Evan’s Reviews

I posted a review for the Netflix original series “Stranger Things” several hours ago, but I think that it would be more efficient for me to create a single thread for all of my reviews.

I have posted the “Stranger Things” review from earlier below, in addition to a review of the Netflix documentary “The White Helmets.” I will upload more reviews as often as possible and I appreciate you checking them out!

“Stranger Things” have happened...

A young, brown-haired boy rides his bike down a moonlit street. Suddenly, the headlight on his bike goes out. After glancing down at the light, he looks back up to see a monstrous figure standing in the middle of the road, causing him to veer off into a ditch. He sprints away from his crashed bike into the woods. Whatever he saw, it wasn’t human. And it was pursuing him.

With haste, the boy darts through the front door of his house, out the back and into a tiny shed in his backyard.

Silence.

Hands trembling, the boy grabs his family rifle and loads it.

The shed door creaks.

His breathing quickens. He aims the rifle at the door.

A low growl emits from the darkness as a shadow slowly rises behind the boy. He locks eyes with the hidden creature, allowing terror to consume him.

Tension builds with the score; the fizzling of the shed’s lone light bulb grows louder and louder as the camera zooms in on it…

Silence. A wide shot of an empty shed. The light bulb lingers as the scene gradually fades to black.

On July 15, 2016, my parents and I sat down to watch the pilot for a Netflix original series called “Stranger Things.” From the opening sequence described above, we knew we were in for something special.

The story revolves around the mysterious disappearance of 11-year-old Will Byers and the odd rippling effect it has on the residents and atmosphere of 1983 Hawkins, Indiana. Will’s mother, Joyce – a single mom already struggling with her own issues – becomes frantic and distressed in her son’s absence.

At first, the town seems unconcerned. “Will probably just ran away,” or, “maybe he’s hiding?” Disappearances like this were rare at the time, as local police chief Jim Hopper is quick to point out. He says, “You want to know the worst thing that’s happened here in the four years I’ve worked here? The worst thing? It was when an owl attacked Eleanor Gillespie because it thought her hair was a nest.”

As the investigation deepens, however, another person goes missing. A secret government facility is discovered in the woods of Hawkins, and a young girl named Eleven is revealed to have the power of telekinesis.

My biggest fear for this show after seeing the trailer was that it would live up to its name, that its sci-fi and fantasy elements would overpower any sort of depth and realism present. While there are plenty of bizarre moments and far-fetched concepts in “Stranger Things,” they exist only to compliment the characters that keep us grounded in reality.

The three main characters are 11-year-old friends of Will’s named Mike, Dustin and Lucas, and Finn Wolfhard, Gaten Matarazzo and Caleb McLaughlin do an excellent job at bringing them to life. They play “Dungeons and Dragons” in their parents’ basements. They laugh. They curse. They fight. It all feels genuine, and when Will goes missing, they band together and risk their lives to find him.

Winona Ryder and David Harbour shine as Joyce Byers and Chief Hopper, respectively. Ryder conveys well the desperation any mother would feel after the disappearance of her son, as well as the raw determination to find him and bring him home. The character arc of Hopper from complacent drunk to fearless leader is also incredibly satisfying to watch.

Amongst all of the great performances, however, the standout is easily Millie Bobby Brown as Eleven. Her character is shrouded in mystery and secrecy. She has a dark and troubled past, and her superhuman abilities serve as a gift and a curse throughout the story.

Eleven’s dialogue is limited, meaning that most of her character had to be communicated through facial expressions, mannerisms and inner dialogue, and 12-year-old Brown accomplishes this masterfully.

“Stranger Things” takes us back to the world of the 1980s, a world of Realistic-branded walkie talkies, Levi’s corduroy jackets and wood-paneled station wagons. It was a time when kids could ride their bikes home at night without the fear of being kidnapped; when privacy on a phone call was dependent on the length of your rotary telephone chord.

