Finally! This is what a Godzilla movie was meant to be! Since 1954, there have been 37 movies with “Godzilla” in the title, with another (Godzilla x Kong: The New Empire) set for a 2024 release. Of the 37, only four are animated. Almost all are Japanese-made. The handful of American-made films, including Godzilla (1998), Godzilla (2014), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021), are mediocre at best. These films failed to execute in many ways, something Takashi Yamazaki’s (Lupin III: The First, Destiny: The Tale of Kamakura) nearly impeccable Godzilla Minus One does not.
Category Archives: Suspense
Saltburn (2023)
I knew so little going into my viewing of Emerald Fennell’s (Promising Young Woman) Saltburn that I thought this movie starred Paul Mescal. Imagine my surprise when his name was not mentioned in the opening credits. Furthermore, I wasn’t able to identify the name or face of either the film’s lead character (Barry Keoghan – The Banshees of Inisherin, The Killing of a Sacred Deer) or primary supporting character (Jacob Elordi – HBO’s Euphoria). As I reflected on the movie afterward and thought about each of these actors’ performances, I was impressed as I compared them to their other roles. Likewise, though Fennell’s film (which she also wrote) was as outlandish in premise as Promising Young Woman (a movie that earned her an Oscar nomination as a debut director, nonetheless), Ambitious, the film excelled more visually than it did in substance. That’s not to say there wasn’t an intriguing, underlying story. Rather, the lack of cohesion, inconsistencies, and reasons for some of the character’s actions left us with a less-than-satisfying conclusion.
The Killer (2023)
Michael Fassbender, it’s been a minute. We haven’t seen the once-up-and-coming next big thing in a movie since 2019’s Dark Phoenix or anything good since 2017’s Alien: Covenant, it’s been over a decade since his incredible back-to-back-to-back collaborations with director Steve McQueen (Hunger, Shame, 12 Years a Slave). Fassbender seems to deliver his best performances when coupled with an established director. His portrayal as the lead in David Fincher’s (The Curious Case of Benjamin Button, The Social Network) fantastic assassin-for-hire The Killer is another example of proof.
Alice, Darling (2022)
It isn’t so much that Alice, Darling, the feature-length directorial debut of Mary Nighy, was a good movie nor an enjoyable watch, but rather how it remains in your mind long after its watch. It’s both a timely and timeless movie about emotional abuse, told exclusively through the eyes of a victim amid the turmoil, but having no sense of what to do about it or even if she knows if she’s genuinely experiencing this abuse. In this regard, the movie hits on all cylinders, even when it misses almost everything else.
No Country for Old Men (2008)
No Country for Old Men is the most well-received and critically acclaimed adaptation of a Cormac McCarthy (my favorite author) novel. There have been six. The Road is, by far, my favorite McCarthy novel and a movie masterpiece. The others are the slightly underrated All the Pretty Horses, the disappointing box office flop The Counselor, the virtually unseen Child of God, and The Sunset Limited, a film I still need to see. No Country for Old Men is the only McCarthy-adapted film to receive an Oscar, earning eight nominations and four wins, including the first nomination and win in Best Achievement in Directing for Hollywood darlings Joel and Ethan Coen.