TOP 10 FILMS OF 2017

 Hello there puny humans,
once again it is time to sit down and recap the year of 2017. It was really tough. There have been a lot of great movies this year and I had a hard time deciding which movies I wanted to keep in the list and which I could let go. Because I am basing this on German release dates, Oscar-winning movies like La La Land were still in the run but films like The Shape of Water weren't yet. Also I unfortunately missed the critically acclaimed Get Out. I thought about catching it on DVD before starting this article, but since creating this list was already hard enough, I decided not to.
My rating system is composed of cinematic craftsmanship, fulfillment of potential, rewatchability factor, entertainment value and how the film touched me emotionally aka. personal preference. Even though it's kind of a cop-out considering the title, I will also briefly touch on my honorable mentions (in no particular order) just because I believe that these film definitely need recognition:

MOONLIGHT: This was not only an incredibly important, but also an incredibly well made film. It is a tender exploration of race and sexual identity with outstanding performances by every one involved.

SPLIT: This claustrophobic thriller was a brilliant comeback for M. Night Shyamalan. With fantastic visual story-telling and a masterclass performance by McAvoy, this film could have easily made my top ten. It loses a few points however for associating Dissociative Identity Disorder with criminal behaviour.

STAR WARS: EPISODE VIII - THE LAST JEDI: My most anticipated film of the year doesn't quite make the cut. Why? Well, I certainly thought the highs in The Last Jedi were incredibly high, but as of now, I'm still torn about some other elements. I think I need some time to completely make up my mind about this film.

WONDER WOMAN: Who doesn't love Gal Gadot? Men want to marry her and women want to be her. Heck, I also want to be her! This film was near to a perfect superhero origin story, with a sincerity and seriousness that I have been missing in some of the latest comic-book outing. It was only the CGI-heavy third act that kind of took it down a few spots.

MY LIFE AS A ZUCCHINI: One of the best kids movies I've ever seen. This film (of that I thought it was going to be a childish borefest) literally brought tears to my eyes. It tells tales of terrible fates in such an innocent way that it breaks your heart over and over again. Children won't get the darkness of this film, even though it is hidden in plain sight and so adults will have a very different viewing experience. Certainly worth your time.

And now, without further ado, let's dive into the Top 10:

10. "THE BIG SICK"
My number ten spot goes to the movie that was a breath of fresh air in the genre of romantic comedies. It is based on the actual life of main actor and screenwriter Kumail Nanjiani, and it really shows: The Big Sick is multilayered and absolutely genuine. The film is more than a love story as it also heavily features topics like the cultural barriers (including racism in both directions), recovering from setbacks and what it's like to try to build a career in show business. Kumail Nanjiani and Zoe Kazan have great chemistry and are two endlessly charming main characters. But also the supporting cast is on the top of their game with Ray Romano and Holly Hunter leading the way. This film is funny, sad, heart-warming and even gets you thinking a couple of times. Because when characters argue, you can usually understand where both sides are coming from and that they actually have a point. It just shows how great the writing is! The Academy Award nomination for Best Screenplay is well-deserved.

9. "SPIDER-MAN: HOMECOMING"
I have expressed my love for the webslinger multiple times in my articles. Naturally I was curious to see what this third cinematic incarnation of the character had to offer. I was not disappointed. It was a blast! I've always loved the first two Sam Raimi Spider-Man films from the early 2000s, because they tell such a classic and inspiring super-hero story. Spider-Man: Homecoming however, captures the feeling you get from reading a Spidey comic like no other film has. Tom Holland is perfectly cast and is able to play both, Peter Parker an Spider-Man, flawlessly. This film had everything you need in a film about the wallcrawler: action, humor and, most importantly, a lot of heart. Even though they took the character to high school for the third time, the movie managed to stay fresh. Director Jon Watts recreated the magic of a John Hughes film and the fantastic Michael Keaton gave us one of Marvel Studios' best villains. That subtle but creepy scene in the car was amazing. I didn't think a Spider-Man movie could still have that much juice in it. This was popcorn entertainment at its best.

8. "LION"
This February release tells the awe-inspiring true story is about a little boy, Saroo, who gets separated from his family in India as child. Shortly after, he is adopted and moves to Australia. But losing his family haunts him for all the years to come and so after 20 years he decides to find them despite having as little information as you possibly can. The first half of the film is set in India and features an incredibly heart-wrenching performance by the eight-year old Sunny Pawar. Having lived in India for four month, I have witnessed the cruel reality of street children with my own eyes and so I found this part of the film extremely engulfing. The second half of the film shows Saroo as a grown man. Among other things this part explores his struggle with cultural identity and what it feels like to look Indian, but not know a whole lot about that country. As someone who has a similar relationship with his heritage, I could completely empathize with the character. Needless to say, this film really resonated with me on a deeply personal level.

7. "DUNKIRK"
Unlike most other war movies, Christopher Nolan tells this story in an unconventionally impersonal way. This took a little bit of getting used to in the beginning, but once I accepted that, I was in for a unique cinematic ride. Nolan proved to me once again that he is one of the greatest directors working at the moment. Like a conductor of an orchestra he has an incredible oversight over every element of his project, manages to use each of those elements to its fullest potential and combine all of them in a way that creates a perfect harmony. Dunkirk was an amazing demonstration of his cinematic craftsmanship. The cinematography, the score, the sound-design, everything was working in unison to fully captivate the viewer. Additionally, the way the different stories were intertwined made sure that I was on the edge of my seat the entire time. My heart would bleed if I ever saw someone watch this movie on an airplane or on their phone. This film was made for the big screen!

6. "MOTHER!"