Its soundtrack is infused with 80s classics. In one scene, Will and his brother, Jonathan (Charlie Heaton), bond over “Should I Stay or Should I Go” by The Clash. In another, romance blossoms to the sounds of Toto’s “Africa.”

Above all, “Stranger Things” is a love letter to 80s film. The tune of the opening credits is set to 80s-style synthesizers, which were commonly used in B-level horror movies at the time. Long hikes along railroad tracks evoke images of 1986’s “Stand By Me.” And as the children and Eleven fled the evil government scientists on their bikes, I’m sure that somewhere Steven Spielberg shed tears of joy on E.T.’s behalf.

The Duffer Brothers have utilized the power of Netflix to create something unique. “Stranger Things” provides loads of 80s nostalgia for adults, while also reintroducing us millennials to the staples of that era. It is horrifying and uplifting; darkly humorous; unrealistic, yet somehow grounded in reality.

With season two on the horizon and with presumably many stories left to tell, “Stranger Things” has only scratched the surface of its potential. Hopefully in the not-so-distant future, we will be able to look back on “Stranger Things” as a classic, a “Goonies” for our generation to pass onto the next. After all, stranger things have happened.

“We’re the White Helmets”

“Any human being – no matter who they are or which side they’re on – if they need our help, it’s our duty to save them.”

Khalid Farah, a former Syrian tailor, gathers a few pieces of wood and stokes a small fire in his living room. He kisses his baby daughter goodbye and tells her not to give her mom too much trouble. He leaves his home with a white helmet in his hand.

Nearby, Abu Omar, a former Syrian blacksmith, kisses his mother on the forehead and bids her farewell. After joining Khalid, the two walk through the rubble of several destroyed buildings.

The sequence cuts to a shot of Mohammad Farah, also a former Syrian tailor, studying the Quran. He puts on a jacket and a beanie before heading out. An emblem of a white helmet can be seen on his left arm.

Soon after, Khalid, Abu and Mohammad enjoy a meal with a handful of other Syrian men in the Ansari District of Aleppo City, Syria.

A low rumble cuts through their laughter and conversation. A plane thunders overhead, the earth shakes and within seconds a plume of black smoke rises from a group of buildings in the distance. The men quickly put on their white helmets and pile into a red bus.

“It’s the Russians,” one of them says.

After arriving at the site of the bombing, the men immediately begin to assist those in need. They direct people to safety. They recover children from the rubble and take them to their parents. And after helping a man double check that no one else in his building needed rescuing, Khalid races down the stairs, leaving the man with a promise.

“Whatever you need, we’re the White Helmets.”

Debuting at the 2016 Toronto Film Festival in September, “The White Helmets” captures the day-to-day life of members of the Syrian Civil Defense (also known as the White Helmets) – a group of 2,900 civilians located in 120 centers across Syria, who serve as first responders to indiscriminate bombings of civilian communities in rebel-held areas by the Syrian Arab Air Force. Following the intervention by Russia in the Syrian conflict on September 30, 2015, much of the White Helmets’ work has been responding to air attacks by the Russian Air Force.

Through this 40-minute Netflix documentary, Academy Award-nominated director Orlando von Einsiedel plants you in the heart of one of the most dangerous places on Earth. You follow the White Helmets through the eyes of Khalid, Abu, Mohammad and their teammates as they risk their lives daily to save others.

The sacrifice and heroism exhibited by these men alone are worthy of merit, but Einsiedel’s direction is also exceptional. Wherever the White Helmets go, he goes. In the film’s opening, he follows a couple of Helmets into a damaged building. The air is drenched in a thick cloud of dust. As the Helmets carry children out of the building, civilian screams can be heard from behind the camera. The frame pans around in time to catch another bomb strike the building. A lone Arabic cry pierces through the now orange-brown cloud of dust as the scene fades to black.

Einsiedel also joins the Helmets as they travel to southern Turkey for one-month response training. While he is there, he films a handful of shots that later, when editing the film, are placed together to create powerful imagery.

