 "Paddington in Peru" stars Ben Whishaw, Hugh Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, and Antonio Banderas. Released in the United Kingdom on November 8, 2024, followed by a United States release on February 14, 2025, the film has Paddington and his family traveling to Peru to find his missing Aunt Lucy. The film featured the directorial debut of Dougal Wilson, known for directing the John Lewis Christmas adverts and several short films like "Largo al factotum" and "No Pressure". It is the third installment in the Paddington film series, which is based on the Paddington Bear stories by Michael Bond. With how things have been turning out recently, we could all use a bit of innocence and hope occasionally. Of course, regarding me, there's no better way to provide that sense of harmless escapism than with a film fit for the entire family. One that's deemed possible to "bear". Yes, that pun was intentional and with good reason. This latest family-friendly sequel sees the return of Michael Bond's uplifting and courteous bear, who has been captivating the world since 1958 through his adventures on the pages and television screens. His cinematic outings that began in 2014 also proved that the franchise's charm has yet to dwindle regarding the films' critical and commercial successes, and it's looking to have a Broadway musical on its way soon. Until then, we have another cinematic adventure in the franchise that takes Paddington back to his original home with his human family in tow. Does it still contain the heart and charm of the previous films, or is this vacation "unbearable" to witness? Let's find out. The story once again centers on Paddington (Whishaw), an anthropomorphic bear living with the Brown family consisting of Henry (Bonneville), Mary (Mortimer), and their two children, Jonathan (Samuel Joslin) and Judy (Madeleine Harris). One day, Paddington receives a letter from the home for retired bears in Peru, notifying him of Aunt Lucy's (Imelda Staunton) strange behavior. This prompted Paddington and the Browns to travel to Peru to visit her, only to discover that Aunt Lucy had gone missing. Using the clues she left behind, Paddington must rediscover the instincts he left behind to find her while uncovering a sinister plot that could threaten his family. It wasn't until 2014's "Paddington" that I was fully exposed to the bear who's as cuddly and kindhearted as Winnie-the-Pooh. With an abundance of charisma, heart, and humor within its all-ages storytelling, "Paddington" was a genuinely well-deserving surprise that accomplished the one thing most live-action/CGI adaptations struggled to achieve: being faithful to its source material without modernizing it constantly. "Paddington 2" also did the impossible in being as good, if not better than its predecessor, signaling a brighter future for the franchise on the big screen. This leaves us with "Paddington in Peru", another kid-friendly live-action/CGI hybrid threequel that takes the characters beyond the comfort of their home. As far as those sequels go, like "Alvin and the Chipmunks: Chipwrecked", they tend to impress kids with their overseas shenanigans but also fall extremely short in their straightforward narratives and humor to let the adults enjoy the ride. With "Paddington" following the same concept and a new director on board, it was concerning that the franchise could follow suit in this downward trend. Luckily, that doesn't appear to be the case. The "Paddington" films are usually known for their lighthearted and simplistic tones, but they also provide a subtly offbeat and imaginative vibe in their presentations to help them stand out from other family-friendly options. They're humorous enough to delight plenty of kids and endearing enough to remind adults of the simpler and innocent times without overshadowing them with pop culture references and modernized jokes. So, if you loved the previous installments because of that, then there's no doubt you'll feel the same about "Paddington in Peru" as I did. Following the same path as the first two films, "Paddington in Peru" is a straightforward and charmingly engaging family adventure that balances British bizarreness with a genuine yet occasionally corny heart. It often gets lost in its franchise fatigue and pacing, but it found its way back by understanding the basic principles of the previous films without needlessly upping the ante in each sequel. Dougal Wilson had plenty of expectations to live up to when it came to taking over directorial duties for the franchise. Paul King didn't return to direct "Paddington in Peru", but he's still involved with coming up with the story, leaving Wilson to take over. Considering this is his first feature film as a director, it's hard not to be concerned about how Dougal Wilson would fare in carrying the legacy compared to King. Fortunately, my concerns fluttered away upon watching the film. While far from spectacular, Wilson managed to maintain the previous movies' innocent essence through its framework, production design, and visual gags reminiscent of a Wes Anderson movie. In a way, it represented something out of a special episode of a Saturday morning cartoon that both kids and adults can enjoy with its charisma, comedy, and messages. Despite not matching Paul King's own sense of family-friendly appeal, Wilson's vision could be seen as a starting point for his career as a feature film director. Regarding the story, "Paddington in Peru" may seem like a simplistic and inconsequential sequel on paper, but there's more to the plot that makes it better than expected. During Paddington's adventure in Peru, the film provides a sense of closure regarding the bear's origins and where he comes from. It featured heartwarming moments between the characters and highlighted the importance of family, no matter their background. The subplot involving the characters searching for the