line between the two tones, but rather punches heavy blows that land both comedically and empathically. This film is definitely not for everyone, but those willing to go along for the ride and able to appreciate the outrageous pushes at boundaries will be rewarded with shocking fits of laughter. Any one of these thespians could hold their own as the comedic contribution to an ensemble cast and yet this film smartly shares the spotlight across them all.

6. The Menu/Triangle of Sadness; The pairing of these two slices of delectable class warfare, viewed a few short months from each other, demonstrate the way film can cunningly cut across societal sickness in a playful, yet very damning and biting fashion. Pleasurable, yet sinisterly dark watches, both start out celebratory and refined, before devolving into the stuff of horrific nightmares. Never losing their satirical edge, each film shockingly surprises with revelations that even if noticeable, serve to judiciously squeeze enjoyment out of other people's pleasure and pain. Certainly not for the faint of heart, the themes each of these films explore are clever, inspired and expertly crafted in stylistic cinema choices that set them apart enough to be kindred spirits but not pale imitations of one another. In the case of The Menu, it's been awhile since a film's language became embedded in our daily parlance so readily and tickling our tongues so joyously. 

5. Mission: Impossible - Dead Reckoning Part One; It's almost come to the point where we take this film franchise for granted. Remember earlier when I mentioned the John Wick franchise's stellar track record? Same applies for the M:I franchise. There's a real throwback feel to this spy thriller though, that lovingly tips its hat to film history and cinematic moments we've loved in our favourite action thrillers. Never imitating, while stylistically channelling a breadth of spy and action imagery, the sole knock on this movie is that it's billed as a part one, so though it concludes on a suitable note, it hasn't fully played out its setup. That aside, a second viewing of this film greatly enhanced my appreciation for its moments, its introduction of new characters, use of old ones, and the incredible pacing job it does moment to moment, hurtling toward that heart stopping climax. Same as it always does. Looking forward to part two next year.

4. Past Lives; The most complex, introspective human emotions are lovingly explored in the quietest, least intrusive manner in the devastatingly crafted and acted Past Lives. What it unearths, lying in the subconscious for many of us who have lived life past those forks in the road that have tremendous sway on where we live today, while simultaneously wrapping questions of cultural inter and intrapersonal relationships around those decision points, seems like a momentous undertaking. So it's a feat of deft direction and undeniably subtle yet powerful acting that makes breezy work of watching this trio of characters navigate the landmines of past and present entanglements and how they demonstrate the way we select our narratives and components that craft our identity and current place in life. Love can be so complicated, so multitudinous, beautiful and painful, all at the same time, and this film captures it wonderfully in its totality. A film that sits in your mind long after the credits have rolled.

3. Polite Society; Fresh takes on familiar frameworks are always a welcome entry into the film archives and Polite Society does the unexpected with a unreserved glee that kicks you in the face from the first frames and doesn't let up until the final blow. Is this what feminist filmmaking looks like? If so, please fill our film houses with more because it is an absolute blast. Having not the personal touchstones of the film's protagonist, one can only hope that the thrill of seeing this film smash stereotypes, tropes and expectations is enhanced twelve fold for those of similar background. The movie tightropes a tone of zany comedy, romantic mishaps and royal chivalry alongside hard hitting fights that grow increasingly more destructive and high stakes as the film progresses. The enthusiasm for this film has yet to be fully realized and its ground breaking and cult following is sure to emerge in due time.

2. Renfield; Similar to Polite Society, in the way it takes the cinematic tropes we've come to expect, turns them on their head and executes them beyond precision like accuracy, with over the top, blown out execution, cranked to 11. Genre blending films are a tricky proposition and more often than not, result in well intended action comedy horror films that trip over one of the many landmines they can step on. Renfield runs head first into the mine field, and gracefully leaps NOT between the potential explosive dangers, but rather gleefully sets off each one, vaulting from one comedic satirical beat to gruesome body exploding horror effect to the next crazily choreographed combat after another. Just when you think it has gone as ridiculously camp and crazy as it could, it sets up another psychotic scene to test the psychologically damning relationship at the center of Renfield and his narcissistic master, Dracula. Pure sadistic joy.

1. Spider-Man: Across the Spider-Verse; It wasn't the best year for animation, but it certainly was a welcome return to Sony's Miles Morales Spider-Man universe. The groundbreaking style of the first film is elevated to even more fantastical visual (and emotional) heights, with watercolour flooding the frames of Spider Gwen's intro narration, bursting across the screen in full, expressive power. The genius at hand in the animation doesn't overshadow the fabulous voice acting that breathes life into the new characters and deepens the familiar ones. The only knock on this sequel is, much like M:I-Dead Reckoning Part One, the fact that it's a planned instalment of a larger narrative. We get an amazing setup and web swinging, multiverse spanning adventure, but without a satisfying resolution. In fact, there's less wrap up here than in M:I, and the cliffhanger ending is less fulfilling, but definitely leaves us hungry for more. A sequel that excels upon its predecessor, cementing the Spider-Man films as historic chapters in the history of animation cinema.

