Belfast

BELFAST
2021 | Dir. Kenneth Branagh | 97 Minutes

"That wee girl can be a practicing Hindu, or a Southern Baptist, or a Vegetarian Anti-Christ, but if she's kind and she's fair, and you two respect each other, she and her people are welcome in our house any day of the week."

The carefree life of a bright and inquisitive 9-year-old boy named Buddy is thrown into disarray when local political upheaval forces his family to consider leaving their homeland. Pressured by external forces to join a cause he doesn't fully understand, Buddy's loving family teaches him to remain true to his kind and thoughtful self.

An unmistakably autobiographical story, Kenneth Branagh's Belfast is told primarily from precocious school boy Buddy's point of view, authentically presenting the joy of childhood as it is disrupted by escalating turmoil in his community. The film immediately establishes Buddy as a sweet and caring child, loving and loved by his family, harboring an innocent crush on a classmate, and profoundly shaken by the threat of spiritual damnation courtesy of the passionate sermons of the local minister. By design, it is easy for the audience to identify with Buddy's hopes, dreams, concerns, and fears. As his parents squabble over household financial problems on top of the constant threat of violence in the streets, the way the film depicts Buddy's growth as a result of his exposure to these stark realities despite his limited understanding of the world is emotionally impactful on profound level. Buddy breaking down into tears when his parents ask him how he would feel about moving to London, despite Buddy having prior knowledge of the plan, is a particularly heart-wrenching moment.

Shot in striking black and white, Branagh presents the 1969 setting of Belfast in a visually captivating presentation that evokes the films and news reels of the time. The terror and chaos of the riot sequences feel very real while the quieter moments spent with Buddy and his family are appropriately intimate. Thoughtfully, the few sequences of color in the film are reserved for the film's bookends showing its titular city in modern day and, more artfully, when Buddy and his family watch films or stage plays together, when they are afforded opportunities to escape reality for a few fleeting moments.

As Buddy, young Jude Hill delivers a wonderfully natural performance, capably carrying the film as its true emotional center. Caitríona Balfe also does truly fantastic work as Buddy's headstrong mother and though he is not featured as prominently, Jamie Dornan is a solid match as Buddy's industrious, morally centered father. Lara McDonnell is amusing as Buddy's miscreant bad-influence teenage friend Moira. The picture also features Ciarán Hinds and Judi Dench giving standout performances as the most adorable Irish grandparents ever, Lewis McAskie as Buddy's older brother Will, Colin Morgan as a sectarian street thug, and Turlough Convery and an intimidating fire-and-brimstone minister.

Belfast is a deeply affecting snapshot in time capturing everyday life and fleeting innocence amidst the unyielding tumultuous movement of history. Without pulling any punches or leaning into melodrama, Kenneth Branagh's composes a loving tribute to the people of Northern Ireland as they were when the Troubles began.


FRAGMENTS
- Buddy is seen reading a Thor comic book, an amusing reference to Marvel Studios' Thor directed by Kenneth Branagh

- "Everlasting Love" by Love Affair is prominently featured in the picture's advertising campaign and performed by Jamie Dornan in the film was stuck in my head for days after I saw the film


007 CONNECTIONS
- Judi Dench (M in GoldenEye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day, Casino Royale, Quantum of Solace, Skyfall, and Spectre)

The 94th Academy Awards

My ranking of the Best Picture Oscar contenders of 2022:

1. Belfast
2. West Side Story
3. Nightmare Alley
4. Dune
5. Drive My Car
6. CODA *
7. The Power of the Dog

8. King Richard
9. Licorice Pizza
10. Don't Look Up

* Actual Winner

Turning Red

TURNING RED
2022 | Dir. Domee Shi | 100 Minutes

"We've all got an inner beast, we've all got a messy, loud, weird part of ourselves hidden away, and a lot of us never let it out, but I did. How about you?"

13-year-old Chinese-Canadian girl Meilin "Mei" Lee balances school work, time spent with her friends, and time spent with her family seemingly with aplomb. However, when an ancient family curse catches up to her, transforming her into a giant red panda whenever she feels strong emotions, just as her favorite boy band comes to town, Mei must find her own way and either learn to suppress the beast within or embrace it.