mythical "El Dorado" reinforced the idea that family is a treasure more valuable than gold. Of course, even with its heartfelt and innocent nature, the storytelling is far from perfect. In addition to the pacing being a bit slow for younger kids, the plot can be predictable and sometimes corny in its dynamic, especially regarding the film's uninteresting antagonist. The film also had some underutilized narrative elements, including the Browns' changing family dynamic, which would've worked in exploring its emotional depth involving their growth further. But then again, what else should we expect from a family movie about a bear living in London? The narrative may not pack a sentimental punch in its themes compared to the previous two films. Nonetheless, it's still a fun and suitably comforting family adventure that's well-mannered for its all-ages audience, mainly when the humor focuses more on its innocence than modern pop culture references. Most of the cast returned once again to reprise their roles from the previous films, except Sally Hawkins, who was replaced by Emily Mortimer for her role of Mary Brown. While there were times when their performances felt a bit stale, they still did pretty well in capturing the characters' charismatic and supportive personalities worthy of the film's tone. Ben Whishaw proved to me once more that he was the perfect choice to voice Paddington. The bear's innocent and well-mannered persona was one of the significant aspects that made Paddington a beloved beacon of inspiration and hope, and Whishaw didn't skip a beat in capturing that personality effectively, whether for comedy or drama. Hugh Bonneville continues to be an entertaining presence as Henry Brown, mainly due to his arc involving him facing his phobia of risk-taking. Emily Mortimer was also a serviceable replacement for Sally Hawkins regarding her performance as Mary. I would also credit Antonio Banderas for providing plenty of energy and heart into his performance of Hunter Cabot, a treasure hunter searching for the lost city of El Dorado, continuing his trend of delighting families with his playful roles outside his mature ones. Olivia Colman had a few decent moments to make herself a respectable addition to the cast as The Reverend Mother despite the predictable twist involving her true identity. Overall, "Paddington in Peru" further expands the beloved franchise with another all-ages adventure that's as endearingly sweet as a jar of marmalade. It may not be on par with the previous films regarding its hit-and-miss plot elements and pacing. However, I still admire this sequel for maintaining the predecessors' innocence and charm without going overboard with its overseas shenanigans and kid-friendly humor. It's another delightful and heartwarming family film that showcases compassion in its messages and craft thanks to its solid cast, Dougal Wilson's approach to its simplistic tone and story, and charming humor. More importantly, it would undoubtedly remind people that it doesn't hurt to be as polite as Paddington every once in a while. I would gladly recommend this film to those who loved the previous "Paddington" films and those who want something more tolerable than mindless.  B
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 "Wallace & Gromit: Vengeance Most Fowl" stars Ben Whitehead, Peter Kay, Lauren Patel, and Reece Shearsmith. Released on BBC One on December 25, 2024, followed by a Netflix release on January 3, 2025, the film has Wallace and Gromit confronting the return of Feathers McGraw. The film was directed by Nick Park and Merlin Crossingham. Park is known for directing the previous "Wallace & Gromit" films, "Chicken Run", and "Early Man". It is the sixth film in the Wallace & Gromit franchise. Well, everyone, another new year is upon us, which means it's time for something completely different. Usually, I would start the year with a new horror movie during the first weekend of January, but I think we all know how that turned out almost every year. So, instead, I would like to start 2025 with a good old helping of cheese and crackers. That's right, folks. Your favorite inventor/dog duo from the United Kingdom has returned for another delightful yet crazy misadventure that'll make fans go crackers for Wallace's favorite snack. Considering the popularity of Wallace and Gromit on their home turf and in the United States, it was only a matter of time before they grace our screens again. Fortunately, despite the closure of the factory that made Aardman's modeling clay last year, the creators managed to have just enough clay to make this new film a reality. Unsurprisingly, the result is what you'd expect from a Wallace & Gromit project regarding critical reception. After delivering Christmas cheer on public television in the United Kingdom, Wallace and Gromit has now invaded our Netflix servers in America just in time for awards season. Was the duo's long-awaited return as charming and lighthearted as their previous endeavors? Let's find out. The story once again centers on Wallace (Whitehead), an eccentric inventor, and his reliable canine companion, Gromit, as they face financial troubles. In order to pay their bills, Wallace invented a robotic garden gnome named Norbot (Shearsmith) and created a business involving it working in people's gardens. This resulted in Gromit feeling concerned about Wallace's reliance on technology to accomplish easy tasks. However, Wallace's new business tactic takes a drastic turn when the criminal penguin, Feathers McGraw, reprograms Norbot to frame Wallace for the garden robberies. This sends Gromit on a wild goose chase to clear Wallace's name and bring Feathers McGraw to justice once more. "Wallace & Gromit" has played a small part in my childhood, thanks to my early experiences with one of its short films and even "Chicken Run". The latter was also one of the reasons I started getting into