Tag Archives: film

January 2020 Book, TV, and Film Roundup

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It’s been a minute since the last time I did one of these roundups. So, I decided to welcome February with one! Now that I am a person who has the occasional free time, I get to write a little more. I still have an academic project I am aiming to finish within the next month so, I will juggle between that and the blog.

The Shelf

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The Disney Fetish (2014) by Seán Harrington

How do I dare critique this book when there’s such deep research put into the psyche of Walt Disney the man, Disney the company, and conclusively, the influence on the society he (or it) aimed to effect? Let me first give you a back story. I ordered this book online in August for the sake of exploring a study similar to my scholarly project (analysis of several films made by a franchise in a way that challenges the hegemonic view). The premise of the book is interesting however, shortly after I started reading it, I pushed it as far away as possible.

I came back to this book in January, hoping that I can observe how the author structured the selected topics and introduced them in his book. This may be personal—I felt that the author, Seán Harrington, solely based his arguments on the Oedipus complex, aka the psychoanalysis that I think, has no connection to the feminist theory whatsoever. According to Freud’s Oedipal view, the mother does not have a phallus which denies her the adoration of self-image. I do not understand the logic, nor do I think arguing solely through this one deficient theory is enough for this book. I like the never heard of insights about the formation of the Disney company as well as Walt Disney’s potential psychologically damaging family experiences (which mostly entails Chapter 2 to 3). However, I think the author could have made his point in 40 pages easily.

Putting aside my disagreement with the author’s findings here is what I think: Overall, there is some good research and interesting facts about Walt Disney himself. However, the book is repetitive and seems to go back and forth between targeting academics versus average pop-culture geeks; there is some confusion about the audience. Sadly, I pushed through The Disney Fetish but, I do not recommend this book.

The Small Screen

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The Goop Lab (2020)

Dear women everywhere, watch The Goop Lab! Rumor (or the paparazzi) has it, Gwyneth Paltrow ended her acting career recently, and is focusing her energy on her lifestyle brand “Goop”. Paltrow started the brand back in 2008, which connected with women through weekly email newsletters. I say women because I do think it initially started with the idea of targeting and helping women about their psychical and mental wellness. However, Goop also has a small men’s section on their website that talks about stress-release, helpful recipes and much more. Alright, now that I am done with what seems like brand promotion, I’ll get to the gist of it (I promise I recently discovered about this lifestyle brand just like many of you and I do not have enough readers to promote a brand).

In The Goop Lab series, Paltrow and a powerful set of women try mushrooms, different and potentially risky diets as well as cosmetic applications. They also talk about the uncomfortable like female pleasure. There have been several criticisms about the show– specifically ones claiming it gives “bad health advice”. As the beginning of the show indicates, there is information that needs to be taken with caution in The Goop Lab. The way I viewed the show was similar to the way I watch vloggers. I watched women trying things and sharing their experience with us ladies who are curious. The content is a little different than your typical YouTube video though. The Goop team stayed vulnerable and shared relatable experience. Not every episode was great, but I found the series worthwhile for us ladies who may not spend much-needed time on their wellness. The Goop Lab is a great treadmill companion or a sleepover watch with good friends.

The Big Screen

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Jojo Rabbit (2019)

The very first time I watched Jojo Rabbit I thought it is an excellent film because it shows Nazi Germany from a satiric point of view. Taika Waititi most definitely tackles a topic that has been done many times before and considering the fact that Hitler ruled 70 years ago or so makes the film a risky choice. While the racist practices are engraved within the minds of many, identifying with the struggles that had happened during the Third Reich’s rule could still have been problematic for younger viewers. Taken these into consideration, Waititi accomplishes a hard task making Jojo Rabbit a hit.

I hardly have negative things to say for this production, but I also struggle to praise it too much. I think the brutal realities that the Jews had to go through are not reflected enough in this film. However, at the same time, this is okay because the premise of the movie is about the Nazi Germans, how the youth idolize and even adore Hitler and the adults who fight for peace while existing inside the system. To recap Jojo Rabbit quickly, Jojo is a Nazi German boy who is a member of Hitler’s young army. Quite frankly the story isn’t limited to that; Hitler is Jojo’s best friend (or imaginary friend). All Jojo wants is to work for Hitler until he finds out his beautiful mother is hiding a Jewish girl in their attic. Jojo Rabbit is truly about the power of propaganda. The film provides an insider’s view about how the redneck, uneducated, or naïve youth view the war, which is something we are not necessarily used to seeing on screen besides the heart-wrenching dramas.

