Dumbo (2019)

Tim Burton's singular vision is stunning. Disney has totally nailed the animation turned live-action visuals. The CGI is so good. They had some practice animating elephants in The Jungle Book, and live action Dumbo is adorable. His eyes are real. There is so much emotion in those eyes. And many shots are in the reflection of those eyes taking on Dumbo's perspective. The first scene in which Dumbo takes flight is breathtaking. And to think Dumbo doesn't fly in the original until the end. This new version adds an element of humanity. The kids are great. Danny Devito is a natural ringmaster. The movie plays a little like a superhero movie: Dumbo's origin story, if you will. The super power is obviously flight. Dumbo is given motivation to use his powers, and ultimately uses them to save the day. Maybe that's why it got mixed reviews... because it is a little formulaic in that superhero template that critics have tired of. But certainly didn't expect that from Dumbo. And I like Arcade Fire.

Spider-Man: Homecoming (2017)

Maybe it's a generational thing, but I think I'll always be partial to Tobey Maguire. He was just the kind of nerdy awkward that Spider-man should be. Tom Holland is maybe more age appropriate for the character, but he's not the right kind of awkward. He's just being a charming kid that strangely calls Aunt May just May. And we see a good portion of his high school life. I really like his Filipino friend Ned. The two of them are believable best friends. The casting diversity is praiseworthy. Spider-man is from Queens after all, the most diverse place on the planet. I appreciate that Peter's love interest (and future love interest?) is African American. And there's a great twist/reveal that screams this-is-a-modern-spider-man.

I don't really appreciate all the Marvel tie-ins. I think it cheapens Spider-Man, who is a standalone character that can pull his own weight without the help of Ironman and the Avengers. I understand that they're playing up the whole kid thing, but I don't see the Avengers taking a backseat in the inevitable sequel. Captain America pulled a cheap trick on us after the credits, with a fake scene. There's also the placement of big enough names in deceptively small roles that I just have this sinking feeling we'll see returning. For example, Donald Glover has only a few lines, but we know he'll be back even though his character is seemingly unimportant.

The Founder (2016)

This movie tells the story of Ray Kroc, founder of McDonald's--that's not McDonald's the restaurant, but McDonald's the chain. It was a very interesting story that I didn't know about, a story of American business. It is really specially American. Ray Kroc essentially steals the idea and runs with it. He's concerned with money and money only. Who's the hero in this movie? I don't think it really glorifies American business. Michael Keaton does not play a particularly likable character. And his character does despicable things in the name of greed. And really, we have him to thank for America's fast-food reputation. Fast food could've been tasty and fresh and still fast if the McDonald brothers had any say. They were about quality control. Where is that now?

And the movie is really all about business. Ray's personal life is totally secondary. Laura Dern's role is very small. She plays his wife. And as their marriage falls apart, we don't really get to much insight. His second wife features in a few scenes. But we don't really see their relationship develop. It's all business all the time.

The best scene is the one in which the McDonald brothers explain their brilliant concept to Ray Kroc. There is a great rhythmic cadence to the scene that has excitement and momentum. It's really magical how they build their restaurant from the ground up bringing a new restaurant design and concept to the world. The brothers have fantastic awkward chemistry with each other, co-telling this story. The scene works really beautifully.

Spotlight (2015)

I don't know if I've ever looked at journalists as heroes, but this movie paints these investigative journalists at the Boston Globe as heroic figures.  It makes you want to pursue a career in journalism to uncover all the dirt that our most important institutions are hiding.  That's not to say that the movie glamorizes journalism, because it doesn't.  It is gritty work and these are average people that do not have much going on in their lives outside of their careers.  This movie is so good because it doesn't try to sugar coat it. This is difficult, demoralizing, alienating, soul-searching work.  And as the story (very) slowly unfolds at a controlled pace, the audience comes to the same discoveries of disbelief that the characters do.  

Michael Keaton has been getting all the buzz because he's fresh off of Birdman, but I think Mark Ruffalo gives the best performance amid a phenomenal ensemble cast.  He always does.  Rachel McAdams, too, does a standout job following some disappointing work in True Detective.  And John Slattery looks markedly different outside of a suit, but the big office still suits him well.  From inside the Boston Globe, we get the perspective of the journalists. We hear the victims' stories through the ears of the interviewers, and we hardly see any of the perpetrators.  They are unseen villains. The visible antagonist is the community itself and I think that is what makes the story so devastatingly interesting, how ingrained the Catholic Church is in Boston society.  

Birdman or (The Unexpected Virtue of Ignorance) (2014)

Alejandro Gonzalez Inarritu composes a masterpiece in his innovative satire on show business.  The most impressive aspect of Birdman is the illusion of one smooth, massive continuous take.   This is a combination of excellent cinematography by Oscar-winner Emmanuel Lubezki and some visual effects tricks.  It emulates a stage play, much like the one being staged in the movie.  The way scenes change in the movie very much resemble a play as do the monologues. The setting inside one of Broadway's great theaters is a labyrinth that the crew must have navigated expertly to get its shots.  I always pay special attention to lighting in "plays",  which is done in the movie such that the light from one set doesn't pollute the others nearby despite the continuous take.

I love the life-imitates-art-imitates-life concept of the film, casting former Batman, Michael Keaton to play a version of himself, not an easy thing to do.  Keaton leads a superb cast.  They all deliver their quirky jokes in this dry, fast-paced way that keeps the movie flowing with the camera.  It is also moved along by the innovative score, made up solely of drum solos and classical interludes.  My favorite is the always good Edward Norton, who, in one scene, gives a masterclass in acting to Keaton.  Emma Stone also deserves to be singled out, playing a recovering drug addict.  All 3 actors are serious Oscar contenders.