Director Domee Shi's beautifully realized feature-length animated feature debut authentically encapsulates an unmistakably personal story that offers a specific point of view and subject matter that have never been depicted before in an animated film. On the surface, the body changing comedy featured in the plot is an obvious metaphor for puberty, but on a deeper level Turning Red is about embracing one's individuality, depicted in meticulous lovingly composed detail. The film presents the Chinese-Canadian teenage girl experience embellished with a humorous supernatural flourish but ultimately without compromise, and the picture is absolutely brilliant for its distinctive vision.

Turning Red is impeccable on a technical level, soundly maintaining the high visual standards of Pixar Animation Studios. The picture's 2002 Toronto setting is rendering in loving stylized detail from Mei's Chinatown home that doubles as family temple and tourist attraction to the famed SkyDome. The character designs for Mei, her alternate red panda form, her family, friends, and classmates are all unique and highly appealing. Ludwig Göransson's musical score employing the use of Chinese instruments, string orchestration, and hip hop beats is lovely and uplifting, supplemented by 4*Town boy band songs written by Billie Eilish and Finneas O'Connell that sound accurate to the era.

Rosalie Chiang is a natural fit playing Mei, expressing the alternating exuberance and body horror of the changing 13-year-old with impressive comic timing and heart. As Mei's mother, Sandra Oh brings dimensionality to the role that proves to be much more than the standard overbearing Chinese mother, convincingly exuding maternal love but also amusingly believable portraying a raging giant monster during the finale. Ava Morse, Hyein Park, and Maitreyi Ramakrishnan are all excellent as Mei's best friends, each with standing out in their own way. The cast also features Orion Lee as Mei's father, Wai Ching Ho as Mei's grandmother, Tristan Allerick Chen as Mei's bully, and the indispensable James Hong as a local elder who moonlights as a Taoist priest.

Turning Red is a delightful tale that beautifully captures the specific experience of establishing one's own unique identity as a child of Asian descent growing up in North America, torn between the influences of the sometimes overbearing love of a Chinese family steeped in tradition and the indelible power of teenage friendship with Western kids. As an allegory for puberty, a young woman transforming into a giant red panda is hilariously on-the-nose, but the film is sweet, sincere and, above all, exceptionally authentic throughout.

POST-CREDITS STINGER
Mei's father privately jams to 4*Town alone in the basement.

A113
The chalk wheelbarrow Mei's father uses in the finale is labeled A113

PIXAR INTERCONNECTIVITY
- There is a Lightyear sticker on the bottom of Miriam's skateboard referencing the next Pixar film

- Bao's Restaurant seen in Toronto Chinatown is a reference to Domee Shi's award-winning directorial debut Pixar short film Bao

- The Pixar Ball can be seen in the pool at Tyler's birthday party

- The Pizza Planet truck can be seen on parked on the street when Mei races to the SkyDome just before the final act of the film

FRAGMENTS
- The body changing comedy of Rumiko Takahashi's Ranma ½ is a clear influence on the premise of this general film

- Mei watching Cantonese costume period dramas with her mother is something I can specifically relate to directly as a Chinese-American

- The use of the Cantonese dialect, particularly the chant during the separation ritual, is impressive, and I'm blown away that a Cantonese language track for the entire film is available on Disney+

Spider-Man: No Way Home

SPIDER-MAN: NO WAY HOME
2021 | Dir. Jon Watts | 148 Minutes

"That's what we do."

After Peter Parker's double life as Spider-Man is revealed to the world, disrupting the lives of Peter and his loved ones, Peter seeks aid from Dr. Strange in hopes that magic would solve his problems. Peter's troubles are only compounded when he inadvertently causes Strange to botch the casting of a spell, and visitors from other worlds of the multiverse emerge intending to do harm to Peter Parker.

