Dark Phoenix (2019)

X-Men deserves a better ending than this. X-Men was probably my favorite superhero series, but they remade it to death. It should have ended with Days of Future Past and Logan. Apocalypse and Dark Phoenix were wholly unnecessary. I had forgotten that Days of Future Past erased the old timeline. Much like the recent bookend of the MCU, the time travel rules are kind of murky. But in their attempt to erase the ill received ending of the original trilogy in The Last Stand, they recreated the same plot, except worse. A redo was not necessary. They get a little into the politics that always made X-Men interesting and relevant. The othering of mutants is a message that is still poignant today, but it takes a backseat to a largely irrelevant main plot. Who are these aliens and why is Jessica Chastain their leader?

Molly's Game (2017)

Aaron Sorkin's directorial debut is very Aaron Sorkin. It runs 140 minutes, and that's with Sorkin-speed speech. Acting in a Sorkin film requires skill. You must memorize your lines by heart so you can spit them back at rapid speed without thinking. That's acting. And it's never easy dialogue. It's brainy. There are unfamiliar words. You gotta become familiar with poker terms and American law. Even for a generally educated person, it can be a little difficult to follow at that pace. But that's what's so great about Aaron Sorkin. He doesn't talk down to you. He pulls you up. He's a smart guy that makes the audience keep up with him. The narrative structure in this movie is a little weird, with Chastain narrating her story in her book being read by her lawyer preparing for court. But it works. Jessica Chastain and Idris Elba are both great Sorkin-actors. Everything comes around full circle. Nothing is forgotten, everything is deliberate. I appreciate that Elba is cast as her lawyer, an smart and articulate and influential black man--the only black man in a story almost exclusively populated by powerful white men. It's tight writing about a strong female lead that doesn't require sex to tell an interesting and intense story. I have a feeling Sorkin will be doing more directing in the future.

The Martian (2015)

This movie is perhaps the best advertisement for NASA and STEM. If this doesn't inspire you to pursue a STEM field, nothing will. It makes science cool. The characters are true experts in their fields, quickly solving complex problems with innovative out-of-the-box solutions. I think this movie will inspire a generation to pursue careers in astronomy, physics, and....botany. The script is well-written, fast paced, and sounds mostly scientifically accurate to someone like me who doesn't know (But to my credit I did follow some of it!).

The ensemble cast is excellent. Matt Damon carries the film with his likable personality, quick thinking, and one-liners. In the face of certain death, he finds a way. There is a moment at the end that reminded me of the end of Captain Phillips, when Tom Hanks gives a masterclass in acting--in a state of shock having just been rescued. In The Martian, this moment comes before the rescue attempt, when Matt Damon breaks into tears of hope. The scene could have been elongated to let Damon play it up a bit more, but it evoked a similar feeling. The casting of Kristen Wiig in a largely non-comedic role was a little strange. And as much as I like Chiwetel Ejiofor, he is decidedly not Indian, nor is Mackenzie Davis Korean. The characters were written as Asian, and so those roles should be played by Asian actors. There are not that many roles for Asian actors, so we should give the few that do exist to Asian actors.

Ridley Scott creates a convincingly barren picture of Mars on location in Jordan. He made a crowd pleasing, visually thrilling, and thought provoking story.

A Most Violent Year (2014)

JC Chandor creates a gritty 1981 New York City, with a brooding atmosphere of crime and violence.  Alex Ebert's score with a very prominent flute darkly colors each scene contributing immensely to this effect.  Oscar Isaac and Jessica Chastain act with an intensity to match the period.  Isaac plays a businessman whose business is under attack, putting a big contract at risk.  He must protect his business and his family, though Chastain, as his wife, holds her own.  The real genius of this movie is Chandor's screenplay.  The only way to describe it is a slow burn.  The story trudges along slowly, but it is never boring.  Every scene is quite deliberate and intriguing.  The pace only enhances the suspense and intensity.

Interstellar (2014)

Christopher Nolan makes some really special movies.  The unique ideas that he comes up with are always thrilling, mind blowing and thought provoking.  This is no exception.

Interstellar presents some really ambitious, out-there science fiction (in science fiction, you just have to roll with it).  Granted, some of the ideas are unbelievable, especially as you get further into the movie, but I feel like I followed it up to the last 20 minutes or so.  Without giving too much away, the story falls apart a bit at the conclusion.  Nonetheless, the film triumphs at integrating powerfully emotional scenes and human drama with a confusing and complex plot.  

On the creativity front, I was most impressed by the conception of the planets that they visit.  It's hard for us to imagine what the environment of other planets might be like, and Nolan shows us two interesting, well conceived theoretical planets.  The robots are not anthropomorphic, rather they are made up of four bars, that can arrange into different useful formations.  Perhaps the wackiest creative freedoms were taken in the physical representation of higher dimensions.

The visuals are stunning and are especially incredible in the IMAX 70mm format.  The visual effects, especially when in the emptiness of space, or in the unreal environments of the planets, or looking in a black hole or a worm hole, are breathtaking.

Hans Zimmer, as always, has composed a magnificently fitting score for the film.  With the backdrop of empty space, or the varied environments of the different planets, or the expansive corn fields on Earth marred by dust storms, Zimmer's score adapts and shines.

Interstellar features a star-studded cast, from frequent Nolan collaborator Michael Caine, to Hollywood's current it-man Matthew McConaughey.  McConaughey's character and dialogue resemble the soft philosophical ramblings that we've come to know him for in the Lincoln ads and True Detective. Anne Hathaway is also excellent, though she has way too much makeup for someone going to lonely outer space.  I appreciated the casting of Mackenzie Foy as a young Jessica Chastain.  The resemblance is uncanny and Foy proved to be a very capable young actress.

In summary, despite some problems with the plot and the science, Interstellar is a solid film that truly embodies the magic of the movies, featuring imagination, spectacle, and pure entertainment.