So, there are 10 (or 12) of the films I really enjoyed that I watched in 2023. Here's a few more that didn't make the cut but certainly deserve a watch if you have the opportunity...

HONOURABLE MENTIONS: Chevalier, Imagine Dragons: Live in Vegas, Oppenheimer, Reinventing Elvis: The '68 Comeback, RRR

With some chagrin, I share the following five worst movies I saw in 2023. I offer these not to be an annoying critic, an online hater, or internet troll. I do so in the service that if you find that your tastes tend to align with many of mine, then you may not want to waste your time viewing these movies. Or you may want to see them regardless and determine for yourself if you find them of value or to your own liking. Each film is a project that is shepherded to its final cut by dozens, hundreds, sometimes thousands of artists and who are we to say what's good or bad, when the creation of art is itself its own reward and beautiful act. That being said, these are the five worst films I saw in 2023...

5. Shotgun Wedding; To be honest, many of the movies that linger at the bottom of the Top 5 worst lists are more often than not, disappointments more than they are horribly awful or have little redeeming value. This film, at one point in time, maybe the mid-80s, would have been a win as a direct to video sleeeper or in the early days of streaming, a pretty decent offering from what is an online bookstore turned shipping company/penile shaped rocket ship launcher. Why it ends up on this list is that it could have been so much more with someone steering it out of predictable potholes and not off a cliff but rather guiding it to places unexpected and using the (mostly) talented cast to greater effect. Jennifer Lopez has always been a frustration for me, because her early cinematic acting choices held so much promise, but she seems to select two duds for every role she nails. Try The Mother instead of this one if you want to see a better, more nuanced performance from her.

4. Blue Beetle; There's a lot to love about this film, and there are certainly champions of it out there. But I can't in my right mind, nor with a straight face, recommend this to unsuspecting cinema goers. Back in my video store days, I would know the type of customer to recommend this to, but I wouldn't be offering it to any random family. It's akin to the Spy Kids franchise, where the line of what's considered an acceptable quality level of jokes and special effects has been set to a much lower height than usual. It doesn't help that George Lopez seems to be acting in an entirely different film, sometimes to great results, but mostly he just elicits a head scratching response. It's sad how much Warner Bros. has lost the handle on their cadre of DC characters that could provide laughs, thrills and deeper storylines. Here's hoping James Gunn can right the ship without being in complete control of every script, film set and production (or maybe he will be that involved?

3. White Men Can't Jump; Why studios feel the need to tie new projects to old films or IP is beyond me. I get the build-in audience they hope to draw immediately by name recognition alone, but it truly does a disservice to the project in the case of something like this movie. If Jack Harlow wants to make a film that had race relations and basketball at the heart of it, why not call it something else (like maybe after a hot title track he creates to go along with the movie soundtrack) and let any odes, allusions or similarities to the Snipes/Harrelson film be exposed as a love for its impact on the new stars/creative team. Instead, we have a movie that isn't as funny or as memorable as that pairing...but it's like they're not even going for that same tone or approach for this film. So why evoke the name to begin with? A serviceable time diversion for fans of its stars or those who can't get enough basketball in movies in their life. Anyone else, take a pass on this one.

2. Darby and the Dead; Yet another willing and able and game cast let down by mediocre material and what feels like a studio score card approach to decisions in movie making. It's like studios know how to sell or pitch a film, but they don't know how to fully execute a finished product. We have half baked ideas, repurposed premises and attempts to be different or edgy or quirky but in a safe, predictable, boring manner. The cast and crew behind this already possess a list of distinguishable credits that show bonafide talent and promise. Let this serve to be a training ground of what not to do, and hope their careers all survive whatever this is supposed to have been. On individual levels, the young cast has the ability to shine bright, while the adult roles are trying to offer some quality moments to actors we've loved before. This movie is D.O.A. but hopefully the talents involved have a long, fulfilling second life.

1. Knock at the Cabin; What's worse than a M. Night Shyamalan movie these days? How about one that doesn't even attempt his signature twist moment, but rather reveals its cards early, tries to disguise them by delaying the trajectory, only to fully unfold as expected, wasting the audience's time in the process. This is a completely unsatisfying film that makes us feel trapped and held hostage to actors that have had better projects, trying valiantly to elevate a premise so threadbare. It attempts to make a moral conundrum or philosophical question materialize as a real life role play, but fails to intrigue, cause us to reflect, or consider for a moment that these nut jobs are anything but fanatical crazies that populate internet spaces these days. If there were better development or something more than the slow, plodding pace to an unsatisfying ending, I'd say give it a shot. But even those intrigued by the trailer shouldn't waste their time on this huge let down. Big bust.