stop-motion animation, especially ones involving clay. This led to me watching "The Curse of the Were-Rabbit" in theaters, which happens to be the first and so far only "Wallace & Gromit" movie to receive the theatrical treatment. By the way, that film is celebrating its 20th anniversary this year. Long story short, I enjoyed every minute of that film, and I still love it now as an adult. Regarding its effortful animation and everlasting endearment in its humor and characters, "The Curse of the Were-Rabbit" was one of the family movies that favored heartfelt charm and comforting innocence over cheap kid-friendly jokes we have nowadays to great effect. So, I had no doubt that I was highly intrigued by the duo's latest outing. Unfortunately, it didn't get the theatrical treatment like "Curse of the Were-Rabbit", as it only received a Netflix release outside the United Kingdom. But, on the bright side, it garnered plenty of awards recognition as "Best Animated Feature", especially from the Golden Globes and Critics' Choice. Upon watching the film, I immediately understood why. Regarding its innocent tone, charming aesthetics, and animation craft, it's undoubtedly "Wallace & Gromit" at its finest. But more importantly, it's a straightforward yet incredibly fun and hilarious reunion that retains the heart and charismatic appeal of the duo's previous adventures. It may not have anything special in its plot to be as groundbreaking as the other animated features we got, but it hardly needs to when you have the creative minds of Nick Park and screenwriter Mark Burton on board. Park has worked on the "Wallace & Gromit" series since "A Grand Day Out" in 1989, along with a couple of strong original entries, so it's unsurprising that he had a massive appreciation toward these characters, and it shows in "Vengeance Most Fowl". What's also impressive is that Park doesn't attempt to reinvent the wheel to appeal to American audiences, leaving it unrecognizable. Instead, he stuck with the usual basics that worked in the short films and "Curse of the Were-Rabbit" while finding ways to maintain the franchise's relevancy for both sides of its audience. A clear example is Wallace's reliance on his inventions. We usually see Wallace make inventions that tend to help people, but they always come to bite him and Gromit in their clay butts. "Vengeance Most Fowl" further emphasizes this element with Wallace becoming too reliant on modern tech to get the simplistic tasks done, including petting his own dog, while also serving as a sequel to "The Wrong Trousers". This message hits closer to home because we, too, have become so used to technology assisting us that we tend to lose sight of the human connection. Despite its familiar plot points relating to vengeance, "Vengeance Most Fowl" is another fantastic example of the phrase "if it ain't broke, don't fix it" that delivers a handful of British wit, charm, and heart in its relatable themes and simple storytelling. Admittedly, most of the film's humor may not connect well with American audiences, including the one joke relating to the popular British television duo. Regardless, they gave me plenty of laughs, so, at the very least, the film succeeded in making the humor delightful for both types of audiences, even if they don't understand some of them. "Vengeance Most Fowl" is also Ben Whitehead's first film performance as Wallace following Peter Sallis' retirement and subsequent death in 2017. Whitehead has previously voiced the character in several video games and commercials, so this task was far from challenging for him to carry Sallis' legacy forward in a feature film. Unsurprisingly, the replacement was worth it. Whitehead did an incredible job matching Wallace's eccentric and jolly personality, which Peter Sallis provided in the short films. I can barely tell the two apart because of how he and Sallis sounded alike in their distinctive voices, showcasing that Whitehead has a bright future ahead of him regarding his role in the franchise. Peter Kay reprised his role as Chief Inspector Albert Mackintosh from "Curse of the Were-Rabbit", and he once again showed that the supporting characters were just as fun and humorous as the protagonists. Another example of this theory was PC Mukherjee, Mackintosh's plucky young protege who learns to trust her instincts in solving the robberies. Mukherjee's generous and perky persona helped carry the film outside the "Wallace and Gromit" scenes, largely due to Lauren Patel's charismatic vocal performance. Finally, we have the movie's animation. As mentioned earlier, this film would've never existed without the proper amount of clay needed because the factory that made it closed down. Whether it'll affect Aardman's future in clay-based animation hasn't been determined based on my research, but I'm hoping it doesn't force the studio to shut its doors for good. I learned to appreciate stop-motion animation because I acknowledge the time-consuming effort in providing one frame per second without making the slightest mistake compared to traditional or CGI animation. Fortunately, thanks to "Vengeance Most Fowl", my thoughts still haven't changed. One of the things I respect about Aardman is its ability to retain the old-school feel of making a stop-motion project with clay. While some stop-motion films rely on intricate details in the designs, especially ones from Laika, Aardman's style has a more traditional and simplistic approach regarding its clay supply. However, it retains the creative and appealing spark of the characters and environments that come from clay. Like its plot, the film's animation proves that, in most cases, simplicity can be just as effective as complexity. Overall, "Wallace & Gromit: Vengeance Most Fowl" is a straightforward yet exceptionally delightful return of Aardman's iconic duo that's more charming than fowl. It's hard to compare this with the previous installments since I haven't watched the short films as much as "Curse of the Were-Rabbit". However, I will say that I have a softer spot toward Wallace and Gromit's big-screen adventure 20 years ago due to its humor and parody of classic monster movies and Hammer Horror films. Thankfully, I can also say that "Vengeance Most Fowl" came pretty close regarding the duo's cinematic outings. Regarding its voice cast, witty British humor, well-paced storyline, and superb animation, the film shows that some things never change for the inventor/dog pair, and it's all the better for it. If you're a fan of "Wallace & Gromit", you'll easily love this latest installment as much as I did.  