In terms of the acting, there isn’t much to say—Jojo Rabbit has a talented cast. However, Scarlett Johansson truly shines and even steals the show during her limited appearances in the movie. If I say so myself, 2019 was the year of Johansson (See my review for Marriage Story (2019) which Johansson shares the spotlight with a thought-provoking performance alongside Adam Driver). Since Johansson ditched the pretty girl stereotype, her acting skills are at the forefronts. Rosie (Johansson) is a beautiful woman whom the men watch out for on the streets. However, her portrayal is complex—she is a mother who wants her son Jojo to turn around with his own will as she tries to support his young army involvement while showing him that peace is the solution.

You might like Jojo Rabbit because it has a different angle, or you might hate it for the same reason. I’d suggest you see the film and decide for yourself. While my criticism is limited and I cannot find much fault in Jojo Rabbit, it may not be one of those compelling films simply because it trades the dramatic effect with satire.

Comment below what you think or suggest a movie, tv-show, or a book you’d like for me to review! If you like reading posts like this one, consider getting me a Ko-Fi here. Thank you for reading and see you next time.

“Batwoman is the best in the franchise”: Holly Dale on Filmmaking as a Female, Director-Actor Chemistry, and the Rise of Batwoman

At a time that builds upon the momentum of movements like Me Too and LGBTQ Pride, female filmmakers are finally starting to get the recognition they have always deserved. Holly Dale, the award-winning director, producer, writer and editor(!), gets up from her seat within the audience and faces them as she enters the Vancouver Film Festival’s (VIFF) stage. As her long-time colleague and friend Norma Bailey says proudly, Dale has a perfect record of five plots proposed, and five directed. On top of this, she has directed 200 hours’ worth of screen productions.

You probably already viewed many of Dale’s works: Durham County, Mary Kills People, Flashpoint, Being Erica, Dexter, The Americans, The X-Files, Law & Order True Crime, Limitless, Agents of S.H.I.E.L.D. and Falling Skies, are some of the most popular ones. Dale is currently working on the highly anticipated Batwoman (2019) series, in which she is producing and directing. Batwoman aired on CW just last week, and already has the internet people talking! It currently sits at a high 73% on Rotten Tomatoes; however, it has also been a victim of the toxic fan culture because of its nonapologetic characters.

It seems that Dale will gather a lot of attention while the Batwoman debates catch fire. Meanwhile, I had the privilege to attend Dale and Bailey’s masterclass in October and meet her personally. Unlike someone who has so much experience as Dale, she was very humble; she wanted to connect with every single person in the audience. Hence, why she stayed for another hour or so to answer questions and guide aspiring filmmakers in their individual journeys.

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Holly and Norma Kill People

As the moderator and co-director of Mary Kills People, Bailey cheerfully states, she and Dale met at a time when both directors decided to move away from documentary filmmaking and into drama. When filming documentaries, Bailey felt she was exploiting people to do what she creatively wanted to accomplish, and that was to tell stories. On the other hand, documentary filmmaking was never Dale’s intention either. However, through drama, Dale rightfully obtained the title of being an actor’s director; someone who knows how to approach an actor’s needs.

As Dale states, setting up the visuals truly set up what Mary Kills People (MKP) stood for. Camera angles, colors, location and all that you could see on the final screen product aimed to service the characters. As an example, the visuals of dull-colored tunnels in MKP were intended to walk the actor through the tunnel of light, often associated with death. The entire piece was made to relate to life and death in various ways.

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Norma Bailey and Holly Dale at the VIFF Masterclass.

 

Drama in the Industry: A Female Perspective

“When I first started directing”, Dale says, “there were only 5 female directors in the industry”. Dale made sacrifices and traveled a lot. Her hard work paid off, especially when she shot a documentary on female filmmakers, Calling the Shots in 1988. As she reminisced those days, Dale exclaimed, “I met so many great males in the industry, too—they were sons of single mothers”. The audience burst out laughing.

“Women tend to collaborate and nurture more, but they also need to be careful,” says Dale. Through her experience in the industry, Dale realized there are people on set who definitely won’t want her to succeed. At the end of the day, she suggests the important skill aspiring filmmakers need to obtain is to use their energy only when they need it. A director’s job is to make decisions. Dale exhales, and gives a piece of valuable advice, “you don’t want to make a decision quick”. According to Dale, there is a delicate line between helping the producer in terms of cost and convenience, and the look and feel of the final product. She adds, “you need to filter ideas and use them for your benefit”.