I'll be honest with you, watching mother! made me feel really uncomfortable. When the end credits of this film started rolling my initial thought was: "What the f**k did I just watch?". Back then I would have never thought about watching it again, let alone putting it in my Top 10. But the more I thought about this film the more I started loving it. In a way, this film represents the very essence of cinema itself. The images stick with you, its themes make you think and it starts a vivid conversation. And these things apply even if you didn't like the film. This really seems like it was a personal passion project for Aronofsky. I was put in awe by the unbridled and raw creative vision I was witnessing and it felt like had just stepped into Aronofsky's mind just when he was starting to have a wild feverish dream. But this movie is not great because of sheer shock value, it actually makes a hard-hitting commentary on humanity. Furthermore, this movie impresses with strong leading performances and a masterful direction. Disturbing? Yes! But also a fantastic piece of motion picture art.

5. "BABY DRIVER"

I praised the previous two films for their artistic value and highly competent direction. My number five spot - Baby Driver - can most definitely join the ranks of them, although tonally this is vastly different film. Once again Edgar Wright proves that just because a movie is full of fun and action, that doesn't mean it can't be an impressive display of creativity. The way that he utilizes the soundtrack is ingenious. Not only do the songs match the action, they are also an extension of our main character's emotions. Their tempo, their mood and their lyrics all serve as a door to Baby's inner life. And if that wasn't enough for you, Wright also plays with the color schemes, adds clever foreshadowing and pays homage to old-school Hollywood crime stories. In my initial review I called this film a meticulously crafted, brilliantly edited and perfectly cast music-video-motion-picture-hybrid. And half a year later I still agree 100%. But before I run out of positive words to use, I'll just say: Damn, what a ride!

4. "LA LA LAND"

This film was released over a year ago in mid-January and yet, I still find myself randomly going "Ba-ba-da-ba da-ba-da-ba-ba..." to the tune of Another Day of Sun in my head. Coming to Germany with a lot of momentum after breaking Golden Globes records, La la Land soon experienced some backlash, because audience thought to themselves: "Wait, this is what all the fuss is about? A romantic musical?" But to me, this movie was much more than that. Yes it's true that on the surface this looks like a typical boy-meets-girl story and it's not like Gosling and Stone's dancing and singing was unparalleled or something. But if you just dive a little bit deeper into this film you'll find something truly special. A love letter to the golden age of cinema, a perfect blend of escapism and realism, a deconstruction of postmodernism and over all, just fantastic film making. I had loads of fun with the charming performances, the catchy songs, the playful set-design, the elaborate lighting and the beautiful shots. After this and the fantastic movie Whiplash, I will watch anything that Damien Chazelle puts out next!

3. "IN THE FADE" / "AUS DEM NICHTS"

I am not too fond of German cinema. Not because of a lack of quality, but because of a lack of variety. There are very few real genre films in Germany (like fantasy epics, horror movies or science fiction films) and directors don't seem eager to use a distinct visual style in their film. Fatih Akin is different however. As a film maker he doesn't hide in the shadow of a good story. He elevates his stories through his directorial voice. In The Fade (original title: Aus dem Nichts) is his best work so far. This film captivated me from start to finish. I was amazed how many emotions Akin could solely through images and it reminded of Martin Scorsese's early work. But not only Akin was on the top of his game. Leading lady Diane Kruger was astonishing and I am still scratching my head over the fact that she didn't get an acting nomination at the Oscars. This whole film was an incredibly real portrayal of loss, grief, hopelessness and anger. Deeply personal and endlessly thrilling - I had my heart in my mouth for the entire last 20 minutes of the film.

2. "LOGAN"

After X-Men: Apocalypse came out in theaters, I was convinced that the X-Men franchise was dead. And now, here I am with its latest entry in my number two spot. No doubt, Hugh Jackman's Wolverine has always been the best part of these films, but even his first solo movie was terrible. But Logan blew me away. It was such a mature way to tell a superhero story, with a patient narrative style, well-rounded meaningful themes and more than a few moments of sincere vulnerability. And yet, there was still plenty of room for breathtaking and brutal action. In a time where I was sick of almost every blockbuster stuffing itself with self-aware comedy, this comic-book movie dared too take itself seriously. Extracting the characters from a generic superhero story-line and inserting them into a neo-western road movie was another great choice that made Logan so unique. This film looked and felt different, and I thought that was absolutely fantastic. On top of that, the film features Hugh Jackman and Patrick Stewart's best performance in the franchise, as well as newcomer Dafne Keen, a thirteen year-old actress that was able to match Jackman in emotional power and sheer badassery. Finally, Wolverine's last line in the film was one of the best character moments in comic-book movie history. And Logan is one of the best superhero films of all time!

...

1. "BLADE RUNNER 2049"

Dennis Villeneuve is an exceptional talent! After impressing audiences and critics with Arrival, Sicario and Prisoners, he has now created his personal masterpiece. First of all, Blade Runner 2049 is simply a f**king gorgeous film! I want it in a picture frame on my living room wall. These beautiful wide shots combined with flawless visual effects, superb lighting and artistic coloring gave me (and excuse my language here) multiple eye-gasms. But wait, there’s more! Not only is Blade Runner 2049 visually stunning, but it is a perfect cerebral science-fiction thriller as well. Villeneuve respectfully built on the world that the first Blade Runner created. And by broadening its world he was also able to broaden the themes and so he poses multiple questions at the same time. As a sci-fi fan you can find shades of many different films of the genre here, such as Ghost In The Shell, Her, Inception and Ex Machina.

All of this contributed to the film completely sucking me in. Instead of a screening room, I had stepped into a time machine and was transported to the year 2049 in an alternate dimension. It was a completely immersive experience. No virtual reality needed! This is one of these extremely rare arthouse-blockbuster hybrids that has as much of an entertainment factor as it has artistic value. I would even dare to say that it is better than the original.