Jon Watts' Spider-Man: No Way Home kicks off directly after the cliffhanger ending of his previous film, thoroughly demonstrating all of the frustrating repercussions suffered by Peter Parker and those closest to him due to his new status not only as a public figure but also an accused murderer. However, soon after its opening act, the picture quickly becomes an exceptionally satisfying epilogue to Sam Raimi's Spider-Man Trilogy starring Tobey Maguire as well as Marc Webb's pair of Amazing Spider-Man movies starring Andrew Garfield. Resurrecting the headlining villains from each of those five films through mystical multiversal shenanigans, the feature gives each of these antagonists more closure than the deaths that previously concluded their character arcs. The innate good nature and desire to help those in need within Tom Holland's Peter Parker are tested like never before as his attempts to save this colorful assortment of rogues from certain doom, against the wishes of Dr. Strange and perhaps against better judgment, leads to the greatest personal loss Peter has ever suffered. Luckily, this Peter Parker isn't alone as a duo of familiar variants, webslinging heroes who truly understand the plight of Spider-Man better than anyone in his universe, arrive in his darkest hour to guide him through his grief and ultimately help him become the best version of themselves. The emotional impact of this film is simply extraordinary and the metatextual commentary on the relationship between the previous live action Spider-Man films and the Marvel Studios films is, in a word, mind-blowing. While there is no formal recap for any of these extra-dimensional Spider-Bros and Spider-Foes, even audiences who aren't familiar with their previous adventures are given enough context to understand and appreciate what they represent.

Spider-Man: No Way Home is a visual treat from start to finish. The big set pieces that involve magic are at least as trippy as the ones featured in Doctor Strange, notably a psychedelic chase and battle between Peter Parker and Dr. Strange in the Mirror Dimension and the horrifying moments that show the seams of the multiverse coming apart. The more grounded action sequences are entertainingly staged and rendered as well. Memorably, Otto Octavius and his iconic metal tentacles arrive in an exciting fight on a highway bridge, while Max Dillon and Flint Marko meet a Peter Parker they never knew in a dazzling electrical night time battle in a forest. The high-flying action-packed finale at the Statue of Liberty undergoing an MCU makeover is full of thrilling twists and turns as the trio of Spider-Men work together to heal their enemies or die trying.

Delivering a nuanced and devastating performance, Tom Holland has never been more moving in the role of Peter Parker as his character loses so much that is dear to him by the time the credits role on this film. Andrew Garfield is as charming as ever in the same-but-different role, funny and very personable but exuding a different variation of heartbreak all the same as his Peter Parker still suffers from the loss of his one true love. Tobey Maguire still gives off a pleasant humility, presenting a soft-spoken air of decency that's unique to his take on Peter Parker. The interactions between the three Peters are often hilarious but always emotionally resonant.

Willem Dafoe shines as Norman Osborn, skillfully walking the tightrope of being convincingly sympathetic and pitiable but also deceptive and just straight up wicked. Elevating the role with real gravitas as he did eighteen years prior, Alfred Molina's indignant mad genius Otto Otavius remains one of the very best Spider-Man film villains. Jamie Foxx's Max Dillon receives a much deserved visual and personality makeover as Foxx plays a markedly funnier and more menacing evolution of his character from The Amazing Spider-Man 2. Though rendered as CGI creatures for most of the film, Rhys Ifans reprises his role as the Lizard Dr. Curt Connors from The Amazing Spider-Man and Thomas Haden Church returns as the Sandman Flint Marko from Spider-Man 3.

Returning as MJ, Zendaya thrives as the role grows into a more full-fledged character. Jacob Batalon's Ned is more amusing than ever as Batalon gets to show off more of his comedic talent with Ned developing unexpected magical powers. Unbelievably warm and soulful, Marisa Tomei firmly establishes her position as the best cinematic Aunt May. Making his latest appearance as Stephen Strange, Benedict Cumberbatch essentially makes an extended cameo appearance as the cranky impatient voice of reason.

As both a significant turning point in the ongoing narrative of the Marvel Cinematic Universe's Peter Parker and a metatextual work that fascinatingly examines every live action Spider-Man film since 2002, Spider-Man: No Way Home is miraculously a total triumph. Not only does it pack all of the humor and spectacle that Spidey fans would expect, the feature is also a deeply affecting, surprisingly intimate film that places Peter Parker's empathy as a hero front and center. At its core, Tom Holland's third solo outing as Peter Parker pulls no punches exploring the inherent tragedy of being Spider-Man.

