Deadpool (2016)

Deadpool was good but I don't know if it's as amazing as everyone has been raving. In the same vein as Guardians of the Galaxy, it is a parody of the superhero genre. The difference is the self awareness of Deadpool. He constantly breaks the fourth wall, acknowledging the Marvel cinematic universe ironically. I wonder how he actually fits into that universe as he actively makes fun of it, both the characters and timeline and the actors themselves, aware it is a movie. Is he in X-Men or what? It is unconventionally funny. There is also an exceptional amount of R-rated violence and humor for a Marvel movie. Some of it is excessive. I get that's the point, but sometimes they're just unnecessary side remarks. Ryan Reynolds is perfect for the role, much better than his turn as the Green Lantern. Story-wise it's ok. Its strength is in its comedy.

The Matrix (1999)

I saw this sci-fi classic for the first time on the plane. It is confusing at first but the philosophy is compelling. There are allusions to Plato's Allegory of the Cave in which the learned awaken the masses to reality. The Matrix is a simulated reality, an intricate computer program controlled by machines that we all live in. They create a whole world of mystery. I love the concept--it's mind blowing stuff. The production design is excellent (very computer-like) even if it looked a little dated, but it has been almost two decades. The bullet time effect is original and clever; I guess just seeing it in 2016 makes it look a little cheesy.  It is an action sci-fi movie and the fight sequences are filmed in an innovative way. The fight sequences are excellent, influenced by Hong Kong martial arts movies.

Burnt (2015)

What I really dislike about this movie is that it preys on our love of food. That's how they get you to watch the movie, but it is not worth your time. Bradley Cooper is entirely unlikable as an irrational and erratic chef. It is one thing to be mean in the kitchen--we can watch Hell's Kitchen. But Bradley Cooper's chef is really unbearable, as are most all of the other characters. I don't think that's the fault of acting, rather poor development of already uninteresting characters.The beginning especially is just a series of short vignettes that seemingly come from nowhere, introducing a series of supporting characters to dislike.  I found it hard to pay attention or care. 

The Intern (2015)

This is actually a very cute feel-good movie. Robert DeNiro plays a senior citizen who is doing an internship at an Internet company. DeNiro's character is the type of likable grandfather/mentor figure you want in your life. The company is run by Anne Hathaway, a strong woman used to doing everything herself being pressured to find a CEO for her company. It is refreshing to see Hollywood depicting a woman in charge at a tech company. Though reluctant at first, they become close co-workers. And as expected, they teach each other along the way. It's no revelation, but two solid performances and an unexpectedly good chemistry make for an easy light-hearted comedy. 

Popstar: Never Stop Never Stopping (2016)

My biggest criticism of this film is also its greatest asset. That is Andy Samberg. I can handle an SNL Digital Short for five minutes. I like Brooklyn Nine-Nine, which is basically the Andy Samberg show. I can handle twenty minutes of him, but a full-length feature is just too much. His stupid jokes are funny for a little bit, but you get tired of them. He just lingers on them for too long and turns the dial up too high. He plays his usual man boy character. There are a plethora of celebrity cameos from singers and other music industry heavyweights. How did they get all of them? And did they know the movie would be so bad? They each only have a few seconds, a single line. And their appearance is actually so ridiculous in this movie that it makes you laugh. The movie is in a mockumentary format. Taking a page out of 7 Days from Hell, Andy Samberg really likes making fake documentaries. The Lonely Island isn't meant for long form comedy.

Alvin Ailey American Dance Theater (2016)

Exodus (2015) choreographed by Rennie Harris
Awakening (2015) by Robert Battle
Cry (1971) by Alvin Ailey soloist Jacqueline Green
Revelations (1960) by Alvin Ailey

I really enjoyed watching Alvin Ailey. I don't know too much about dance, but I do appreciate it. I've always seen the posters all over the subway of the very fit dancers contorting their bodies in impossible positions. Finally, I got an opportunity to see them in Baltimore at the historic Lyric Opera House, thanks to Hopart. I didn't realize they took so many intermissions for dance performances, but they understandably have to catch their breath. We were there for about two and a half hours, but almost an hour of that time was spent in intermission. But I loved every minute of dance.

The first dance, Exodus was modern African-inspired. The style reminded me of the performance by Ronald K. Brown I saw last year at the Kennedy Center. The second dance was more contemporary. There was a story to it that made use of bright background lights reminiscent of the lights that shine down from UFOs.

Cry gave me chills. A gorgeous solo number, Jacqueline Green danced with grace and elegance and strength. And then there's Revelations, the signature suite by Alvin Ailey. The music is set to spirituals and blues music and goes through a history of the African American experience through slavery and freedom. It is extraordinarily powerful and moving to watch. There were a few non-black dancers in this one. I guess you can't discriminate, but it is kind of weird for a non-African American dancer to convey the African American experience. 

Le Cercle Rouge (1970)

This movie is notable for an extended heist scene that contains no dialogue. It is pure silence and intense caution for almost 30 minutes. It is highly choreographed and well executed. The movie opens with an epigraph, a quote by Buddha. Except the quote is made up. Perhaps it is to lead the audience to believe in the fate of the characters. Though I don't know it really worked. It might have just confused me as to why it was done. There are tons of symbolic red circles throughout the movie, like the red traffic lights. The most obvious one is the red circle at the top of the billiards cue. There is a great aerial shot of a billiards table. We watch player one take a shot and then another, which we believe to be the same player, but it is actually a new character. It is done in such a fluid movement. They play a version of billiards that I'd never seen before. It is really difficult. You hit the cue ball and try to knock it into two other balls. In some versions, you have to hit a certain number of walls before hitting the second ball. Playing off the walls is hard. The billiards table is symbolic for the director, (in an interview) who claims that all children learn at a young age not to climb on billiards tables. They are symbolic of adulthood, forbidden to young children. No one ever told me that, but sure.