So that’s my „Top 10“ list for 2017. There were a ton of amazing films and it was hard to chose, but the longer I look at this list, the more happy I am with it. But what did you think? Do you agree or disagree? Are you one of the many people who skipped my number one choice when it was theaters? Did you wonder why Thor: Ragnarok didn’t make the cut? Feel free to comment below! And if you haven’t yet, be sure to check out the full reviews for my top 10 choices that you can find on this blog.

Sincerely,
Your Cinemartian

STAR WARS: THE LAST JEDI - Spoiler Review

 Hello there puny humans,

it has been four weeks since I released my spoiler free review for Star Wars: Episode VIII - The Last Jedi. But since you guys demanded my spoiler filled opinion on this divisive film in an online pole, I sat down once more to gather my thoughts. I actually took the time to rewatch every single Star Wars movie including this one. Then, after overthinking how to structure this post, I decided to just write things down as they popped into my head. And so, here we go:

1. WASTING INTRIGUING SIDE CHARACTERS
I love Domhnall Gleeson. In my opinion, he is one of the finest and most diverse actors working to date. Even though he played kind of a stereotypical faschist in The Force Awakens, it seemed to me like there were more layers to him. Especially his relationship with Kylo Ren felt like the relationship of two rivaling brothers desperately fighting for the approval of their father figure (in this case Supreme Leader Snoke). As a result, I was a little disappointed to see him be ridiculed in a few scenes. This role (especially played by this actor) had much more potential than to simply become a punchline. We see shades of this when he briefly thinks about murdering Kylo or when he demonstrates a great strategic intelligence. But after seeing him made fun of by Poe and thrown through the room by Kylo, it's hard to take him seriously.
Then there is Captain Phasma. She was already criminally underused in The Force Awakens and even though The Last Jedi brought her back, her appearance was once again extremely brief. I mean, you've got Brienne of Tarth in bad-ass chrome armour. There's got to be a better use of her!

2. THE DISNEY STAMP
There have been some complaints that Star Wars changed after Disney took over. The Porgs for example were accused of only being in the movie to sell toys and some people said that they were totally overused. Though it's probably true that their creation was part of a marketing idea, they had only like three or four moments in a two-and-a-half hour film. So this didn't bother me, because in such a small dose they worked for me. I mean, they were cute after all.
Another problem people had was that there were too many jokes. I agree that Disney has a particular kind of humor that they also use heavily in their Marvel movies. In The Force Awakens it worked well, but in The Last Jedi I also felt like a few of the jokes didn't land. But to me, the emotional moments in this movie were strong enough to completely compensate the few misplaced gags.

3. LEIA, POE & THE RESISTANCE
I liked a lot of the stuff here. From scene to scene the Resistance got smaller and smaller, and so for me this story-line was able to continuously keep up the stakes of the film. A lot of people have criticized the "Leia-floating-in-space"-scene. Admittedly, I was also startled for a second, but then the scene totally worked for me. Leia has always been described as being strong with the Force and I actually thought it was cool that she got a chance to show it off.
Poe's personal journey from talented hothead to capable leader also made a lot of sense to me. The only problem I had here is that I felt that Admiral Holdo could indeed have given more details about her actual plan to Poe and therefore prevented a whole lot of complications. Maybe a little change in the wirting could have made her secrecy a little more understandable. Her kamikaze attack still looked freaking cool though.
Another thing I enjoyed was that the character of Rose introduced us to another side of the Resistance. Her first encounter with Finn didn't only show us that therer are more people working on this rebellion than heroic fighter pilots, but it also mentioned deserters for the first time (but more on that later).

4. THE CANTO BIGHT CASINO STORY-LINE
Speaking of Rose, she and Finn go on a journey to find a codecracker that helps them infiltrate Snoke's ship. And it leads them to a Casino on the planet Canto Bight. That sequence didn't quite work for me. I already said in my spoiler free review that this place didn't feel like it belonged in that galaxy far far away. It simply looked like a futuristic casino on earth. But Star Wars takes place a long time ago and (in my mind at least) when people dress up, they do it in weird fancy ropes. These guys were wearing black and white tuxedos. Furthermore, they were playing games that were almost indistinguishable to the ones played in casinos today. Sure, there probably were some alterations, but you never got a good enough look to really notice it.
The second problem I had with this sequence was that I felt the social commentary was a little too on the nose here. This was also where the character of Rose became a little too contrived for me. Furthermore, if I remember correctly, Finn and Rose only got arrested for a parking violation, not for entering the casino. So could the failure of their mission have been avoided simply by parking properly?
I respect the film makers for trying out something new, but it didn't speak to me as it felt more like Episodes I-III. Even the action, especially the Fathier horse chase, looked kind of prequel-esque.

5. THE YODA CAMEO
There is actually not a lot to say here. I loved it! Especially the fact that they made him look and act like the Puppet-Yoda from the original trilogy. It was a fantastic cameo that wasn't only there for fan service, but actually made sense in the context of the film and created a great cinematic moment. "Read them you have? Page-turners they are not." is one of my new favorite Yoda lines.

6. MARK HAMILL AS AN OLD LUKE

In contrast to Canto Bight, almost everything that happened on Ahch-To, was a blast to watch. First and foremost the Jedi-Master that went into exile on this sacred planet, Luke Skywalker. This was Mark Hamill at his best. While I wasn't 100% on board with him throwing the lightsaber over his shoulder (and thereby retroactively demystifying one of the best moments of The Force Awakens) I do not agree with the #notmyluke criticism. First of all I absolutely loved that Luke started of as kind of an oddball in his interaction with Rey. It paralleled the relationship between Yoda and Luke in Episode V, where Yoda also started of as this tiny green weirdo. Whether exile makes Jedi quirky or  is just a technique to test the patience of potential students is unclear. But nonetheless I felt it fit perfectly. And when he finally opened up and became her trainer, I loved to see this broken down and ambivalent version of our hero. He explained the Force beautifully to Rey and at the same time he criticized the Jedi Order as we saw it in the prequels (rightfully so). And his past with Kylo? I thought it was brilliant! Seeing the breach of their relationship in three different perspectives was reminiscent of Akira Kurosawa's "Rashomon", and I for my part found Luke's reaction very much in line with his character. When Vader teased him by talking about how he would hurt Leia, Luke went apeshit and swung his lightsaber at his father like a berserker. Here, he only ignited it once out of shock (who knows, maybe he had a vision of Han dying) and then immediately regretted his moment of doubt. He never really wanted to kill Ben, but it becomes clear how it would look like that from Ben's perspective. So my idea of the character of Luke is still intact. And then the movie even gave him an epic heroic moment during the final fight. Mark Hamill was such a strong presence in this sequence that I didn't at all get that he was in fact a...