 

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Holly Dale and myself at the VIFF Masterclass.

 

Director-Actor Chemistry

When talking about times she is mostly involved in the process of selecting an actor, Dale states, “firstly, the actor needs to be a reactor”. In other words, actors need to be reactive to what’s going on around them in the scene. For Dale, another important factor is that the actor needs to know their lines. Specifically, “casting for TV is very fast,” she says; hence, seeing these two qualities stand actors out from the hundreds of tapes that are viewed every day.

Dale continues on about the ideal director-actor relationship, “Actors are very nervous most of the time. You need to tell them your processes and do not stand away”. Dale says that a director’s job is to go ahead and tell the actor, “Hey, that’s a great job”; simple as that. If a director wants the production to succeed, Dale argues “[they cannot] talk to an actor in results”. A director needs to tell the actor what causes the happiness or sadness and let them walk through the emotion. When Dale was asked about the best way to set up an emotional tone to the production, she stated, “it is best when they (the actor) wants to work with you”. When the actor and director understand each other, the character starts telling her story.

Insights from Dale: Marvel vs. DC

Marvel (Agents of the S.H.I.E.L.D.)– Executives are very hands-on during production.

DC (Batwoman) – Finally has the best superhero on-screen for the franchise! 

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The rise of Batwoman

Dale defines Batwoman as “a groundbreaking series” that welcomes a lesbian superhero on screen, and adds, “it (Batwoman) is the best in the franchise”. She says she is on set a lot these days; she practically “live(s) there now!”. But Dale seems to put her heart out directing Batwoman, as she “always excels to be beyond the script”. And, we are beyond excited to see where Batwoman’s journey will take her; because we want to go there with her, too!

September 2019 Book, TV, and Film Roundup

As October is welcomed with its sweet rainy weather, I cozied up at home drinking coffee and watching films. Hence, this roundup is a longer one. Before you get reading, I just want to mention that I may have to stop writing the roundups for the next few months. I am getting closer to my highly anticipated graduation and things have been busy in a nice way. I will, however, keep writing reviews for individual intermedia products that I like.

If you like reading posts like this one, consider getting me a coffee here. I write a lot faster with caffeine.

The Shelf

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Amusing Ourselves to Death (1985) by Neil Postman

I have read snippets of Postman’s Amusing Ourselves to Death numerous times for classes throughout the university. I never had the chance to read the full book until I came across it in a second-hand bookstore this summer. It is a foundational book from Postman, the media theorist, and educator, that takes both Orwell and Huxley’s predictions about the techno-future and shows them under a clear lens for our eyes.

Part I sets up the importance of epistemology; in other words, the information about how media come to our lives is just as important as how we engage with it. There is invaluable information about the history of typography here. Postman wants to make sure we know the difference between how things were, and how things are. While we retained important information then, we get trivial knowledge that is worthy of a few quick seconds now. Hence, the news does not mean anything; people die on TV, and we get over it. In Part II, Postman digs deeper into the social components of our lives and how they are represented on TV. He talks about religious shows that are drained out of their spirituality to entertain a wider audience and keep their attention for long periods, too. He, then, talks about politicians as actors on TV and strongly despises it. He argues, TV strips the political content out of its history and ideology. Lastly, he argues that TV as an education gadget cannot work simply because it lacks interaction. When education becomes an entertainment toy, it stops educating.

In the final chapter, Postman decides it is time we stop flipping the pages and gives us the answer to the following question: Who is prepared to take arms against a sea of amusements? He does not suggest we eliminate TVs altogether, but de-mythologize them, break them apart and be aware of their purpose as the amusement objects that they are. This book is one that needs to be read a few times because of its information-heavy nature. It is, in fact, a holy book for anyone interested in media.

The Small Screen

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Great News (2017-2018)

This is a very sweet, sweet sitcom that I came to love. I eventually clicked play simply because I was hoping to get a somewhat realistic look into a newsroom setting. I did not binge-watch the whole thing at one sit, but I could easily see myself doing that, too. The story seems to be about Katie but truly, it is about her relationship with her mother (Carol). Carol decides it is time for her to follow her dreams and starts going to journalism school while interning at the newsroom. The series tackles the workplace dynamics, power structure, and also the patterns of Katie and Carol’s mother-daughter relationship and how this looks within a workplace setting.

