Passages (2023) | REVIEW

Franz Rogowski and Adèle Exarchopoulos in PASSAGES — PHOTO: SBS Distribution.

Directed by Ira Sachs — Screenplay by Mauricio Zacharias, Ira Sachs, and Arlette Langmann.

Ira Sachs’ Passages follows Tomas (played by Franz Rogowski), a German filmmaker who lives in Paris, at the end of the production of his latest film. At the subsequent wrap party, Tomas’ partner Martin (played by Ben Whishaw), an English printer, refuses to go out on the dance floor with him, but Agathe (played by Adèle Exarchopoulos), a young primary school teacher, would very much like to dance with Tomas. In the heat of the moment, Tomas and Agathe lock eyes, share a connection and go to Agathe’s home where they have sex. The next morning Tomas arrives back at his and Martin’s apartment, and, though his instinct is to initially be deceitful about what had happened, Tomas fairly quickly decides to come clean (and quite directly) to Martin about what had happened and how he feels about it. An inwardly upset Martin kisses Tomas, and they continue their relationship, which only seems more doomed when Tomas carries on with his dalliance with Agathe. As Tomas’ relationship with Agathe intensifies, whereas his relationship with Martin deteriorates, Tomas tries to control his love life in a way that doesn’t take the emotional well-being of others into account. 

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The Hunger Games: The Ballad of Songbirds and Snakes (2023) | REVIEW

Tom Blyth and Viola Davis in The Hunger Games: The Ballad of Songbirds and Snakes — PHOTO: Lionsgate Films.

Directed by Francis Lawrence — Screenplay by Michael Lesslie and Michael Arndt.

Everything gets a prequel nowadays. There was a time when the word ‘prequel’ when brought up in daily conversation with film fans would usually be followed up by some criticism of the Star Wars prequel trilogy, which has since been reclaimed by the community that once turned its nose up at it. Now, however, prequels are to be expected. There is a whole trilogy of so-so-to-disappointing Harry Potter prequel films, the Hobbit trilogy (that often feels like it was explicitly designed to be a prequel to the Lord of the Rings films, instead of letting it be its own standalone thing), and, eventually, this trend would, of course, make its way to popular young adult fiction like Suzanne Collins’ The Hunger Games. The original film adaptations (or at least the first two) are immensely popular as they launched Jennifer Lawrence into stardom while, at the same time, making an American popcorn version of Kinji Fukusaku’s Battle Royale. For what it’s worth, I quite liked both the original Hunger Games adaptation and the first sequel subtitled Catching Fire, but when they then split the trilogy-capper Mockingjay into two parts, I wasn’t as interested. What I will say, though, is that watching the Hunger Games prequel reminded me why I really liked the franchise in the first place.

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Blue Beetle (2023) | REVIEW

Xolo Maridueña as ‘Jaime Reyes’ holding the mysterious blue scarab in BLUE BEETLE — PHOTO: Warner Bros. Pictures.

Directed by Ángel Manuel Soto — Screenplay by Gareth Dunnet-Alcocer.

Blue Beetle isn’t just the live-action debut for the titular character, it also happens to be the 14th film in the DC Extended Universe (15th, if you count Zack Snyder’s Justice League), as well as the penultimate film in the very same cinematic universe, which is being remade or rebooted by James Gunn. This act of announcing that they are starting all over again has made this year’s DC superhero films essentially lame-ducks that fans and the general public don’t take seriously because people, naturally, don’t expect them to figure into the storyline going forward. It’s also a really sad thing because, one, this was meant to be the big screen debut for a lesser-known character that DC die-hards are excited about, and, two, this also happens to be the first DC live-action Latino superhero. In spite of the lame-duck nature of its story, it is a hugely important film precisely because it makes sure an underrepresented group in film now finally gets to see someone who looks like them as a great, big superhero in a feature film built around said hero. But they really deserved better because Blue Beetle is a stale superhero flick that has very little going for it in terms of originality.

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The Killer (2023) | REVIEW

Michael Fassbender’s unnamed murder-for-hire sitting and waiting for the opportunity to arise in David Fincher’s THE KILLER — PHOTO: NETFLIX.

Directed by David Fincher — Screenplay by Andrew Kevin Walker.

No one does dark crime films quite like David Fincher. The world-class filmmaker who got his start as an assistant cameraman on The Return of the Jedi and as the director of several music videos (over the years he has won himself Grammy Awards for these efforts, as he has worked with artists like Madonna, Michael Jackson, The Rolling Stones, and others) before he eventually debuted with Alien 3, has made a lot of different kinds of films but some of his most popular efforts have been concerned with darkness, crime, and meticulousness, with films like Se7en (this film reunites him with Se7en writer Andrew Kevin Walker), The Game, Fight Club, Panic Room, Zodiac, The Girl with the Dragon Tattoo, and Gone Girl. With The Killer, the filmmaker’s twelfth feature film and second Netflix feature in a row, he has taken a story that admittedly may sound quite generic and turned it into something that is uniquely Fincher and quite good. Here he proves that even though Gone Girl came out almost ten years ago, Fincher’s expertise in the handling of this kind of material is a light that never goes out.