7. EXPANDING THE WAYS OF THE FORCE
... Force-Projection! Damn, what a cool moment. The visual Force connection was also an exciting concept to play around with. To me, these powers both felt like an extension of things we've already seen before. Acoustic Force connections have already been established 40 years ago in the very first film, so why shouldn't it be possible to "upgrade" to visual connections. The same goes for the Force Projection, which probably works like a pre-death Force ghost. And here, it was made very clear that using this power seems to be so difficult and draining that it may kill you. I hope they dive deeper into these new elements in the future.
Star Wars has always been expanding the lore concerning the Force. The Phantom Menace introduced Force Speed as well as Midi-Chlorians and if I am correct, the Clone Wars series had an episode where a physical incarnation of the Force appeared. Compared to the that, The Last Jedi's new inventions were almost conservative.

8. REY & KYLO

The two individuals connected through the Force as mentioned above were of course Rey and Kylo Ren (aka. Ben Solo). Their relationship is arguably one of the most interesting parts of the movie. There are a lot of parallels and contrast between them. Kylo had a heroic mentor that he felt betrayed by. Rey had ruthless parents that she kept believing in. He stands on the dark side, but doesn't fully buy into it. She stands on the light side, but is not afraid to explore what the darkness wants to show her. Both are incredibly strong with the force. And while Ben wants to kill the old ways and start off new, Rey wants to turn the legends of the past into truths. These characters are not black and white. When Ben reached out to Rey in order to sway her, I almost wanted her to accept the offer. With these two main characters the Star Wars saga has gained new unpredictability. I have no idea how the story will continue. Is Kylo Ren redeemable? Or will he have to die through Reys hand? Is there a possibility that they will rule the galaxy together after all? They seemed pretty in sync when fighting Snoke's Royal Guards....

9. BATTLE SCENES & VISUALS 

While we are on the topic, may mention how absolutely insane that lightsaber battle in the throne room was? Truly awesome. The way that Rey dropped the lightsaber, the way she later threw it to Ben. Genius! Choreography-wise, this was maybe the best fight scenes in the entire saga. But also the opening bombardment of the First Order capital ship is a pretty epic space battle. Even though you didn't know most of the characters, their desperation and the destructive power of the First Order made you really feel for them!
In general, this film is just incredibly good looking. The finale on the salt planet is so gorgeous, I want these wide shots on canvas! The color scheme is brilliant, the cave vision looked cool, Reys training sequence on the island was beautifully shot and the throne room fight I mentioned before is also visually stunning. The way the vibrant red curtains caught fire and burned away during the fight - amazing!

10. SNOKE, REY'S PARENTS & AN UNCLEAR VISION OF THE TRILOGY(?)

Of course the throne room fight I am praising so much was bookended by two moments that were controversially discussed by fans. Snoke got killed off and Rey's parents were revealed to be no one. Now, I am a little torn on these two things. From a mere story-telling perspective, those moments make perfect sense. It doesn't really matter who Snoke is. At least not to our main characters. If he had turned out to be Darth Plagueis it wouldn't have changed anything for Rey or Ben. When the original trilogy came out, nobody knew who the Emperor was either. He was just some evil dude. Giving him a backstory would not have enriched the films at all.
Rey's parentage on the other hand would probably have made a bigger impact. Director Rian Johnson stated that he thought about it for a long time and had cards with character names on the floor, shuffling them around to see what would work best. He decided that Rey's parents being no one would be the most interesting, and quite frankly I agree. Her heritage being irrelevant really spices things up. First of all it moves the saga away from the old-fashion idea of blood-line being important. Second of all it has a big impact on Rey as she has to give up the idea that her parents are coming back and that she is somehow destined to be a hero. So story-wise I am totally on board. However:
While I don't think film makers should be bound to fan's expectations or fan theories, it is not like all this talk about Rey's parents and Snoke came out of nowhere. In The Force Awakens J. J. Abrahams deliberately set up mysteries. The ominous huge hologram with which Snoke was introduced, Obi-Wan's voice calling Rey's name in her vision, lines like "A good question, for another time." and many other similar things were specifically designed to keep us guessing. So when someone gives you a puzzle and after you have put a lot of effort in trying to solve it, you're told that the answer to that puzzle doesn't matter, it is understandable that someone gets pissed.
Furthermore this implicates that there is no pre-planned vision for this new trilogy. The afore mentioned statement of Johnson proves that he didn't have the answers to the questions Abrahams put out there in Episode VII. This I find too bad, because sequels that are constructed together can make for pretty cool overarching themes and stories (think Back to the Future Part II & III). Then again, the original movies hadn't mapped out everything from the get-go either.