Season One mainly deals with Katie’s dilemma about having her mom around. We get to know all of the characters and decide who we like and who we probably won’t within the coming seasons. It is set up very well. On the other hand, what drives the story of Great News is the mother-daughter relationship, which actually may choke you up quite a lot (especially in the first season). In season two, we realize that Katie may have a love interest: Greg, the British producer. With that, there are numerous awkward scenes and anticipation that one of them will open up. Another bonus in season two is the guest appearance of the brilliant Tina Fey. Let me stop before I give too much away– in summary, this is a cute show to cheer you up but you may be sad to know that it is not cleared for another season with Netflix.

The Big Screen

 

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Rambo: Last Blood (2019)

With its significantly larger budget of $50 million, Rambo could not attract enough viewers to fill the theatre seats (Box Office $60.3M). The question of whether Sylvester Stallone will retire from playing Rambo flew around for years. However, the vague interest wasn’t enough to find Rambo appealing once he was out of the war zone, as seen in Last Blood.

Why was Rambo simply bad? The legendary Stallone’s acting was not enough to hold a poor screenplay together. The screenplay of the fifth Rambo film has been a hot topic of Stallone’s interviews in 2018. Morrell and Stallone previously worked together on a soulful story for this last journey. Little did they know that the producers would prefer going with the version we saw on screen today. Hence, the human trafficking plot resulted in Stallone announcing his retirement from playing Rambo. You can read more about Morrel’s interview on the topic here. Continue reading

August 2019 Book, TV, and Film Roundup

If I didn’t mind everything to appear as orderly as they really aren’t—I would call this roundup, August: The month of half doing everything. I did not particularly go crazy about anything I watched, read, or listened this month. It was deeply saddening because it seemed like I was wasting my time while running away from wasting my time, especially in terms of my book choice, Caramelo. Next, I began watching The Protector(or ‘Hakan Muhafız’, 2018) a superhero series, but with a Turkish twist. The big screen was rather safe with a late catching up with The Lion King (2019) and a re-watch of an all-time favorite, Coco (2017), at home. I cannot recommend Coco enough; I cry every time I watch it. Lastly, The Red Sea Diving Resort(2019) was a painfully lifeless movie to watch; the plot wasn’t tragic but the movie itself was.

The Shelf

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Caramelo, Or, Puro Cuento (2002) by Sandra Cisneros

The Vancouver Public Library has an amazing system that asks about your intermedia favorites and comes up with an extensive list of books just for your taste. I was recommended this sweet book about a Mexican family that lives in Chicago. They take one of their famous trips to the awful grandmother’s house in Mexico, where the literal definition of a whole family meets every summer. The book is written from the views of Lala, the young girl who watches her mother and grandmother’s power struggle, her quiet father, funny uncles and tormentor cousins. She seems lonely and out of solutions in the middle of it all. She becomes our eyes in the family and navigates through what seems to be a map of family history and shows us why things are the way they are.

Now that you have an idea about the plot, let me tell you about all the reviews I read prior to picking up this book. The readers preach the award-winning author’s poetic way of storytelling and especially Mexican readers, state that they have found a piece of home in it. I am writing this review because I could not get past the first 150 pages of Caramelo. Cisneros is, indeed, a master of words, and you can tell that it comes easy to her. She is extremely descriptive, but it becomes overbearing and unnecessary at times; it even spoils the story. The point she is so eager to make so beautifully diminishes as she runs on different tangents. The chapters are very short, they can be called short stories which have a hard time to intertwine. With all due respect, I am a stranger to such a different literary approach to storytelling. I tried to love Carameloand really wanted to relate to the enthusiasm of the other readers—It did not work. Hence, I do not recommend it. If you read the book, let me know what you think below.

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Stan Lee’s Alliances: A Trick of Light (2019)by Stan Lee and Kat Rosenfield

A Trick of Light was the very first audiobook I ever listened; as you might know, I am more of a paper person. Hence, it caught me by surprise to hear Yara Shahidi’s excellent narration. Her voice is very neutral and timeless yet keeps the story exciting. It is also the door to Stan Lee’s world. In A Trick of Light, we follow the origin story of Cameron who accidentally gains super-techno-powers. He, then, meets Nia, a hacker who is overly protected by her father. They take on a journey to find what happened to Cameron’s lost father. On a side note, while the plot builds up toward a love story, we never really get one.