MID-CREDITS STINGER
Otherworldly visitors Eddie Brock and the alien symbiote attached to him known as Venom (Tom Hardy) learn about the super-beings inhabiting this world and recent universe-shaking events from a Mexican bartender. Just as Eddie decides to travel to New York City to meet Spider-Man, Dr. Strange's spell transports him back to his world but not before he leaves behind a piece of symbiote.

POST-CREDITS STINGER
A teaser for Doctor Strange in the Multiverse of Madness.


FRAGMENTS
- With Vincent D'Onofrio's Wilson Fisk appearing on Disney+'s Hawkeye and Charlie Cox's Matt Murdock appearing in this film, both having first appeared in these roles on Netflix's Daredevil (which may or may not be considered official MCU canon), I sure hope Jon Bernthal eventually returns as Frank Castle

- Tough he isn't in this film for more than a quick scene, I just love how Wong is revealed to be the current Sorcerer Supreme post-Blip

- Tobey Maguire and Tom Holland's Peter Parkers insisting that Andrew Garfield is an "amazing" Spider-Man is hysterical, as are Andrew Garfield and Tom Holland's Peter Parkers astonishment about Tobey Maguire's Peter Parker's organic webbing

- The scope of Michael Giacchino's score for this film is totally bonkers in the best way, featuring his own Spider-Man and Doctor Strange themes as well as themes composed by Danny Elfman for Sam Raimi's Spider-Man and James Horner for Marc Webb's The Amazing Spider-Man

- Max Dillon's quip regarding the potential existence of a black Spider-Man out there is a not-so-subtle but crowd-pleasing reference to Miles Morales, prominently featured in Spider-Man: Into the Spider-Verse and its sequels

- It's unclear why Tom Hardy's Eddie Brock from Sony Pictures' Venom films was drawn into the Marvel Cinematic Universe as only those who knew Spider-Man's true identity as Peter Parker were summoned by the botched magic spell though it's possible the Venom symbiote attached to him carries knowledge that transcends the multiverse

- Cristo Fernández who portrays Dani Rojas on Apple TV+'s Ted Lasso was a welcome sight as Tom Hardy and Venom's scene partner in the mid-credits stinger

Eternals

ETERNALS
2021 | Dir. Chloé Zhao | 156 Minutes

"When you love something, you protect it. It's the most natural thing in the world."

An all-powerful cosmic entity sends ten immortal beings to planet Earth to protect the human race from ancient monstrous extraterrestrial beasts. Thousands of years later, the ten learn the true nature of their mission, forcing each one to choose between fulfilling their intended purpose or preventing the mass extinction of the people they have grown to love.

Chloé Zhao's Eternals features a massive scale story spanning thousands of years, breathtaking visuals photographed with natural lighting at real physical locations, and a diverse ensemble cast embodying an entire spectrum of incredible talent. While all of this sounds amazing on paper, and Zhao clearly demonstrates total commitment to the project judging by the technical merits of the feature, astoundingly the end product is a bit of a convoluted mixed bag that is sometimes a chore to sit through. Essentially establishing a brand new quadrant of the Marvel Cinematic Universe from the ground up with only the most tangential of connections to previous films, the feature's ambition is nothing short of admirable. However, the exposition required to introduce an entire set of brand new characters and concepts all at once is absolutely overbearing, greatly hampering the pacing of the film as it choppily jumps back and forth from ancient past to present day to deliver sometimes confounding world-building and character moments that are serviceable at best and somewhat dull at worst. Perhaps the largest issue is that the story lacks anything resembling a meaningful emotional core despite taking great lengths to sell the troubled romance of its two primary lead characters Sersi and Ikaris. Thematically, Eternals pits the notions of driving purpose and faith in a greater design against free will and profound compassion, which is an intellectually stimulating conflict in its presentation but never quite succeeds in eliciting a visceral response of any kind.

