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Ahh David Fincher. Another one of the few directors with little to no stinkers in his filmography. Everything from "Fight Club" to "Se7en" or even the straight-thriller "Panic Room", Fincher has proven to be an incredibly meticulous director. But let me be honest for a second: I am not a big fan of his work. Now, before you grab your pitchforks and torches, let me explain. His narratives for his films have always been solid, but his movies just simply did not stand out amongst the many other films during the 90's. It's only until Fincher delivered, "The Social Network" that I became deeply interested. Alas, Fincher now delivers "Gone Girl", arguably his best film to date.
If you've been keeping up with my personal reviews, It's a no-brainer that I'm not a fan of Affleck's many performances from the past. He has proven that he simply does not have the capacity to act. But couple that actor with Rosamund Pike? The girl from "Die Another Day", the worst movie from the Bond series of all time? That no-named detective that no one cared about in "Jack Reacher"??? Hell, why not throw in Tyler Perry? OMG, they did. And you know what? They were perfectly casted. Let me say that again: They. Were. Perfectly. Casted. I'm not gonna go to full lengths and say that they are commendable actors now, but I will say they were phenomenal in their roles here. "Wait, if they were phenomenal, why aren't they now considered triple A actors then?" Because their personalities as actors fit their characters like an old glove. Perhaps if they were casted as different characters, they wouldn't be as effective. Don't be surprised when Oscar season hits and Pike gets a nomination. She was that commanding.
But surprisingly, the real star of the show is not the actors or the original writer from the book. The real star is Fincher himself. Fincher proved in "The Social Network" that he was able to portray a narrative effectively but at the same time, inject emotions at any given moment. Here, Fincher is masterful. First of all, the film has Fincher's signature dark tones and colors, but man, the cinematography was beautiful. But perhaps the best quality that Fincher crafted was how the movie weaves in and out emotions like butter. At one moment, the director injects a genuine moment of curiosity and the next, he's able to make audience's skin curl with real disgust, but then throws in a curve ball by taking audience's breaths away with palpable tension. It's almost like Fincher is holding a belt of emotions and places it in wherever he wants, whenever he pleases. Fincher wields these emotions and plays it like a true puppeteer all the while having symbolism and a narrative that is so engrossing that the 2 hour and 30 minute run-time zipped by like lightning. He will get the nomination for best director once Oscar season hits. If not, it's without a doubt, a snub.
This is quite possibly the best film to have come out so far in 2014. It's absolutely arresting. One minute, you'll love, the next you'll hate. Emotions hit monumental levels and fluctuate all over the place as the impeccably told narrative treads along. With all these powerhouse performances and flawless direction by the likes of David Fincher, "Gone Girl" is elevated high up as the director's best film to date.
The critically-acclaimed and wildly popular foreign film, "The Raid" was a massive success -- critically acclaimed and wildly popular amongst many moviegoers both American or non-American. So why not make a sequel? Who didn't see this coming? You know, I'm surprised to say it myself, but I was not a fan of the first iteration; for a film that was almost 90% action, the fight choreography was not inventive and extremely repetitive. Well, with a sequel now out receiving huge rave once again, I had to give this soon-to-be trilogy a second chance.
Now one would immediately think that before seeing "The Raid 2", they'd have to watch its predecessor. You're absolutely wrong. The only snippet of story the first iteration has is the beginning 10 minutes of the film. The rest is a knuckle-bashing frenzy. So for a film that is positively reviewed despite being a senseless action flick, one would probably think the sequel wouldn't take any risks and emulate the same formula. What ain't broke, don't fix, am I right? But I'm proud to say that "The Raid 2" not only takes a huge gamble to attempt to portray a compelling crime drama coupled with mixed martial arts action, but it succeeds in doing so.
"The Raid 2" is almost a completely different film to its earlier iteration and it's all for the better. For instance, the cinematography -- its gorgeous, done with purpose, and expertly shot. In times of silence and even in times of lightning fast flurries of kicks, elbows, and punches, the film is stunning to look at. Perhaps the greatest change though is how the entire film caters to its core story of deception and violence. Before? Pff, I wouldn't even be able to tell you the story of the first cause there was hardly ever one. Here, the story works which then is followed up with what everyone's looking forward to -- the martial arts action. It truly delivers especially because the story's tension elevates it to such greater heights than its predecessor ever did. Is there as much action as the first? No, but quality is better than quantity, and boy it's like eating a filet mignon here instead of a cheap steak from Denny's. The fighting choreography still remains somewhat the same from the first but because of the narrative and the camerawork, it carries much more weight and better pacing.
"The Raid 2" was world's better than the first. From the arresting story, to the beautiful camerawork, to the action, I thoroughly enjoyed my time. No longer will this soon-to-be trilogy continue on to be a mindless action franchise. It's won me over.
Following the surprisingly interesting "Monsters", Gareth Edwards is back for his second outing with a daunting task -- portraying the classic tale of Godzilla in a fresh way. Does he succeed? He certainly does.
Campy, outrageous, and comical are some words that come to mind when thinking of the absurd amount of Godzilla movies that were made. With Edwards' fresh new take on "Godzilla", the mythical beast has once again become a feared and mysterious force. All this is credit to Edwards' smartly built up tension. Perhaps through 45 minutes of the movie do you even see Godzilla, but it keeps audiences gripped and anxious to finally feast their eyes on the monster. And when you do, wow, what a sight to behold. The special effects are absolutely stunning. And as the movie progresses, it continues to reward audiences with more and more with a fire-breathing finale that is nothing short of crowd-pleasing. Funnily, "The Avengers" suffers because it didn't take the same approach "Godzilla" did; what should've been a jaw-dropping union between a handful of comic book superstars becomes a limp and weak get-together. Kudos Edwards.
However, one of the biggest issues monster films tend to get stuck on are the lackluster human stories. "Cloverfield" was superbly effective because the narrative was completely focused on the human side of a monster attack. This is where "Godzilla" stumbles to an extent. For a film that is trying to portray a much grittier tone, the writing was jarringly campy. However, the brilliantly casted Bryan Cranston lifts what is a lackluster script to supreme levels. Yes, his portrayal as Walter White in the "Breaking Bad" series was excellent, but Cranston does a jaw-droppingly phenomenal job here.
"Godzilla" is a breath of fresh air for what was becoming a very stale movie franchise, but it does have many faults such as the writing and the weak human story, but this a very good step in the right direction for what is an iconic monster.