'The Goldfinch' Review: John Crowley's Glossy Portrait Loses Its Hue

John Crowley's follow-up to his critically acclaimed Brooklyn is a film adaptation of the Donna Tartt novel 'The Goldfinch', and sadly, it's a bit of a setback. Crowley attempts to juggle all the characters and storylines at the same time that it seems like he's forgotten to imbue the novel's essence and moral. It's compelling in its seriousness and fun in its lightheartedness but together it feels like an explosion of tone that shifts from time to time to time and never established an overall distinct atmosphere.

The Goldfinch weaves between two periods in the life of Theo Decker, who was orphaned as a kid (Oakes Fegley) when his mother was killed in a terrorist bombing while they're at the Metropolitan Museum of Art, destroying precious pieces of art excluding The Goldfinch painting, which he took possession after a dying man from the explosion asked him to "take it". As an adult (Ansel Elgort), Theo still keeps the priceless painting reminding him both of the tragedy and his beloved mom.

Photo Credit: Warner Bros. Pictures

Like most literary material, it's one with a lot of side stories and characters that all revolve in the main character's life. It has Samantha (Nicole Kidman), a cold but kind socialite who took Theo in after the tragedy, Samantha's household which includes her children Platt, Kitsey, and Andy and her husband Chance, Theo's deadbeat father (Luke Wilson) and his promiscuous girlfriend, Xandra (Sarah Paulson), Pippa, Theo's unrequited love and obsession, Hobie, (Jeffrey Wright) as Pippa's guardian and later his mentor, and the side-character I enjoyed most, Boris (Finn Wolfhard) who was sort of a bad influence but ended up being one of his closest friend.

All of these characters and their relationship with Theo are distinct, compelling and pivotal to his story. And yet, their combination couldn't save the narrative that struggles to find its rhythm throughout the film.

Photo Credit: Warner Bros. Pictures

On a positive note, it looks glossy and gorgeous throughout. No surprise since Roger Deakins shot this. From the crispness of the images to the warmth of the lighting that exudes from the screen, it's one that could count as a masterpiece, if only the script could. There are several shots in the film that linger and there are also several scenes that have Deakins' signature where the subject is shot against the twilight. It's beautiful, but not enough to save the film.

Despite all this, it's still a compelling story, only told ineffectively. It was just a story, but nothing to take in. Theo's trauma remains his from start to finish.

'Ad Astra' Review: Brad Pitt's Melancholic Space Contemplation

In a decade where space films have become a norm, James Gray's own version emerges as he uses space only as a facade, a magnificent veneer exquisitely shot by Hoyte van Hoytema, to orbit the meaning of human existence.

In Ad Astra, Brad Pitt as astronaut Roy McBride travels to the outer ends of the solar system in search of his missing father and unravel a problem that's threatening mankind. But as vast as the universe is, the film goes beyond and larger than this plot. Like the space as a facade, this adventure is not just about finding a missing dad. Rather it ends up being about one's place and meaning in life and the universe.

Often shadowed with McBride's melancholic contemplation via confessionals or voice-overs, Ad Astra has a sincere and sentimental vibe to it. Max Richter's breathtaking score heightens this but it's also not devoid of gripping action that we mostly see in space movies. It's still complete with moon chase scenes, blood, and other space absurdities that are almost always imperative in sci-fi movies. Richter never falters whichever scene his music is in.

In a way, director James Gray still gives in to the unspoken requirement of a space movie but at the end of it, he still triumphs in what he does best--exploring human emotions in his own gentle way and he always does so by adding other layers like exploration or immigration and not just your ordinary day-to-day story.

I've only seen two of his movies before this, and it's impressive how each one is so distinct yet all are affecting. Once his films end and his name appears in the credit, there's an immediate feeling of reflection and extra sadness that goes with it. Says a lot by how perfect he ends his films--whether it's the lingering shot of The Statue of Liberty in The Immigrant or the wife's refusal to discontinue his husband's exploration of a lost city in The Lost City of Z.

Brad Pitt's expressive and nuanced performance is not to be taken for granted. His performance is just as good and appropriate as Gray's vision. Both of their hearts beat together in this "space of life" story. One could say that he's probably in a sad and reflective state while doing this which is perfect for the material.

Ad Astra overall does not have the action-packed excitement of other space films, but it's just perfect in its own unique way. As even in its reserved action elements, it's able to explore more techniques in showcasing what's out there beyond Earth and by the end of it, we contemplate with Roy not only about his life but ours as well.