11. THE THEMATIC THROUGHLINE & DECONSTRUCTION OF STAR WARS

Even though these three new movies might not have a completely shared golden thread, there is no denying that thematically The Last Jedi is incredibly well-rounded. Firstly, there is the theme of having to give up certain things in your life to achieve greater things. Finn finally gives up his urge to run when things get hopeless, Poe gives up being an action hero to become a true leader and Rey gives up believing in her parents. Even Luke has to give up his self-imposed exile/punishment to become the hero the galaxy needs. And how does every character learn this? Well, Yoda actually explains it: "The greatest teacher, failure is." Luke and Rey both failed to win Ben over. Poe, Finn and Rose failed to save the Resistance. But in the end, every one of them gains strength from their failures.
A second theme that was very apparent in this movie was the grey area between the dark side and the light. In the movies at least, Star Wars has always been about duality. The bad guys were all really bad and the good guys were all really good. And if someone switched sides, they didn't stay in the middle for too long. Even Anakin goes from arresting Palpatine to killing younglings in less than half an hour. This time we were shown that there is more to this series than binaries. On the side of the First Order, we had Kylo who killed Snoke and the General Hux who wanted to kill Kylo. On the side of the Resistance we heard about deserters for the first time and even witnessed attempted mutiny. We heard about the arms dealers on Canto Bight (appropriately dressed in black and white) that sold weapons to the Resistance and the First Order alike. And then of course there was DJ, a character that didn't care for good or evil and just did what was best for him. In that sense, the film deconstructed what we thought we knew about Star Wars. It turned this space opera into a more grounded science-fiction fantasy epic.
The refusal to make Rey's heritage meaningful combined with the "broom kid" using the force in the very end just stress that point even more. The Force is not exclusive to chosen ones. It belongs to everybody.

And maybe that is exactly what Rian Johnson did with the Star Wars series as a whole. He took it away from the fanboys and gave it to everybody. Basically he has asked us to do the same thing that Yoda asked of Luke in Episode V: "You must unlearn what you have learned."
I understand that this is a lot to ask from fans of a saga that has been running for 40 years now, and this is most likely the reason for all the controversy. If you really take a close look at The Last Jedi you'd think there is something for every type of Star Wars fan in there: The opening battle had a war movie touch similar to Rogue One; The Canto Bight sequence reminded a lot of people of the prequels; Lukes relationship with Rey as well as Yoda's cameo were reminiscent of The Empire Strikes Back and then there was enough new stuff for people who only started to get into Star Wars after The Force Awakens. But I guess this also meant that every type of Star Wars fan could also find stuff to hate....

Anyways, these are my spoilerific thoughts on Star Wars: Episode VIII - The Last Jedi. Apart from a few gripes, I actually really enjoyed this film. If you want to see how it ranks in the overall saga for me, check out this list I've made on Letterboxd. But what did you think about Episode VIII? Do you agree or disagree with my observations? Feel free to comment below!

Sincerely,
Your Cinemartian

STAR WARS: THE LAST JEDI - Movie Review

Title: Star Wars: Episode VIII - The Last Jedi
Running Time: 153 min
Director: Rian Johnson
Writer: Rian Johnson
Starring: Daisy Ridley, Mark Hamill, Adam Driver, Carrie Fisher (†), Oscar Isaac, John Boyega, Domhnall Gleeson, Kelly Marie Tran, Laura Dern, Benicio del Toro, Andy Serkis

Review:
'Tis that time of the year again. No, not Christmas. Star Wars! There is no need to explain this movie franchise's significance in pop culture. In the night from Wednesday to Thurday many Star Wars fans (myself included) waited in line for the midnight premiere. Gatherings like this have a magical atmosphere, and yet there is this saying "Nobody hates Star Wars more than Star Wars fans" and it is somewhat true. The people who debate the quality of these movies most passionately and fiercely with each other are people whose common ground is their love for the original trilogy. "The Force Awakens" was a critical an financial success, but that didn't keep it from starting brisk discussions. The same applies to "Rogue One". So is the eighth episode of this saga the movie to unite the fans?
Probably not. "Star Wars: Episode VIII - The Last Jedi" is a cinematic event that in order to take this franchise in a few completely new directions, takes a few risks. Some might not be pleased by this, others might love it, and some others might be torn. The film can basically be divided into three story-lines that of course cross paths and come together in the end, but stay separate for most of the movie. One revolves around Poe Dameron, Leia and the other members of the resistance fighting (or rather running from) Generl Hux and his ruthless First Order fleet. One sends Finn and a new character, Rose, on a mission to a different part of the galaxy. And the final one follows Rey and Luke on the very same Island on which we last saw them.
The latter story-line could be seen as the main plot, and it is here that the movie works best. Mark Hamill is joyfully excellent as this older version of Luke and his performance was definitely worth the wait. In it, you can see the young Jedi we saw in the original trilogy, but also how he has grown and his worldview has changed. At points it even felt like Hamill was channeling Yoda, another Jedi master whom we met long after he went into exile. Everything concerning him, Rey and also Kylo Ren is absolutely absorbing. It is here where Rian Johnson takes most liberties with the source material, deepens the lore and pushes the boundaries of what is possible in this universe. On the other side is the resistance's story (benefiting from a charismatic performance by Oscar Isaac, as well as Carrie Fisher and Lara Dern as graceful leaders) that cranks up the tension through the entire film. Doom is imminent and Johnson really manages to make you feel like the stakes are high.You also certainly can find shades of  "Rogue One" in this.
The Finn and Rose story-line is the one where the movie stumbles. The place they travel to is something audiences haven't seen before in a Star Wars film. While I respect the film makers for trying something new and expanding the universe, this particular sequence was too close to our own world to me. Instead of being transformed to a long time ago in a galaxy far far away, it felt like I was watching my own planet a hundred years from now, which didn't work for me. In general, that plot thread felt a little disjointed from the film, like it was just tagged on to give characters something to do. As an in-universe short film it would have probably worked much better.
Thematically however, all these three stories fit perfectly together as they all explore the grey areas in this tale about the Dark Side and the Light. In that sense, Rian Johnson deconstructs the Star Wars saga, in which the bad guys have always been all very bad and the good guys all exemplary human beings. Yes, there have always transitions from one side to another, but no one ever stayed in between for long. It's an immensely interesting field to explore and the film dives into it head first. If after "The Force Awakens" you thought this story was going to go in a certain direction, Johnson will surprise you with more then one unexpected turn. On the one hand it makes this movie feel absolutely fresh and it fills it with multiple awesome "Holy Shit!"-character-moments. On the other hand it becomes clear that Rian Johnson wasn't interested in every mystery J.J. Abrahams put out there and cherry picked the parts he thought to be relevant. As a result, some big questions from the previous film stay unanswered and some eager theorists will be left frustrated.
Another thing that might put some people off is the humor. It is the first time that you can feel Disney's influence a little bit, as they have created a formula in which they put in unexpected jokes to break the tension. It doesn't work every time and even feels misplaced at points. But since this film builds up so many strong and emotionally charged moments, these missteps are not nearly big enough to tear them down.
The one big thing that is probably indisputable however is that this is one of the most beautiful Star Wars films ever made. The images are gorgeous. Rian Johnson treats Jedi in this film like the Japanese cinema treated Samurai. Staging them in a heroic and dignified way. The colors, the contrasts - everything works. He opens with one of the best space battles seen on film and then graduates to giving us maybe the best and most creative lightsaber fight in Star Wars history. In the end he tops it of with an action sequence that, thanks to its setting, is worthy of being put on a canvas. He definitely knows what he is doing.
In the end, "Star Wars: Episode VIII - The Last Jedi" might not be without its lows, but its highs are so high that that doesn't really matter. It is a nonconformist blockbuster that subverts expectations and puts twists and turns on a lot of things you thought you knew about this franchise. Controversy between fans is inevitable, but even if you don't agree with Johnson's ideas, this film is worth watching just to explore them and be part of the vivid discussion. And of course for the ass-kicking visuals!