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Quiz Lady (2023) | REVIEW

Awkwafina and Sandra Oh in Jessica Yu’s Quiz Lady — PHOTO: 20th Century Studios.

Directed by Jessica Yu — Screenplay by Jen D’Angelo.

Jessica Yu’s Quiz Lady follows Anne (played by Awkwafina), a young woman with social anxiety and an obsession with a certain game show named ‘Can’t Stop the Quiz.’ One day, she is informed that her mother has fled the home that she was in and left for Macau presumably to gamble and get out of her gambling debt in America. This information also reaches Anne’s older sister Jenny (played by Sandra Oh), who is a decidedly more outgoing party girl, and they reconnect for a few days. On one of those days, Jenny secretly records and uploads a video of Anne watching her favorite game show. It becomes an instant hit online as Anne knows every single answer to every single question.

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Ghostbusters: Afterlife (2021) | REVIEW

Paul Rudd in Ghostbusters: Afterlife — Photo: Sony Pictures Releasing.

Directed by Jason Reitman (Tully) — Screenplay by Gil Kenan and Jason Reitman.

If we’re being honest has there ever really been an outright good Ghostbusters sequel? Die-hard fans went up in arms with outrage when Paul Feig’s 2016 reboot came out. That film isn’t very cinematic in its visuals, the original stars’ cameos are really bad, and the comedy is hit-or-miss throughout, but the four female stars are all solid in it (and Chris Hemsworth almost runs away with it through his laugh-out-loud dumb-male-blonde portrayal). It’s not as bad as the outrage would make you think it is, but it also isn’t anywhere close to being recommendable. The original Ghosbusters sequel — appropriately titled Ghostbusters 2 — features the original cast and the original director, but, while it has its moments, it’s not nearly as good as the iconic 1984 comedy. In 2016, Jason Reitman — son of the original films’ director, Ivan Reitman — had his own legacy sequel released that tried to honor the original film and make something that fans would enjoy. It wants to appeal to all kinds of Ghostbusters fans but, in an attempt to do that, it does feel quite generic and safe. But, even for all its issues, I kind of enjoy it.

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Top Ten Films of 2022

This is a list of the best films of 2022. There are many like it, but this one is mine. It is very late, but pay it no mind. The film industry in 2022 felt like a massive and powerful response to the limitations of the COVID-lockdown era. One action film saved the box office industry in America, one Asian film transcended borders to infect us all with joy, great filmmakers put out exceptional entries in their ouevre, and multiple different versions of Pinocchio were released — but only one of the made a positive impact. Let’s have a look at the best films of 2022.

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Loki: Season Two (2023) | REVIEW

Tom Hiddleston as Loki in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. © 2023 MARVEL.

It’s no secret that since the launch of Disney+ required Marvel Studios to produce a litany of superhero series, the Marvel Cinematic Universe has been in a bit of an identity crisis, which is also partly due to how the Marvel films in the post-Avengers: Endgame era haven’t always felt like they were pushing the overarching story forward in exciting ways that also spoke to its characters and their growth. There are always exceptions — like Guardians of the Galaxy Vol. 3 on the film side or Wandavision on the streaming series side — but Marvel Studios has lately been feeling like it’s been stuck in mud, with the release of the star-studded but already forgotten Secret Invasion, which crash-landed, being a notable attempt that failed to really find an audience or audience excitement. Because of all of this it feels really good to be able to say that Loki: Season 2 is a return to form for Marvel — it’s a great show and one of the very best things that’s been put out by Marvel Studios since the release of the outstanding Avengers: Endgame.

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10th I’m Jeffrey Rex Awards – 2022 – Film Awards

I know exactly what you’re thinking — you’re right. This awards’ list is way too late. Like I’ve mentioned elsewhere, the first half of the year was really busy for me for a variety of reasons. Some might say life got in the way. It happens. But, hey, I guess better late than never, right? Today, I’ll go over my film award winners for 2022. So, if you’ve been wondering, for instance, who my best supporting actress winner for 2022 was? Well, then you’re in luck — you’ll find out today. I’ve also split my previous ‘best sequel, prequel, or remake’ into two categories, which I am excited about. Let’s get to it.

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Babylon (2022) | REVIEW

Margot Robbie plays Nellie LaRoy in Damien Chazelle’s ‘Babylon’ from Paramount Pictures.

Directed by Damien Chazelle — Screenplay by Damien Chazelle.

Damien Chazelle has fast become one of my favorite filmmakers of his generation. His Whiplash is one of the most exciting, propulsive dramas of its decade. La La Land is a beautiful modern Hollywood musical that is now unfairly remembered for an Oscars gaffe. His First Man is a quietly moving and technically impressive character study. To make three films that are that sublime in a row is no easy feat. Last year, for his follow-up to that incredible run, Chazelle had reteamed with extraordinarily talented frequent collaborators of his like cinematographer Linus Sandgren, editor Tom Cross, and composer Justin Hurwitz to once again, like with La La Land, tell a story about the entertainment industry. Only this time it would be with a star-studded and expensive three-hour period piece epic. Did Chazelle recapture lightning in a bottle for the fourth time in a row? Well, let’s have a look.

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