A "Better Man" stars Robbie Williams, Jonno Davies, Steve Pemberton, Damon Herriman, Raechelle Banno, Alison Steadman, and Kate Mulvany. Released on December 25, 2024, the film chronicles the life story of pop singer Robbie Williams. The film was directed by Michael Gracey, a visual effects artist best known for directing "The Greatest Showman" and "Pink: All I Know So Far". When you're a singer, actor, or even an online influencer, you might run into specific days when you feel less evolved. I'm talking about the days when you have the urge to go crazy regardless of the consequences you might receive, so much so that you'll be making a monkey out of yourself. In this case, one artist has taken that whole "monkey" phrase a little too literally. The Christmas season saw the release of Bob Dylan's fact-based tale, which involved his defying the odds of musical tradition, and it was a decent one at best. However, most people didn't realize that another musical biopic was released during the season, which focused on a singer who may not be as well-known in America as Bob Dylan. I'm referring to British pop singer Robbie Williams, who found immediate fame through his career as a member of the pop group Take That and a solo artist in the 1990s. You haven't heard of him? Neither have I, which is why this film exists. However, this movie features a unique approach to the traditional formula: transforming Robbie Williams into a literal monkey. I suppose that's one way to make another "Planet of the Apes" prequel. But does it work in creating another worthy biopic worth going bananas for? Let's find out. The movie follows the life story of Robbie Williams (Williams/Davies), but he is portrayed as a CGI chimpanzee because he feels "less evolved" than other people. As he finds solace in his grandmother Betty's (Steadman) support, Robbie eventually finds success through his talents and ambition to be a singer. As a result, Robbie becomes a member of a boy band known as Take That, propelling him to stardom. Amid his fame, Robbie is surrounded by life's biggest challenges that could affect his career, including his less-evolved behavior and self-doubt. As I mentioned earlier, I hadn't heard of Robbie Williams until the film's teaser was released, and it's understandable why. While he was iconic in his hometown, Williams didn't make much of an impact in America regarding the fanbase. So, it's easy to see why "Better Man" is struggling to make enough money at the U.S. box office. Regardless, I couldn't resist learning more about Williams and his career, especially since the film is doing something different to the biopic formula. I don't mind watching biopics as long as the quality and storytelling carry them, especially ones involving music. But sometimes, I prefer them to deliver something fresh and exciting in how people's life stories are told to maintain the audience's interest in the genre. Pharrell Williams told his life story through the art of LEGO pieces in "Piece by Piece", and look how that turned out, although not many people went to see that either, much to my disappointment. "Better Man" sought to try this strategy again, with Robbie Williams being portrayed as a computer-animated anthropomorphic chimpanzee to emphasize his erratic personality and self-perception. The result is just as wild and ludicrous as the artist himself. "Better Man" was absurd, mean-spirited, and even uncivilized, but it was also immensely entertaining, incredibly surreal, and thoughtfully emotional. Having the pop singer portrayed as an animal would've been something that's too out there to carry a seemingly typical biographical musical, but through some miracle, Michael Gracey and his team managed to pull it off with style. Does it follow the play-by-play formula we've seen in other biopics? Of course, it does because we've seen celebrities confront their high and low points themselves every time, especially singers. However, that doesn't mean it's not worth telling since it usually reminds us of the dangers of fame, especially when it leads to negative outcomes like addiction, depression, and suicidal thoughts. Robbie Williams' life story is unsurprisingly no different, as it depicts his rise to fame as a member of Take That, his solo career, his fall from grace, and his redemption. During his career, Robbie also confronts his self-doubt via hallucinations of his past self as he struggles to rediscover his true purpose. It plays through similar motions regarding its narrative, often leading to some predictable moments. However, "Better Man" is another example of a musical biopic done right, with just enough pizazz, energy, and heart to reinvigorate its traditional beats, and yes, its third act made me cry. Michael Gracey had surprisingly made a name for himself as a director, thanks to his directorial debut "The Greatest Showman". While that film wasn't the best depiction of its topic, it highlighted Gracey as a filmmaker who can make every scene pop and sizzle with its visuals, choreography, and cinematography, especially the musical numbers. Considering that Gracey also worked as a visual effects artist, it made sense why everyone was head over heels for Hugh Jackman and his unique