While Stan Lee’s brand is within this book, I have a bit of a hard time believing he has more than a small touch on the details. I believe the story is very timeless because it embodies the long for human connection in an internet-connected world. However, it does not go very far from Ernest Cline’s book that inspired Spielberg’s Ready Player One(2018) in terms of setting up the story and its characters. It is very far from the Marvel plots we are used to in terms of its softer tone and action scenes. Overall, a good little book to listen to when you cannot read a better one. It is a mediocre story though, which makes me refuse to believe that Lee had much of an influence in A Trick of Light.

The Small Screen

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The Protector (2018)

Review based on the episodes 1-3

Before I dive into this review, I want to remind you, the new readers, that I grew up watching Turkish tv series. If you are one of the viewers who watched The Protector  with a dub, now you know that it is produced and filmed in Turkey. I find this bit of information very important because while there is an Oriental feel to The Protector, the Netflix team was able to add a global touch to it. Or, was it Joseph Campbell? (I’ll link an article here about The Hero’s Journey if you haven’t heard about it yet. In essence, it is a global approach to myth-building). Continue reading

[Review] The Lion King: How Simba Changed the Fate of Disney’s Live-Action Remakes 

In case you live in a cave and did not notice—Disney is on a roll with the live-action remakes of our favorite stories. It all started with Alice in Wonderland (2010) which had its strong cast bring over a billion to Disney’s thick wallet, entered a decline phase with The Jungle Book (2016) due to its odd tone and mixed reviews, and in my personal opinion, Disney hit rock bottom with poor casting and several other issues by releasing Beauty and the Beast (2017) and Aladdin (2019)The Lion King (2019) directed and produced by Jon Favreau, however, helped Disney’s magic to reach our hearts, again, just like the 90s. Here, I will explain how Disney finally stopped failing the audiences.

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Realism. Once I wiped off my tears coming out of the theatre, I decided to pay my respects to The Lion King (1994) at home and figure out why this animated documentary-like feature film worked so well. The first thing I noticed was Favreau’s attention to detail, and I assure you, he made sure we, as the audience knew about this. Favreau spent valuable effort to walk us through our surroundings, identify the appearance of species of all kinds, and appreciate one of the best (and likely leading) Virtual Reality production techniques within the film industry. Compared to the 1994 version, I could easily appreciate the 2019 feature for its identical yet heightened visuals. As Favreau explains, realism is what makes the film so unique. Ironically, it also produces the magic the previous films missed.

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Music. Better yet, the voice actors have done exceptional work: Donald Glover (AKA Childish Gambino) gave us the hurt and careless Simba at the same time. Chiwetel Ejiofor’s vocals (as Scar) were the closest thing to a brilliant Broadway performance. But, the real star in the voice work was Seth Rogen who made us all adore a warthog. Despite the never-ending coverage about Beyoncé’s casting on top of her new album inspired by The Lion King, her voice did not shine in the production. I think we are so used to hearing Beyoncé’s strong vocals that Disney music seemed a bit toned down for her vocals. Nonetheless, Favreau managed to awkwardly insert a short section of Beyoncé’s new original, “Spirit” in the film. If you catch the scene, I am sure you will agree that it just seems like a poor editing job rather than an integral part of the movie. Continue reading

June 2019 Book, TV & Film Roundup

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June was a quiet month for screen exposure. Well, at least the second half of it. I have a special someone visiting me so, I assure you that there will not be any complaining. This also makes up my much-needed excuse for posting a June roundup on the second day of June, rather than the first of it. While I thought these roundups would keep the blog alive when I did not know what to write about, I also realize now that they also keep me somewhat accountable. I love deadlines. I am past my deadline. Well, let’s talk about all the great things in life. Books, TV, and film. Here we go.

The Shelf

I have been mainly busy with reading research articles, extending my own research article, and editing my thesis. I managed to get my hands on a second-hand copy of Syd Field’s Screenplay: The Foundations of Screenwriting (2005). It is an excellent read that is beyond a “how-to” book so far. I never got to finish it so, I’ll postpone the review to the next round up. What I did finish though, is Ta-Nehisi Coates’ take on Black Panther, A Nation Under Our Feet (2016).

 

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All images belong to the rightful owners.