Eternals is a stunning picture to behold for sure, a welcome departure from Marvel Studios' sometimes rote standard visual style, presenting numerous striking exterior locations bathed in natural light. The scale of the action sequences are awe-inspiring, the superpowers wielded by the film's lead characters are visualized and realized in ingenious ways. Sersi's ability to transmute inanimate materials, Makkari's super speeed, and Thena's energy blades are particularly impressive. The visual effects are reliably appealing for most part, but the creature designs for the Deviants leave much to be desired, every single one including the lead Deviant looking like nothing more than an ugly digital mess of haphazard limbs and appendages.

As Sersi, Gemma Chan delivers the most sympathetic performance of the large cast, convincing in the role of a kind-hearted caretaker reluctantly inheriting on the mantle of leadership. Richard Madden as generally fine as the broody conflicted eye beam shooting Ikaris, his performance perhaps limited the script. While Lia McHugh is compelling as the embittered perennially youthful Sprite, doing a decent job conveying the character's weariness, the role is unfortunately pretty one-note overall. Kumail Nanjiani's Kingo is the life of the party, injecting the picture with a boost of energy and much-needed levity, though he is noticeably absent for the entire final act of the film. Angelina Jolie serves up the most exciting action of the group as the energy blade slinging Thena even as the character's thinly drawn arc of managing a certain level of metaphysical mental illness is woefully underserved. Don Lee's hard-hitting Gilgamesh serves mostly as a supporting role to Jolie though he at least has some of the best lines. Barry Keoghan exudes pure menace as the mind-controlling Druig, the first to question the Eternals mission on Earth, easily the most fascinating player of the group despite his limited rather screen time. Brian Tyree Henry is simply lovable as the enthusiastic herald of technology Phastos and quite believable as a mild-tempered family man. Lauren Ridloff is a real joy as Makkari, and the film doesn't give her nearly enough to do. Though her role amounts to what is essentially an extended cameo, Salma Hayek is a natural fit as team leader Ajak, emitting a regal and unconditionally affectionate presence. Kit Harington appears very briefly as Sersi's boyfriend Dane Whitman, amusing enough as the odd man out, while Harish Patel is truly hilarious as is Kingo's sidekick Karun.

Eternals is undeniably the first significant stumble for Marvel Studios in years. Despite the considerable breadth of talent in front of and behind the camera, its meandering pacing and leaden exposition very nearly undermine all that is fascinating, unique, and daring about the film. It is a frustratingly flawed introduction to a set of incredibly likable characters struggling with faith and free will. With any luck, Sersi and company will be involved in more engaging adventures in their next appearance.

MID-CREDITS STINGER
Onboard their spaceship, Thena, Makkari, and Druig grow concerned as they have lost communication with their companions on Earth. Before they are able to turn back, Pip the Troll (Patton Oswalt) and Thanos' brother Eros (Harry Styles) unexpectedly appear before them.

POST-CREDITS STINGER
Dane Whitman examines an ancient family heirloom, a black sword with a foreboding enchantment, hesitating to lay a finger on it. As Whitman approaches the blade, he is interrupted by an unseen character who questions his resolve.

FRAGMENTS
- Gemma Chan previously appeared in Captain Marvel as the villainous Kree sniper Minn-Erva

- The needle-drop of Pink Floyd's "Time" leading into the Marvel Studios logo took me by surprise in the best way

- Super amusing to see Game of Thrones alums Richard Madden and Kit Harrington as romantic rivals though they only share one scene together in this film

- I've loved Kumail Nanjiani as a comedian and podcast personality for years so it's truly thrilling for me to see him in the MCU

- My first exposure to Don Lee was his fantastic performance in the seminal zombie film Train to Busan

- The direct references to DC Comics' Batman and Superman in the dialogue aren't all that jarring to me, though the notion Marvel Comics' de facto rival exists as a media company within the MCU is more than a little bonkers

- I was honestly a little shocked that Richard Madden's Ikaris turns heel instead of Barry Keoghan's Druig given Keoghan's tendency to play shifty characters and Druig's incredibly creepy super power

SUPPLEMENTAL STUFF
- Video: Lexus and Marvel Studios' Eternals present | PARKING SPOT