performers. So, I was very curious to see if he could repeat that success with this distinct take on the biopic formula. After watching it unfold, I can easily say this is a massive improvement over "The Greatest Showman". Obviously, it was because "Better Man" doesn't shy away from its mature themes and Robbie's immaturity, hence the R-rating. But more importantly, Gracey was allowed to embrace the dynamic chaos and fever dream aesthetics found in its metaphorical and musical sequences, which benefited from Erik A. Wilson's 90s-esque cinematography and the film's impressive editing. The result is a bold, frenetic, and visually dazzling experience that may seem hard to believe, but I couldn't help but go along with it anyway. However, its two-hour-plus runtime can be a bit too much for specific people regarding its presentation and content, mainly due to its mean-spirited tone and British slang. Regardless, it showed strong signs of Michael Gracey's potential future as a visionary filmmaker, especially in the musical genre. Robbie Williams only provided the narration for the film, with his chimpanzee form being portrayed by Jonno Davies via voice and motion capture. Davies, known for his roles in projects like the Amazon Prime series "Hunters", was tasked with capturing the mannerisms and wildness of Robbie's young self through his performance. It seemed like a challenge since he was performing alongside actors in a mo-cap suit, but Davies was able to accomplish it wonderfully. Like what Andy Serkis accomplished for Caesar in "Planet of the Apes", Jonno Davies provided humanity and emotional heft into a CGI monkey that felt more genuine than out-of-place. I would even say that the visual effects of Williams' monkey form were pretty remarkable in how he blends in with the environments, real-life or surreal. Steve Pemberton and Alison Steadman were also stellar in their roles as Peter Williams, Robbie's father, and Betty Williams, respectively. Overall, "Better Man" makes a monkey out of its conventional biopic formula with a zestful, untamed, and refreshing musical experience that'll make genre fans go bananas. Like what "Piece by Piece" did for Pharrell Williams, the film successfully takes advantage of and reinvents its traditional narrative notes to provide a unique and faithful depiction of a singer's career and its relatable themes. More importantly, it's a consistently entertaining and visually hectic roller coaster that doesn't lose its heart within the lyrics. While it can be a bit too much for specific audiences regarding its runtime, the film is another musical biopic done right, thanks to its diverting cast (mainly Jonno Davies), Michael Gracey's outstanding direction, refreshing screenplay, and stellar visuals. If you're in the mood for something crazy and different in the musical biopic genre, you should definitely give this film a shot.  A- "A Complete Unknown" stars Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook, Dan Fogler, Norbert Leo Butz, and Scoot McNairy. Released on December 25, 2024, the film explores Bob Dylan's switch to playing electric instruments. The film was directed by James Mangold, who also directed films such as "Cop Land", "Walk the Line", "Logan", and "Ford v Ferrari". It is based on the 2015 book Dylan Goes Electric! by Elijah Wald. Artists and celebrities often do something unique to their crafts and hobbies on specific occasions to stand out from the crowd. While most of the changes weren't without controversy and alienation from their followers, they tend to grow more appreciated for how they impacted how we view the industries' traditional playbooks. One specific example comes from folk musician Bob Dylan, whose change from traditional folk music to electrically amplified rock caused quite a stir in the folk music world. However, it also led to the development of a fusion genre known as "folk rock", resulting in him producing some of his best music in his career, including "Like a Rolling Stone". This game-changing event served as the topic of the latest cinematic outing depicting Bob Dylan's career that's looking to dominate the Christmas biopic competition. Was this musical harmony able to defy the biopic narrative odds? Let's find out. The film follows the true story of musician Bob Dylan (Chalamet). Dylan moved to New York City in 1961 to meet his idol, Woody Guthrie (McNairy), at the hospital. After impressing Woody and folk musician Pete Seeger (Norton) with his song, Seeger and Dylan work together to make the latter well-known in the music industry. During this time, Bob Dylan faced numerous challenges in his career as he rose to stardom for his socially conscious songwriting. Those include his struggle to make original music and his relationships with Sylvie Russo (Fanning) and musician Joan Baez (Barbaro). This led to Dylan's decision to use electric instruments during the 1965 Newport Folk Festival, which could either heighten or destroy his career for good. Bob Dylan is another musician that I wasn't fully aware of until this film. Of course, that is mainly due to me not growing up with his music. I guess that's what happens when you're born during the period of rock and roll and cheesy pop music. Regardless, I was willing to watch "A Complete Unknown" to gather more insight into the iconic artist in the folk genre. That includes the controversial decision to use electric instruments during his appearance at the 1965 Newport Folk Festival. Another reason for my interest was Timothée Chalamet, who hasn't had a single miss in his career since he captured my attention in 2017's "Call Me by Your Name". His performance has landed Chalamet in the awards competition once again, which makes sense considering his resemblance to Bob Dylan and even his talents onscreen. But, even with Chalamet's exceptional skills as an actor, the project he's involved in matters most regarding the quality