 

Black Panther: A Nation Under Our Feet (2016) By Ta-Nehisi Coates

I remember reading an article by the ex-Atlantic journalist, Ta-Nehisi Coates prior to making the decision of picking up this comic book (Note that I have not read his take on Captain America, yet). The article talks about the mixed-feelings of producing a story that has been created by a predominantly White team of comic producers, Coates finding his purpose through taking the challenge, playing with a new voice and potentially making that voice sound better for many. I was curious to see how Coates re-introduced the previously primitive Black Panther (see, Fantastic Four #52) and whether the same criticisms made for the movie (2018) could also be traced back to this comic. Coates’ Black Panther actually received all of those criticisms in the comic itself: T’Challa was selfish, he was not heard by his nation, and he, perhaps, hurt his nation because he saw them as a burden rather than an honor.

The main plot revolves around the people of Wakanda attacking their own King. On the surface, they are controlled by a woman with supernatural abilities, however, Coates’ sets up the greater problem underneath, that is caused by the heaviness of T’Challa’s crown. While the enemies plot against overthrowing T’Challa, he fears his greatest challenge of failing Wakanda. Coates’ way of telling this story is beautifully poetic, complex, and one that houses an interplay of many messages. His take of the Black Panther is not actually a book of physical war but the fearful war within the King. It is nowhere close to a primitive representation, but psychological warfare that pushes T’Challa for reconsidering his ideology. It is Black Panther refreshed, yet not one that forgets history. I suggest you get your hands on it and read it. Then, read it again to truly appreciate the story behind every word.

The Small Screen

 

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All images belong to the rightful owners.

 

How to Sell Drugs Online (Fast) (2019)

I don’t know why I will stamp this show as mediocre yet but… I will anyway. Netflix caught me on its main page trap when the show was first released, I did not have anything to watch at some stressed point in my life and pressed play. I did not binge watch this show, rather, went back to it whenever I was desperate. Don’t get me wrong, it is wasn’t a bad show per se. It was just a real-life, coming of age story that had minimal sickening events (see, episode 8… I think), and not so sickening references to the dark web (I was forced to watch a YouTube video talking about the dark web so, I hate talking about the dark web).

The plot is about Moritz, whose girlfriend just got back from an exchange program from the US and questions the meaning of life (thanks to the drugs, hence the title of the show). So, Moritz decides to sell drugs to win her back and surprisingly makes a lot of money to fuel his greed. I don’t think the growth of Moritz’ online drug business is so typical, but the show accurately represents the German young-adult culture and the effects of the wide use of drugs. The show also deserves an A+ for its use of simplistic cinematography and tech-inspired graphic components. Overall, is it a waste of time? No. Is it an amazing show? No. Continue reading

May 2019 Book, TV & Film Roundup

Welcome to the first Roundup of Hazal’s Camera. I’ll try to keep this as a monthly ritual. Let’s dive in.

 

The month of May can only be described as a blessing and a curse. I finalized an intense period of summer courses, followed by an intense period of free time. The North American culture subtly rewrites your DNA and convinces you that you need to be busy all the damn time. So, my free time called for a lot of binge-watching, and it was beautiful.

Let’s start the roundup with books, shall we? I promised myself that I would be reading one book a month. The apple era took this pleasant activity away, and my thesis research gave it back to me. I started with Tom Hanks’ Uncommon Type (2017). It was my every bus read from school or internship. It became my companion when I laid down on the grass. It had many stories that literally pulled you in, and some that didn’t but nonetheless, it is was a nice companion for May.

In the TV zone— I started with Defenders (2017) hoping that I could revisit my love for the series Jessica Jones but definitely loved the plot despite the fact that it mainly revolved around the Iron Fist. Next, I went through a series of emotions watching Jane the Virgin (2014-). It is definitely a cheesy romance show or “telenovela”. I regretted wasting the vast of the plot away all so quickly once I found out that the series was set to finish this year. I honestly loved this show. I guess I am a hopeless romantic, after all.

None of the film productions really wowed me this month. I watched the live action Aladdin (2019), it had a couple problematic representation patterns. In fact, they weren’t problematic, but rather, clearly wrong. I won’t get into it again in this post, but you can see my full review here. Next, much anticipated (and advertised) Extremely Wicked, Shockingly Evil and Vile (2019). I watched the film on the first day of release. I am one of those young adults who watched Zac Efron in chick flick blockbusters in the past, but his portrayal of Ted Bundy really wowed me. The film did not though, and I will explain why. Finally, I watched what seems to be Jon Favreau’s passion project Chef (2014). Sadly predictable, and an okay movie. Continue reading