Since I had a hard time writing this review while pussyfooting around potential spoilers, you will find a Spoiler-Review on this blog soon.

For Fans Of:
Star Wars: Episode V - The Empire Strikes Back (1980)
Rogue One: A Star Wars Story (2016)
Looper (2013)
Hero (2002)
Films by Akira Kurosawa

Click Here To Watch Trailer!

IN THE FADE (AUS DEM NICHTS) - Movie Review

Title: In the Fade (orig.: Aus dem Nichts)
Running Time: 106 min
Director: Fatih Akin
Writer: Fatih Akin, Hark Bohm
Starring: Diane Kruger, Denis Moschitto, Numan Acar, Samia Muriel Chancrin, Johannes Krisch, Hanna Hilsdorf, Ulrich Brandhoff

Review:
Fatih Akin is one of the most renowned directors in Germany. The award-winning film maker of Turkish parentage is known for being the cinematic voice of people with a migration background as he has often put their reality of life on screen. Thus, it comes to no surprise that a series of murders of nine immigrants committed by the far-right German terrorist group NSU (National Socialist Underground) inspired the story of his latest project. Especially when you take into consideration that the investigation and trial let to the conclusion that the NSU's network spans into government authorities.
"In the Fade" is a fantastic blend of personal drama, trial film and revenge thriller. It tells the story of Katja Sekerci whose Kurdish husband and son are killed in a racially motivated bombing. Akin starts his story with Katja and Nuri marrying... in prison. It's somewhat cute, but first and foremost a clear statement by the director. You should empathize with these victims, even if you don't sympathize with them. Nobody deserves this. The protagonist is imperfect and Akin refuses to manipulate the audiences through dramatic music cues or other similar cinematic tricks. As a result the movie has a coldness to it at points. This, as well as the fact that this is a rather quietly told film, add to its somber atmosphere.
But Akin's directorial voice is loud and clear. Because he has perfectly internalized the famous rule "Show, don't tell".  His images hold more explanatory power than any piece of dialogue could. Katja crying her lungs out in the brightly colored bed in her deceased son's bedroom, says everything about the deepness of her mourning in a single frame. Her getting a tattoo in an incredibly painful spot without even flinching, expresses her emotional numbness better than any variation of the phrase "I feel so empty." would. A courtroom with Katja sitting in the background, fighting the urge to burst into tears while a medical specialist quotes the autopsy report with brittle professional detachment, chokes you up. And then there is a particular tracking shot through a bathroom that will chill you to the bone. It is excellent craftsmanship.
Of course, leading lady Diane Kruger is the pivotal element in all of these shots. While I have found her acting a little superficial in the past, she is a revelation in this movie. Displaying unbridled raw emotions and embracing her characters flaws, she gives one of the strongest and authentic performances of this year, as well as the best of her career. She and Akin are a fantastic pairing.
However, the film is not exempt from possible criticism. If you were looking for a nuanced exploration of the NSU's structure and a differentiated look at their place within the system of government, you'll come away empty-handed. Akin has no interest in making this a film with documentary qualities. Nor does he want to provide moral guidance. It seems that primarily he wanted to vent his anger and express how infuriating such a mindless and hateful act of violence is. In that sense, it is not a rationally designed movie, but one driven by emotion. As a result, one could argue that in the third act, the film undercuts its own message. But it is likely that Akin wants to present chaos rather than order, and thus, doesn't care for making sense of it all. To show the senselessness of such an atrocity is the message itself.
So even though "In the Fade" is not the investigative movie some had hoped for, it is not one bit less powerful. On the contrary, it is one of the most thrilling films of the year that will captivate you from its first minute to the last. This ingeniously constructed piece of cinema surely leaves an impression and will stick with you long after you've left the theater. A movie that is most definitely worth your time and money.