and faithfulness to Dylan's controversial impact in the folk music industry. It's no secret that musical biopics are my cup of tea for several reasons. One primary reason is that it made me admire the respective artist or band that influenced the music world, even if it meant making risky decisions to make it big. "A Complete Unknown" is no exception to this rule regarding Dylan's distinctive musical style. While I respect the political and social commentary in his song lyrics, I also admire his risky and different approach to folk music with an electric band. It appeared to be a significant gamble at the time, as most people were more acquainted with traditional music, particularly folk. However, it ultimately paid off, becoming one of the most notable moments in Dylan's career, despite being more alienating than his conventional folk music. The film itself would certainly evoke similar feelings in its audience, including the artist's fans, with enough effort in its quality to hit most of its narrative notes. "A Complete Unknown" is another well-directed biopic that's familiar in its formula yet charming and gorgeous in its quality and talent. If you've seen previous music biopics involving specific musicians, you've practically seen "A Complete Unknown". You got the successful accomplishments involving one's career and personal life, and even the not-so-successful ones from both sides. However, amid those moments, the film showcased Dylan's rise from being an unknown character with an unclear past to a rising star in the folk music community, but at the cost of being restrained by the industry's traditions. It depicts Bob's struggle to break free from the industry's conventional limitations in favor of artistic freedom, leading him to experiment with electric and rock instruments at the 1965 Newport Folk Festival. However, it isn't without a few consequences that he left behind upon doing so. Many celebrities have faced this situation throughout their careers, whether in the music business or the film industry. However, their willingness to defy the norm with their creative voices is why they stood out and became relevant. It's a tried-and-true tale of artistic freedom that examines the music industry's desire to maintain normal expectations and fear of alienating its consumers with something unusual. Of course, considering it's about Bob Dylan in the 1960s, the film also included plenty of political and social events that led him to become a counter-culture figure. On the one hand, the screenplay by James Mangold and Jay Cocks was a decent attempt at honoring some of Bob Dylan's accomplishments through its dialogue and themes. On the other hand, it didn't transcend beyond its creative boundaries as much as Dylan did with his folk rock music regarding the genre's formula. This is another conventional biopic that plays through the narrative basics we've seen before and doesn't delve too deep into its characters and thematic undertones. While it's rated R due to the language, "A Complete Unknown" is pretty tame in depicting Bob Dylan's obstacles in his career and personal issues despite some of its entertaining moments. It also doesn't help that the film was twenty minutes too long, with a few scenes that overstayed its welcome by a tiny bit. Despite its seemingly basic appearance, it's hard to ignore James Mangold's ability to make its simplistic approach look impressive. Reuniting with cinematographer Phedon Papamichael, Mangold conveyed the outlook of Dylan's career with an old-fashioned yet highly invigorating presentation that expresses the artistry of its wide-angle shots and production design, especially the concert sequences. It was clear that Mangold knew how to inject energy and charisma into the musical scenes, as he had previously directed another musical biopic, "Walk the Line". They're nothing too fancy or imaginative, but they usually compensate with the toe-tapping delightfulness of the musical numbers, including the duets between Dylan and Joan Baez. While his direction for the story's emotional beats hit a few sour notes compared to "Logan" and "Ford v Ferrari", James Mangold continued to prove himself as a confident filmmaker who injects life and radiance into his straightforward presentation. As mentioned before, Timothée Chalamet is undoubtedly a gem in the acting industry in terms of his filmography. His appearance in almost every film I've seen since "Call Me by Your Name" never failed to impress me with his talents. Yes, that includes the Willy Wonka prequel, with his performance being his most light-hearted and charismatic role to date, in my opinion. So I wasn't surprised that Chalamet has effortlessly continued this streak with "A Complete Unknown". The film had Timothée Chalamet taking on the challenge of embodying the well-known musician, ranging from his dialect to his enigmatic and complex personality, and he successfully conquered that task easily. He was the film's main highlight, as his magnetic and charming take on Dylan's mysterious yet complicated persona helped carry the story through its lengthy runtime. Edward Norton also did a great job with his performance as Pete Seeger, the banjo-playing folk musician who assists Bob, and Elle Fanning continues to shine in her promising career regarding her role of Sylvie Russo. Boyd Holbrook also made an appearance as Johnny Cash, the central topic of Mangold's "Walk the Line", and the character deserves credit for serving a role in Dylan's journey instead of being a pointless cameo. Plus, Holbrook did a suitable job with his Johnny Cash impersonation. Overall, "A Complete Unknown" makes itself known by hitting most of the right notes in its biopic narrative, creating a decent harmony worthy of its talents and straightforward presentation. It's another musical biopic that lacks creativity and poignant sentimentality in its storytelling but compensates with its craftsmanship, passion, and ability to entertain. Its hit-and-miss emotional depth and length kept the film from reaching the heights of others from the same genre. Nonetheless, it's still a well-crafted and endearing depiction of artistic creativity bolstered by Timothée Chalamet's sublime performance, James Mangold's engrossing direction, and a decent yet formulaic screenplay. If you're familiar with Bob Dylan's works and enjoyed some of James Mangold's previous works, this cinematic depiction of the musician's journey is certainly worth singing with.  