“There is no war here. No devastation. No destruction,” Khalid said. The scene cuts to a shot of him looking up to the sky. “Just by crossing the border, it’s so strange how a situation can change.” He sees a bird soaring freely. The scene cuts back to him looking up. When the sky is shown again, the bird has been replaced with a plane.

“Without hope what good is life?” Abu said. “People will die without hope.”

Khalid, Abu and Mohammad, along with 2,900 Syrian Civil Defense members, are providing hope for the people of Syria. Since 2013, more than 130 White Helmets have been killed. During this same period however, they have saved more than 58,000 lives.

“I’m willing to sacrifice my soul for the sake of the people,” Mohammad said. “This job is sacred.”

Abu added, “Every morning I wake up and do this work because it’s my duty, my humanitarian duty. I will never quit as long as I’m still alive. In the White Helmets, we have a motto: ‘To save a life is to save all of humanity.’”

For more information about the White Helmets and how you can contribute to their cause, visit https://www.whitehelmets.org.

Your avatar is amazing.

Haha thank you! It's a professional headshot of me from my communications internship this summer.

From superheroes to “Swiss Army Man”: the 2016 summer movie slump

The heat may have been on this summer, but the box office wasn’t. Cluttered with lackluster sequels (“Independence Day: Resurgence”) and weak marketing campaigns (Russell Crowe and Ryan Gosling’s “The Nice Guys”), the majority of the 2016 summer movie season proved unusually bland.

In the midst of this however, Marvel delivered a meaningful superhero blockbuster. Paul Dano became best friends with Harry Potter’s dead body. And Pixar invited us to swim back into the world of “Finding Nemo.”

While failing to reach the heights of 2015, this summer still offered a few reasons to pay Redbox a visit this fall...

“Captain America: Civil War”

Eight years ago, Marvel took the reigns of the superhero genre with “Iron Man.” Twelve films later and Batman, Superman and the X-Men are still playing catch up. With both the comic book fan and casual moviegoer in the palm of its hand, Marvel could have played it safe with this one. A run-of-the-mill action fest would have brought in the dough, while also entertaining the masses. But, yet again, Marvel showed us why it’s number one.

“Captain America: Civil War” poses a question that may have crossed your mind while watching “The Avengers” or “Age of Ultron”: in the midst of the mind-blowing action taking place on screen, how many innocent civilians were killed?

Within the first half hour of the film, the Avengers are shown footage from major events in past Marvel movies, but rather than enjoying a shot of the Hulk smashing a few aliens into a building, the heroes see pieces of that building crush a bystander filming the chaos from his phone. Instead of watching Captain America throw his mighty shield, they are treated to the lifeless eyes of a woman caught in the crossfire of superhero and super villain.

Shortly following this, Earth’s mightiest heroes are presented with a document, called the Sokovia Accords, which states that the Avengers must place themselves under the command of the United Nations or retire. Tony Stark signs. Steve Rogers doesn’t, ultimately pitting the two heroes against one another and leaving the rest to choose a side.

While technically a Captain America story, “Civil War” plays out more like an Avengers 2.5, which works in the film’s favor. The Russo brothers mesh the darker tone of “Captain America: The Winter Soldier” with the humor of “Guardians of the Galaxy,” masterfully balancing a plethora of characters new and old. The dialogue is thought provoking, the action is spectacular and the performances have never been better.

“Now You See Me: The Second Act”

This film definitely should have been titled, “Now You Don’t.” Despite my bitterness toward this, I was looking forward to the return of the Four Horsemen this past May. And while this is not a well-made film, there is still a lot of fun to be had.

Led by illusionists Dylan Rhodes (Mark Ruffalo) and Daniel Atlas (Jesse Eisenberg), infamous magicians known as the Four Horsemen are back to entertain and thieve using their skills in deception and sleight of hand. Daniel Radcliffe also joins the cast as tech genius Walter Mabry, who forces the Horsemen to steal a chip that will give him control of all of the world’s computers.