'Downton Abbey' Review: An Arc-Filled Reunion Makes For a Lively Period Drama

Whether you've been following the beloved period drama for years or you're a new visitor to the English country house, there's a big chance that you will be attached to the plethora of characters in Downton Abbey. I'm an outsider looking in but I ended up wanting to 'wiki' the TV show after watching because of its lovable characters--both the Crawley family and their servants.

Photo Credit: United International Pictures

I know that it's always nominated at the Emmys and that Dame Maggie Smith is its scene-stealing gem, and then I know nothing more. The film affirms these as Dame Maggie Smith is truly a joy to watch who is also easily the best part of the film. The veteran actress knows how to make the audience laugh out loud with her always reliable sharp tongue. And the talented ensemble knows how to follow her lead.

That being said, the film is clearly a fan service, which is not bad at all considering that it doesn't put the outsiders out of place. It's very much welcoming even if sometimes it feels as if you are expected to already been informed of their dynamics before joining their community. It's packed with plot for many of the characters that I could only assume are a continuation of where the TV series left off, but it kept the film lively with no dull moments. It's even very inclusive and liberal for a period drama, not devoid of the present political weather.

It's also not without new characters that fit the established dynamic of the Downton community. It's still set in the 20s but with higher stakes as the Royal Family King George V and Queen Mary are stopping off the Downton before their trip to Yorkshire. With them are their own staff that alienated the Crawley's dedicated maids. The presence of the Royal family wasn't very much felt, but there’s a fun and riveting square-off between the maids because of them.

It is the newcomer Lady Bagshaw, played by the regal Imelda Staunton, that provides the exciting parts though, especially that she's added to be the Dowager Countess' banter partner. Even if she's mostly underutilized, her character could bring new drama if they decided to create another sequel.

Much like any other TV show turned into a movie, Downton Abbey's existence feels like a reward for its loyal fans that whether a continuation is needed or not, its overall vibe feels like a product of the cast and crew's love for this material. The result? A lively and pleasant reunion for everyone.

'It: Chapter Two' Captures the Novels' Heart, Horror and Humor

Just two years ago, the remake of the beloved Stephen King's quintessential horror novel ended with the Losers' Club sitting in the sunshine after defeating the evilest alien clown Pennywise below their town's deepest sewers. Together they had a blood compact to return to their town if ever Pennywise comes back.

Photo Credit: Warner Bros. Pictures

Two years later for us, and twenty-seven years later for the Losers, IT reappears. And with the mega-success of the first, this is a surprise to no one. Only a few days after the showing of It (2017), moviegoers had been screaming for a sequel, if only to watch more of the eccentric and relatable kids. Not to mention, people were posting their own cast for the adult versions of the Losers all over social media and while it was too good to be true at first, it was confirmed only a few weeks later that a sequel is a go, with Jessica Chastain as the adult Beverly--a picture-perfect adult version for Sophia Lillis--and other big names in Hollywood.

So much potential is expected in Chapter Two, and that's likely one of the main reasons why this flick has an almost three-hour running time. The Losers are beloved, and Pennywise is iconic. It would be such a shame to put any of them to the side. Unfortunately, it's also the reason why it's a bit of an overkill. Director Andy Muschietti's longing to continue what he successfully started doesn't pay off most of the time.

First and foremost, the young cast of the first one is way more fun, watchable, and perhaps more appropriate for the villainous clown. Jessica Chastain, James McAvoy, Bill Hader, Jay Ryan, Isaiah Mustafa and James Ransone as the adult cast, as prestigious and tested artists and perfectly cast as they are, don't hold a candle to the chemistry of the young group. It's not that they don't have charisma, their adult dynamic is just not as fresh and compelling to watch. Individually, they're given enough material to shine but the flashbacks with the young cast remain to be a favorite. I guess, adults and clowns really just don't mesh well.

Photo Credit: Warner Bros. Pictures

The good thing is that there is a lot of flashbacks. After all, the main theme of It: Chapter Two is about conquering their deepest fears from their experiences in the past, not necessarily with Pennywise. It's in this theme that truly elevates the film. Somehow, its unapologetic sentimentality works best because it captures the heart of Stephen King's novels and some of his early movie adaptations like Stand by Me.

Then again, this film is way more than that. This sequel is BIG as in it's not afraid to take its time in showcasing new ideas and tricks to scare and tell the stories of all the characters, Pennywise included. Everything it's supposed to tackle, it did--from their past insecurities leading to their current situation, on why they have to return to Derry, on why each character had to do what they needed to do--all in order to stop the evil that's been giving them nightmares since they moved on from their childhood. They covered all their bases even though the film feels like it could trim at least an hour and it will still be as effective, if not more.

But no complaints. If it means more airtime for the young Losers, then it's A-okay. Ultimately, it's about the past and present anyway.