B- "Nosferatu" stars Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, and Willem Dafoe. Released on December 25, 2024, the film has a couple encountering terrifying events involving a mysterious vampire. The film was written and directed by Robert Eggers, who also directed "The Witch", "The Lighthouse", and "The Northman". It is a remake of the 1922 German film, which was based on Bram Stoker's 1897 novel Dracula. When I think of Christmas, I usually think of giving, goodwill, and peace on Earth. You know, the positive elements that reflect the spirit of the holidays. However, this week gave us a film that's the complete opposite of this theory, as it offered nothing but despair, terror, and darkness amid its untold horrors of obsession. Sounds like something more catering to those who don't want to spread holiday cheer this year. "Nosferatu" is usually seen time and again as an influential masterpiece that set the template for the vampire horror subgenre since its release in 1922. Despite its issues with copyright and various alterations, the classic silent movie gave birth to one of cinema's most terrifying and memorable vampires in history: Count Orlok. Since then, Orlok has appeared in various media, including "SpongeBob SquarePants", reintroducing the character to new generations of horror fans who haven't watched the silent German film. This year, the legendary vampire is seeking to strike fear in our hearts once more with a remake that captures the dread and terror of Orlok through the eyes of the master of historical terror, Robert Eggers. Was it able to spread Christmas terror, or was it better off remaining in the shadows this holiday season? Let's find out. The story follows a pure and loving couple residing in Wisborg in 1830s Germany. Thomas Hutter (Hoult) is a real estate agent striving to take care of his angelic wife, Ellen (Depp). One day, Thomas is tasked with assisting a mysterious nobleman from Transylvania named Count Orlok (Skarsgård) in finding a new home for him in Wisborg. However, he slowly begins to realize the strange and disturbing events surrounding Orlok. Thomas also learns that Orlok is infatuated with Ellen to the point of obsession, leading to his discovery that this so-called "nobleman" is a bloodthirsty vampire. As Orlok spreads his evilness upon Wisborg in search of his soon-to-be bride, Thomas must find a way to save his wife from the vampiric creature's curse. It's definitely unusual for a movie like this to be released at the most wonderful time of the year. However, it's also one of the reasons I was looking forward to "Nosferatu". While I don't mind the joyful and festive content released during that time, it's also nice to have something that's far from cheerful, mainly when referring to horror. Another reason is, unsurprisingly, Robert Eggers, who has continued to make a name for himself in the horror genre, mainly ones involving historical folklore and mythology. While I thought his directorial debut, "The Witch," was a decent approach to supernatural folklore horror, it wasn't until his second film, "The Lighthouse," that I started to appreciate Eggers' slow-burning yet horrifically beautiful vision that captures the lasting impact of its genuine terror and presentation. So, seeing Eggers taking on the iconic vampire that impacted horror cinema left me hoping he'd deliver that similar success and reintroduce the character to a new generation. I haven't watched the 1922 version of "Nosferatu". However, I was familiar with the vampire through his appearance in the "SpongeBob SquarePants" episode, "Graveyard Shift", and the show's recent seasons. If someone like Nosferatu is willing to appear in an iconic children's show from Nickelodeon, that's how you know how influential this vampire has become in the industry. However, as expected, the Nosferatu in this film is nothing like the one who often confronts the yellow sponge. This Nosferatu is the personification of death, lust, and despair amid the town's pureness, and most of all, he is terrifying as hell. But the real question is whether the quality is worth the vampire's gothic aura. Unsurprisingly, it was. Much like Eggers's previous films, "Nosferatu" is a terrifyingly grim yet hypnotically engrossing movie that relies on discomfort and dread to create a roller coaster of terror for genre fans. Regarding his filmography, Robert Eggers has an impressive passion for exposing the dread and horrific roots of mythologies and folklore and providing authenticity in the dialect and environments. He's not just expressing these historical parts through his quality filmmaking and gothic atmosphere. He made his audience, including me, live through them, especially regarding the production designs. "The Witch", "The Lighthouse", and "The Northman" are prime examples of his authentic and brilliantly unnerving vision. Of course, Eggers also deserves credit for being another filmmaker who relies more on discomforting imagery and eerie tone than constant jump scares to evoke some scares. While they may not impress everyone, they're surely better than being annoyed by sudden loud music whenever something pops out every few minutes. As expected, "Nosferatu" is no different, with Eggers understanding the true terror of the vampiric personification of evil and providing a fantastic display of horror