What made “Now You See Me” so entertaining was the chemistry between the Four Horsemen and the energy they brought to each of their shows. A nice subplot about a lone detective hunting down the magicians in between their shows also kept the viewers’ interest as they awaited the Horsemen’s next spectacle.

This sequel offers an abundance of plot and new characters, but not enough spectacle. While Rhodes’ subplot is somewhat interesting, the resolution of it undermines the impact of the first film’s plot twist. The replacement of Isla Fisher’s Henley Reeves with Lizzy Caplan’s Lula as the female Horseman was also an unwelcome change.

However, in the little time they do have in the spotlight, the Horsemen are once again electric. Their charisma and charm give the film just enough magic to overshadow its flawed storytelling and direction.

“Finding Dory”

A sour look crossed my face as my friends and I pulled into the parking lot of the Rave Theater in Little Rock. While I wanted to lose some sleep over “The Conjuring 2,” the rest of my friends had their sights set on the newest Pixar flick.

Bitterly inhaling my package of raspberry sour straws, I slumped into my seat and made a valiant attempt to dislike this movie. However, much like with last year’s “Inside Out,” Pixar won me over yet again with “Finding Dory.”

Ellen DeGeneres reprises her role from “Finding Nemo” as Dory: a kind, easygoing blue tang fish who suffers from short-term memory loss. All is well under the sea until Dory randomly experiences a flashback from her childhood of her and her parents. Remembering that she was separated from her family long ago, Dory races off to find her parents, relying only on her poor memory to guide her.

While this film is not a retread of “Finding Nemo,” it provides a few nods to the original, and many of the characters from “Nemo” return in supporting roles or cameos. The film also implements the voice talents of Idris Elba, Ty Burrell and Sloane Murray, who plays an adorable baby Dory in the flashbacks.

The most interesting character addition, however, is that of Hank, played by Ed O’Neill. The irritable, pessimistic, yet kind-hearted octopus warms up to the spastic, forgetful nature of Dory, and their interplay throughout elevates the film’s drama and humor.

Is it as good as “Finding Nemo?” Perhaps, but much like “Monster’s University” in 2013, “Finding Dory” differs in many ways from its predecessor and compliments it well. With sequels like “Cars 3,” (2017) “Toy Story 4” (2018) and the highly anticipated “The Incredibles 2” (2019) on the horizon, I am eager to see where Pixar takes our imaginations next.

“Swiss Army Man”

“Swiss Army Man” opens with a shot of an exasperated Hank (Paul Dano) preparing to hang himself on a deserted island. Bored, alone and without hope, a look of astonishment surfaces on Hank’s face as a body (Daniel Radcliffe) washes up on shore before his impending suicide.

Desperately searching the body, Hank soon discovers that it is without life and is very flatulent. Through a series of odd and spectacular events, the body comes to life and the two go on a “road trip” of epic proportions to get Hank back home.

The score for this film, while simplistic, is by far the most inventive I’ve heard in years. Directors Daniel Kwan, Daniel Scheinert and cinematographer Larken Seiple craft captivating visuals, and Daniel Radcliffe gives his best performance since “Harry Potter.”

Deemed the “farting dead body movie” at this year’s Sundance Film Festival, there were many who loved “Swiss Army Man,” and there were many who walked out of it. While not aimed for the casual moviegoer, underneath the surface-level absurdity of this film can be found relevant themes, genuine characters and a heart-felt story.

“Suicide Squad”

If anything, the marketing team for “Suicide Squad” did their job well. Following the critical backlash against “Batman v Superman: Dawn of Justice,” the second trailer for David Ayer’s supervillain team-up showcased a more light-hearted tone than that of last spring’s Comic Con teaser, and all of the following trailers and TV spots were edited to near perfection. The hype was real. The stakes were high. But how did it measure up?