There were many more bad films I stubbornly sat through or was brought along to witness against my better judgement. And several of them have fan bases fanatically posting and raving about the merits of what I found mediocre, so I won't bother to list them here. To each their own, share your love for your favourites, and continue to keep it reel in 2024. Find my reviews now on BlueSky (hit me up for an invite code if you need/want one: @joejamesfilm.bsky.social ) or Letterboxd ( JoeJamesFilm ) as I leave another media platform to the annals of time, from newspaper to radio to Twitter, I continue to watch the best and worst films, and telling you about it, hoping you will do the same too and keep cinema joy alive for another century to come. If you made it this far, thanks for reading to the end! Peace and Be Wild.

Rebel Moon: Part One - A Child of Fire

Rebel Moon: Part One - A Child of Fire; World building & character introductions take center stage in an initial instalment that intrigues enough to maintain attention yet seems simultaneously hurried & dragged out, if that’s possible? Presents ideas but shortcuts to tropes; B-

Past Lives

Past Lives; A beautifully acted, personal tale w/universal themes & appeal. The raw, honest depiction of childhood crushes, feelings of guilt, comfort & shame when living between two different cultures, and how circumstances change the paths of our lives, rendered exquisitely; A-

Dream Scenario

Dream Scenario; A little traileritis happening, with most of the film revealed in the previews, it still manages to pose thought provoking situations acted out in bold fashion by Cage. Societal commentary explored stylistically but better suited for a series length deep dive; B+

Trolls Band Together

Trolls Band Together; The film no one asked for returns w/blender of pop tunes only mildly pleasing in the first place, hoping for a hit of nostalgic dopamine before realizing the songs are only tolerable in bite size form. Animation cuts corners to keep cash grab profitable; D

Wish

Wish; Slightly unfair review because I was sleeping for some of it, but from what I recall, music has some spectacular songs, performances are fine, but story & art are derivative & easily forgettable. Characters seem plucked out of missing first act, w/confusing motivations; B-

Bottoms

Bottoms; Fun, fresh take on a standard genre featuring some new talents who are funny beyond their years w/precise comedic timing. Story doesn’t have much to elevate material above an average high school raunchy comedy, but it’s definitely set to be a footnote in film history; B

Clerks III

Clerks III; A personal film meant to appeal solely to the filmmaker and those who have nostalgia for the original film and its characters. Hard to imagine this offering anything of interest for those unfamiliar with the View Askewniverse. Even still, not all that entertaining; D+

Blade of the 47 Ronin

Blade of the 47 Ronin; CW show production values make for a feature film that feels like B roll stunt work stitched together loosely around a nonsensical narrative that fails to engage or entertain. Sad to see dedicated performers relegated to make this bland fare; D

Reptile

Reptile; Moody, atmospheric police investigation deliberately sets the pace so the audience experiences the unveiling along with Del Toro. Characters are slowly developed and fleshed out exceptionally by the talented cast. Police relationships are deftly depicted, well acted; B

Five Nights at Freddy's

Five Nights at Freddy’s; Equally creepy/comedic animatronic puppets from Henson Co. add right element of sinister/silly to this film based on PC & YouTube jump scares. Attempt to build lore/story around it all falls apart but still delivers joyful thrills for teens of the era; B-

Totally Killer

Totally Killer; Explores a concept surprisingly not heavily mined. Cleverly executes a Back to the Future time travel conceit meets murder mystery w/excellent results. Comedy hits well while the thriller aspect remains creepy. A solid, good fun time for different generations; B+
 

The Lost Boys

The Lost Boys; Ridiculously mashes up an indie horror film with a goofy teenage adventure story, all framed with gay, not so subtle, undertones. Actors seem to be starring in separate movies, some playing it straight, others adding hijinks, mirrored by the whiplash direction; C

Joy Ride

Joy Ride; A cast killing it comedically w/a chemistry that’s so hilarious. The four fill typical roles for a buddy road trip kind of comedy but the territory explored is refreshingly fun and at times, surprisingly sweet. It helps that these ladies are equally adept at drama; A-

The Creator

The Creator; Impressive cast given an interesting premise is undercut by choppy editing that dices the storytelling into snippets that ultimately disconnects the audience. Futuristic imagery is visually creative, yet still feels grounded in current tech. A vision unfulfilled; B-