storytelling and technical aspects to coincide with it. Admittedly, there are a few jump scares in "Nosferatu", but they're portrayed in a way that's more frightening than borderline silly. "Nosferatu" is pretty straightforward for its narrative and themes, as it explores the concept of obsession and pureness vs. temptation and lust. These elements come from Thomas's wife, Ellen, who gets more than she bargained for when she wished for companionship, bringing attention to an unimaginable evil. What seemed like another typical vampire movie that favors bloodshed was a daring approach to the genre that emphasizes the film's thematic dread and nightmarish nature. Of course, this also means that not everything will be hunky-dory as the film progresses. "Nosferatu" is a suitably written and thematically compelling tale of obsession powered by the mesmerizing fear of darkness consuming the pure. The film is also paced pretty well due to Louise Ford's editing, which also worked in representing its nightmarish appeal through its transitions and lighting effects. It's over two hours long, but it didn't feel like it was at that length because of how the pacing moves steadily. It's neither too rushed nor too slow; it has the right amount of momentum that allows me to embrace the characters and even the somber-like scenery. While the script was satisfactory in honoring the vampire responsible for his evil presence, the technical aspects and direction envisioned by Eggers were once again the true winners of this experience. As mentioned earlier, Eggers provided an amazing balance in the horror genre that favors frights through uneasiness, suspense, and dread over consistently loud jump scares. When the jump scares do appear on screen, they succeed in making me prefer to sleep with the lights on while wearing a garlic necklace. Its smell may keep me up at night, but it is better than getting jumped by a vampire and having my blood sucked dry. The movie is also the latest collaboration between Eggers and cinematographer Jarin Blaschke, who have been working together since "The Witch", and it's easy to understand why. Blaschke is usually known for providing gorgeously grim shots that are more artistically sound than showy, but he's at his best when his cinematography pays tribute to the film's time period. "The Lighthouse" was shot in black-and-white with a 1.19:1 aspect ratio, paying homage to that film's 1890s setting and 1930s French cinema. Blaschke filmed "Nosferatu" in color and provided elements reminiscent of the 19th-century Romanticism movement. Both films succeed in reflecting their histories through cinematic art while also being hauntingly engrossing with their lighting and somber color palettes. The production designs and costumes were also superb for its 1830s aesthetics, and Robin Carolan's score was just as haunting and tense as the movie's frightening sequences. In addition to the film's technological prowess, "Nosferatu" also delivered a cast that's engaging enough to draw me under their spell. One particular standout is Bill Skarsgård as the titular vampire blinded by obsession. Skarsgård has a pretty decent track record in his filmography, with some projects being more well-received than others. But, when it comes to projects involving him playing villains, the actor has an impressive range regarding his appeal and voice that made him appear as a different person, with one example being Pennywise in the "It" movies. I'm glad to say that Skarsgård has found himself another terrifying antagonist worthy of his unique talents. With his distinctive vocals, prosthetic makeup, and terrifying gothic-like aura, Skarsgård entirely transformed himself into the vampire that has haunted countless audiences for generations. It's another example of an actor who truly personifies themselves as the character they portray through commitment. Lily-Rose Depp also made a huge impression through her incredible performance as Ellen, capturing the genuine terror and emotional range of a wife cursed to be bound by an evil vampire. Following her recent appearance in the HBO series "The Idol", which I heard was not very good, her role in "Nosferatu" is undoubtedly the comeback Depp needed to regain her recognition as an actress. Nicholas Hoult and Aaron Taylor-Johnson were also superb in their performances as Thomas Hutter and Friedrich Harding, respectively. Of course, I couldn't forget about Willem Dafoe, who has been Eggers' good luck charm since "The Lighthouse". His performance as Albin Eberhart Von Franz, the scientific expert in the occult and mysticism, was just as captivating as in his previous films, including those from Eggers himself. Dafoe has never lost a beat in his charismatic appeal, whether in horror or something else, and his performance in "Nosferatu" is no different. Overall, "Nosferatu" offers enough blood and terror in its veins to properly reintroduce the iconic vampire to a new generation of horror fans. Through his authentically gothic vision and engrossing storytelling, Robert Eggers has delivered yet another magnificent portrayal of unspeakable terror that's discomforting and hypnotically alluring. Its two-hour-plus runtime and disturbing imagery may not make everyone want to fall under its seductive spell, especially if they're not fans of Eggers' previous movies. However, if you can stomach your way through its discomforting aura, you'll find yourself with a genuinely horrific treat that you'll be delighted to sink your teeth into. With its superb cast, effective direction and screenplay, fantastic cinematography, haunting score, and authentic production design, this last-minute addition to the horror genre is the true ruler of darkness that's also one of my favorites of 2024. If you're familiar with "Nosferatu" or loved Eggers' previous works, I recommend this one. Just make sure you bring garlic with you, just in case.  A |