The characters and the talent behind them are the driving force behind “Suicide Squad.” DC could not have made a better casting decision than Will Smith as Deadshot, and Margot Robbie was nowhere to be found in this movie: there was only Harley Quinn. And where there is Harley Quinn, there will always be the Joker.

All of the film’s promotional material pointed to Jared Leto’s clown prince of crime being the primary antagonist, but sadly this was not the case. The band of supervillains are instead tasked with taking on an evil more supernatural in nature, an odd choice considering that only two members of the squad actually have powers.

The film’s pacing is abysmal, its story is bland and the reason that the squad gets together makes very little sense. However, these negative aspects did not compromise my enjoyment of “Suicide Squad” as a whole because of the humor and fun brought forth by the characters and their interactions with one another. I look forward to seeing more of these villains, and I remain optimistic about the future of the DC cinematic universe.

OK, Ruffalo played the detective going after these guys in the first movie, now hes one of them in this one?

Yes. That was the plot twist at the end of the first film: he had been the one who secretly brought them together and guided them throughout the film. His job as a detective was simply a cover to conceal his true identity.

“The Man from U.N.C.L.E.” brings back characteristics of old spy movies

In the midst of the dark and gritty movies that have characterized the 2000s, it’s nice to see Superman and the Lone Ranger team up for a 1960s spy throwback.

Napolean Solo (Henry Cavill) is a suave, carefree thief turned spy, tasked with extracting Gaby Teller (Alicia Vikander) from East Berlin for the CIA. During the escape, Solo and Teller evade KGB agent Illya Kuryakin and report back to Solo’s superiors, only to find out that the KGB and CIA have reluctantly teamed up. Solo and Kuryakin are forced to work together to stop a wealthy couple from using Teller’s father to build their own nuclear weapon.

“The Man from U.N.C.L.E.” brings nothing new to the table in terms of its structure. Two good guys with conflicting personalities are forced to work together to take down the bad guys. Add in some classic spy elements and a pinch of action, and you’ve got yourself a nice summer blockbuster.

Guy Ritchie’s stylistic direction coupled with Cavill and Hammer’s on screen chemistry make up for the film’s lack of substance. Referring to each other as ‘cowboy,’ and ‘The Red Peril,’ the two leads humorously characterize the stereotypical depiction of 1960s American and Russian spies. Hammer’s subdued, hardened persona compliments the James Bond-like charm of Cavill. Vikander delivers a solid performance as well. There’s more to her character than meets the eye. Delicate yet strong-willed, she adds a nice dynamic to the trio.

While the plot is one of the film’s weaker aspects, Ritchie executes the few twists and turns it takes well, even if some of them are predictable. He does this primarily through showing small parts of a scene, leading you to think that a situation plays out one way, when it actually played out much differently, revealed later when the entire scene is shown. Ritchie uses this technique a few times in the movie, and while this may become tiresome for some viewers, I thought it was interesting, and it kept me on my toes throughout the film’s runtime.

“The Man from U.N.C.L.E” harkens back to the beats of older spy movies. The characters do not take themselves too seriously. Solo causes women to swoon left and right as he cracks jokes about Kuryakin’s Russian traits. Teller slowly breaks down Kuryakin’s hard demeanor, and he manages to crack a few jokes of his own. The opening action scene matches this tone and sets the stage for a perfect action throwback.

As the story progresses however, there are moments where the film takes itself too seriously and the action is filmed differently to appeal to a modern audience. These infrequent tone shifts clash with the overall feel the movie is trying to convey, and this detracted from my enjoyment of the film.

That being said, Ritchie does know how to create tension during the more serious moments, and transfers the emotions his characters are feeling to the viewer, primarily those of Kuryakin. In one particular scene, the feeling of betrayal is evident in the dimly lit close-ups of his face. The ominous ringing of church bells paired with silent shots of him tearing up a room out of rage is unsettling and conveys the anger of Kuryakin effectively to the audience.