For Fans Of:
Taxi Driver (1976)
Prisoners (2013)
Léon: The Professional (1994)
The Girl with the Dragon Tattoo (2009)
Head On (2004) [orig.: Gegen die Wand]

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JUSTICE LEAGUE - Movie Review

Title: Justice League
Running Time: 120 min
Director: Zack Snyder
Writers: Chris Terrio, Joss Whedon
Starring: Ben Affleck, Gal Gadot, Ezra Miller, Ray Fisher, Jason Momoa, Henry Cavill, Amy Adams, J.K. Simmons

Review:
Here we are. After four years of establishing their cinematic universe, DC is finally bringing their big superhero team-up to the silver screen. It's been a weird and rocky road so far. "Man of Steel" was deemed 'okay' by most people. Despite a small and vocal fan-base, "Batman V Superman" and "Suicide Squad" were shred to pieces by the media. "Wonder Woman" on the other hand was a critical and commercial smash hit. Then, "Justice League" was produced. Just before filming was finished, Zack Snyder dropped out due to his daughter's tragic death. Joss Whedon took over to direct the rest of the film and Warner Bros. Studios ordered extensive reshoots to match the final product with the lighter tone of "Wonder Woman" rather than Snyder's much darker vision. So with all this trouble in the forefront, how did this movie turn out?
The short version would be: Fine. The long version is a little more complex. A lot of the movie going experience depends on ones expectations. If you were afraid to see a "Batman V Superman" level clusterfuck, you will be pleasantly surprised. If you've loved all of the DC movies so far, you'll probably love this too. If you were expecting something completely innovative in superhero movies, you will not find it here. There is some stuff that works and some that doesn't.
The whole "getting-the-team-together" part actually works quite well. The reason these heroes come together certainly seems dynamic, and it is always fun to see a recruitment dialogue. In general there are some cool exchanges between characters. Wonder Woman making clear to Cyborg that she outsmarted him. Batman telling a self-doubting Flash, that he should just save one person. Aquaman being involuntarily vulnerable. It's like an extension of the one good piece of dialogue we saw in "Batman V Superman", where Bruce Wayne and Clark Kent have a conversation in which they both insinuate to know each others secret identity. The conversations especially work because of the great cast. Each one of the actors fits their role well and gives a more than convincing performance. Especially Jason Momoa managed to get quite a lot out of one of the most laughed at superheros. And then there are some incredibly cool shots that look like they are taken straight out of the comic book panels. Flash's use of the speed force is great and when Superman fights him despite of it, it makes for a pretty memorable sequence.
But the movie certainly has flaws. A minor gripe is that it kind of ignores some of the things that were presented in"Batman V Superman". Although it is understanable that the film makers wanted to distance themselves from that disaster, it is odd to see believes or character traits contradicting what came before. Most noticable is the lack of care for secret identities (Aquaman for example casually identifies Bruce Wayne as Batman in front of an entire village). Other than that, though the film brings up a lot of intriguing plot threats and themes, it doesn't take the time to explore those thoroughly. A two hour run time for a superhero film might be refreshingly short, but when a movie has to set up so much, it is not enough. Another big issue is the way the film handles its female team member. Gal Gadot is once again fantastic in the role. But next to the unpleasant feeling that her skirt got a little shorter, there are too many low angle camera shots that very obviously only there to showcase her butt. And a quick Flash-fell-inot-her-cleavage joke wasn't missing either. In the wake of the #MeToo-debate it is especially painful to witness this recent cinematic female icon become sexualized after all. Too me, this was more upsetting than the final battle being so CGI-heavy.
But in the end, there is fun to be had with "Justice League". While other DC outings have almost been offensively bad, this one is not worth having strong feelings about. It's fine. Imperfect and yet showing some good approaches to steer this cinematic universe in a better direction, you should watch this if you've loved DC so far; if you want understand upcoming continuity; or if you want to see some superheros do some bad-ass superhero fighting.

For Fans Of:
Man of Steel (2013)
Avengers: Age of Ultron (2015)
Batman Forever (1995)
Superman III (1983)
Transformers (2007)
Suicide Squad (2016)

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MURDER ON THE ORIENT EXPRESS - Movie Review

Title: Murder on the Orient Express
Running Time: 114 min
Director: Kenneth Branagh
Writer: Michael Green
Starring: Kenneth Branagh, Daisy Ridley, Johnny Depp, Judi Dench, Josh Gad, Michelle Pfeiffer, Willem Dafoe, Penélope Cruz, Derek Jacobi, Olivia Colman

Review:
After Sir Arthur Conan Doyle had retired his famous Sherlock Holmes novels, there was another writer to seize the mantel and please the public with murder mysteries and detective stories. Agatha Christie's classic whodunits have inspired film makers multiple times before. This time, Shakesperean director and Gilderoy Lockhart himself, Kenneth Branagh has taken it upon himself to bring one of her novels to the big screen. And while the same story had already been adapted in 1974, it looks like Branagh spiced up his version with 21st century visuals.
"Murder on the Orient Express" is a solid piece of film making, that might not quite live up to its full potential, but will entertain you nonetheless. Branagh is a master in self-staging. His arrogant and slightly quirky Hercule Poirot takes the spotlight, while the rest of the stellar cast takes a back seat. It makes sense of course, because in murder mysteries it is typical that the suspects are merely chess peaces to serve the story. And having almost every character being played by a renowned actor prevents a premature casting-based solving of the mystery. But if you were expecting an ensemble acting tour de force, you will not find it here. Branagh's One-Man-Show however is so enjoyable that it makes up for that. Every time he directs himself, he takes the opportunity to pick out the role he really wants to play. Thus, he puts a lot of heart and enthusiasm in his performances, that perfectly translates to the screen. It's an absolute blast to see him act.
His directing is similarly joyful. Next to his trademark Dutch tilt, he uses some other lesser used camera angles every now and again. Things like the God's view shot and the POV shot combined with long takes add to the mysterious atmosphere of the film. Furthermore, this film simply looks great. The colors are vibrant; the contrasts are strong; the sets, costumes and props look cool; and of course Branagh's moustache is magnificent. The whole movie is visually slick.
But while the film doesn't have any problem in that area, it is the script that misses some opportunities to have a greater impact. The film's emotional punchline is that Poirot's believe system is challenged to an extent that he struggles to hold on to it. However, the set up of this believe system isn't strong enough. Poirot mentions it ones or twice in the first third of the film, but it isn't really reinforced. Even when it starts to crumble, the film doesn't take its time to show Poirot in solitude, doubting himself and the values that he stands for. He's constantly busy solving the case. It is only in the finale that he pours his heart out. And though Branagh's acting is terrific in that moment, it would have been more effective if we saw more cracks in his faҫade before it breaks.