“The Man from U.N.C.L.E” is not an Oscar contender. It is not the next cinematic masterpiece. The film serves its purpose as a sleek and fun action movie, and I had a blast watching it.

“Bridge of Spies” breathes new life into historical films

When the director of “Jaws,” the star of “Forrest Gump” and the writers of “O Brother Where Art Thou?” come together to make a film, you know you’re in for a treat.

“Bridge of Spies” is set in 1957 during the Cold War between the United States and the Soviet Union. Rudolf Abel (Mark Rylance) is arrested by the FBI and charged with being a Soviet spy. Insurance lawyer James B. Donovan (Tom Hanks) is asked by his partners to defend Abel in the impending trial.

Donovan is ridiculed and scorned by his fellow Americans for representing and defending Abel, as many of them would rather see him hanging from a rope. However, Donovan’s success in keeping Abel away from the death penalty proves vital in negotiating with the Soviets after they capture an American spy.

Whenever I watch Tom Hanks, seldom do I see Tom Hanks. Whether it’s Forrest Gump, Captain John H. Miller or Woody from “Toy Story,” Hanks consistently excels at becoming the characters he portrays, and he delivers a dynamic performance as James Donovan. The character is decent and kind, but firm in upholding the law and his personal values.

Mark Rylance’s portrayal of Rudolf Abel is Oscar-worthy. Abel is an awkward, mild-mannered and unusually calm elderly man, the last person you would suspect as a Soviet spy. In the face of potential execution following a guilty verdict, Abel remains cool and collected. Blown away by his lack of alarm or concern, Donovan questions, “Are you not worried?” to which Abel responds, “Would it help?”

Ethan and Joel Coen’s script dishes out the perfect comedic, dramatic and thrilling elements that make “Bridge of Spies” great. Its dialogue drives the story, and while this may turn off certain audiences, I found it enthralling. Fundamental themes of integrity, perseverance and standing up for what’s right are broadcasted clearly and effectively through the actions and words of the story’s protagonists.

Like most of his films, Spielberg’s touch is evident from the first shot. There are several scenes throughout the film in which two or more people are simply exchanging dialogue in a room. While on paper this may come across as dull, Spielberg keeps you engaged by positioning his characters in different places during a scene. Through this he is able to portray a variety of shot types and angles and simulate the effect of cuts that aren’t actually there.

Spielberg’s narrative direction is as captivating as his visual storytelling. “Bridge of Spies” is based on a true story, and very little is altered or fabricated for the sake of entertainment. Aside from a few minor plot points and inconsistencies of the spies’ time in captivity, Spielberg and the Coen brothers stay true to the intriguing story of how an insurance lawyer from Brooklyn saved the lives of two Americans and a Soviet spy.

Novelty in today’s cinema is a hallowed treasure. Unique scripts are replaced with unnecessary sequels and reboots, and dialogue-driven stories dwell in the shadow of the next Marvel blockbuster. Despite Hollywood’s ever-growing lack of originality, directors like Spielberg continually restore my faith in filmmaking. “Bridge of Spies” breathes new life into historical thrillers, and is a must-see for lovers of the genre.

Finally you've reviewed a film I've seen...I enjoyed reading your review on Bridge of Spies...Nicely written, I especially like this paragraph:

I was totally impressed with Spielberg's direction and his ability to make this biopic historical film seem real, while avoiding the overly emotionally, or overtly tense for tension sake.

Have you seen Spielberg's Catch Me if You Can? If not I recommend it for fans of Bridge of Spies.

Thanks for taking the time to read it! I’m glad you enjoyed it. I completely agree with you about Spielberg’s direction. I have seen “Catch Me if you Can,” but it has been a while. I’ll definitely need to re-watch it in the near future!

You have a nice review thread here. And I do check it, but so far that's the only film you reviewed that I've seen.

I appreciate it! You have quite the review thread yourself.

Thanks I try.