Secondly, the film does not give the viewer the complete satisfaction of piecing things together themselves, even retrospectively. Poirot jumps to a lot of conclusions off-screen and so the audience is often presented with the solution without knowing how exactly we got there. The story also focuses on motive rather than the exact details and the timeline of the crime and so the events are not entirely reconstructable for the viewer either. 

In general however, this is a perfectly enjoyable film. If you have the spare time and money, watch it in the theater to enjoy its visual style. Otherwise, you can easily pop it in on a DVD night with some friends, preferably on a big TV.  Rewatchable for Branagh's performance alone and certainly arousing interest for possible sequels, this solid murder mystery is definitely good fun. 

For Fans Of:
Sherlock Holmes: A Game of Shadows (2011)
Murder on the Orient Express (1974)
The Grand Budapest Hotel (2014)
The Da Vinci Code (2006)

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THOR: RAGNAROK - Movie Review

 Title: Thor: Ragnarok
Running Time: 130 min
Director: Taika Waititi
Writer: Eric Pearson, Craig Kyle, Christopher Yost
Starring: Chris Hemsworth, Tom Hiddleston, Tessa Thompson, Cate Blanchett, Jeff Goldblum, Mark Ruffalo, Idris Elba, Anthony Hopkins,

Review:

Although Marvel has never released a truly terrible movie, there have been some missfires in the past. "Thor: The Dark World" was one of them. In fact, with the exception of Captain America, none of the other Marvel solo movies have managed to equal the critical success of their first installment. But with Kiwi director Taika Waititi at the helm and the addition of The Hulk, the trailer for the Norse god's third outing looked promising. So can this sequel deliver?
Yes and no. "Thor: Ragnarok" is a fun and flashy blockbuster that will entertain you for its entire two hour run time. Not more and not less. Taika Waititi surely steered the ship in a new direction. This Thor is much more comedic and much more colorful than its predecessors. Visually, this movie is closer to the "Guardians of the Galaxy" than to previous films about the god of thunder. And yet it makes sense. Asgard still looks like the fantasy realm we came to know. When Thor accidentally strands on the garbage planet Sakaar however, he has obviously landed in that weird edge region of the galaxy, where Peter Quill and his gang easily could go about their business. But Waititi doesn't rest on the shoulders of what James Gunn already created. Instead he lets out his own unbridled creativity and gives us some awesome set pieces that suck you into this crazy, iridescent world. Despite all the flashiness, Waititi manages to shoot the action sequences in a way that they don't feel agitated, but you can fully enjoy their grand scale. He also seemed to have created a positive atmosphere on set, as all the actors seem to be enjoying themselves. Tessa Thompson is a great new addition as this bad-ass warrior, although her introduction entails that the film completely ignores the existence of Jaimie Alexander's Lady Sif (Is a movie only allowed to have one heroine?). Also, Jeff Goldblum shines as a character that is basically a heighten space-version of himself. The real scene-stealer, however, is Mark Ruffalo. His gentle performance of both, The Hulk and Bruce Banner, elevates the material and it is the scenes when he is on screen that are the movie's best.
As I mentioned before, the humor was also an element that was really amped up in this movie. Unfortunately, this is where it runs into its biggest problem. Although the larger amount of the jokes do work, the immensely unserious tone of the film robs it of carrying any emotional weight. Everything becomes a knee-slapper. Yes, Thor is funnier than ever, but he has also never been so indifferent. The betrayal, the lies and even the deaths of the people around him, seem to effect him not one bit. He keeps his cool no matter what. As if abnegation and minimisation replaced all of his healthy coping mechanisms. When your main character constantly goofs around like that, it's hard to really feel the threat of pending doom that the movie presents. For a film about the complete annihilation of our hero's home, the stakes feel astonishingly low. But not only Thor has become a sitcom-version of himself. Loki, who was first introduced as a maliciously scheming, complex and intelligent villain, has become a walking punchline. The ease with which he can be overpowered is Marvel's latest running gag. He is a character deprived of real personal growth, doomed to run in circles. Inevitably, the two brother's relationship changed as well. Once a tragedy of Shakespearean caliber, it has now transformed into a "Dumb-and-Dumber"-esque routine. Even the resolution of Bruce Banner's personal struggle is played as a joke in the film's finale. "Sharknado 5" had more emotional moments than this (I'm not even kidding).
The other problems with the film (what exactly was Karl Urban's purpose in this movie?) are forgivable, but when everyone becomes the comic relief, there is no tension left to be relieved from.
It is a shame, really, because within the story of "Thor: Ragnarok" lies great dramatic potential and even the possibility to make a statement about postcolonialism (a thanks to B.A. for pointing that out). But it all gets lost in the laughs. The cool new characters and the zany visuals can't help over the fact that this is ultimately a frothy live action cartoon. Artistically great, yet emotionally empty, this film is good for a DVD night with friends in order to have some fun or catch up with the cinematic universe. If you've never had a problem with Marvel's joke quantity or even enjoyed it, you might even love this film. But if, like me, you need at least a little bit of pathos in your superhero movies, this film might disappoint you.

For Fans Of:
Guardians of the Galaxy Vol.2 (2017)
2 Fast 2 Furious (2005)
The Hitchhiker's Guide to the Galaxy (2005)
Suicide Squad (2016)

Click Here To Watch Trailer!