La La Land review

“People in L.A. worship everything but value nothing.” So says Sebastian in Damien Chazelle’s miraculous musical romance La La Land. Sebastian (Ryan Gosling) is a passionate jazz musician with dreams of opening his own club, but he’s stuck playing bland Christmas tunes in dingy restaurants. He’s frustrated by the lack of passion people around him bring to their lives, along with the fact that he himself can’t hold a steady job as he pursues his own dreams.

Mia (Emma Stone) faces a similar predicament. She gave up college and moved from her Nevada home to pursue acting, but, despite numerous auditions, she can’t seem to get a call back. When she meets Sebastian, she’s initially repulsed, but quickly she begins to warm to his charms and his zest for life. A romance blossoms, but it isn’t long before reality comes knocking for these starry-eyed dreamers. Can these two build a life together, sharing in each other’s’ burdens and ambitions? Or will the cold hand of failure and the everyday struggles of life tear them (and their careers) apart?

The central question of the film is, how does one continue to hold onto hope in the midst of resistance? How can you reach for the stars when life only seems to give you gravel? It’s a profound question, particularly in a year like 2016, when so many have felt beaten into submission by the woes of human experience.

For anyone feeling downtrodden, La La Land is the greatest Christmas present you could ask for. This is a film that will keep a smile on your face during most of its run time, a joyous celebration of the desires of the heart, and the perseverance of hope through all possible obstacles.

The film is love letter to two of my favorite things: movies and jazz. Chazelle already examined the passion of jazz music in the stellar Whiplash, but that film was dark and emotionally brutal. In contrast, La La Land is an infectious, upbeat and ear-catching marvel. This is the kind of film where you can feel the love of movie-making stitched into every frame, a film where the depth of passion and vision behind its creation is palpable and, frankly, astonishing.

La La Land is an infectious ode to Hollywood, jazz and impossible dreamers.

La La Land is billed as a musical, and a musical is really only as good as its songs. Thankfully, Justin Hurwitz’s tunes are mostly great. I’ve been obsessed with this soundtrack ever since I walked out of the theater (and am a particular fan of “City of Stars” and “The Fools Who Dream”). The dance sequences are also phenomenal, from the Fame style jaunt in the midst of an L.A. traffic jam that opens the film to a gorgeous tap-dancing sequence that hearkens to Gene Kelley and a dreamy flight through the Griffith observatory that is its own wondrous creation.

Thankfully, Chazelle’s dialogue is every bit as masterful as the songs. The writing throughout is funny, relatable and emotionally resonant. But what really takes the film to another level is the performances. Ryan Gosling and Emma Stone are no Astaire and Rodgers, and that’s what makes them so good. Their dancing is charming, their singing voices more than adequate. But, two struggling artists shouldn’t be masterful performers; it makes more sense that the characters would be rougher around the edges. To keep them from perfection is to keep them relatable (though still impossibly gorgeous).

That’s not to discount the marvelous work by the two leads. This is Stone’s best-ever role, proving once again her talent for giving nakedly emotional and absorbing performances. I’m a big Gosling fan, and this role shows off both his comedic and dramatic talents expertly. Despite the film’s flashy style, I never felt like I was watching “movie stars” on screen.  I felt like I was watching Mia and Sebastian. These roles feel lived-in, and that extends to the supporting cast (including a surprisingly excellent John Legend).

La La Land’s ending is not exactly a happy one, but it feels authentic, just like the rest of the film. There’s not a false note in sight. It is in many ways a simple film, but it’s not simplistic. It has a lot to say about the importance of holding onto dreams, and even conveys the welcome message that being traditional and old-fashioned isn’t always a bad thing. Some may call La La Land itself old-fashioned. If that’s the case, then I say it’s hip to be square.

Rogue One: A Star Wars Story review

From its opening moments, it’s clear that Rogue One is going to be a different kind of Star Wars movie than what we’ve seen before. It’s a risky move from Lucasfilm: create a non-numbered film in the beloved sci-fi universe (sans opening story scroll), a prequel of sorts that attempts to answer one of the biggest questions from the 1977 original. How did the Rebel Alliance obtain the plans to the Imperial Death Star, the ones that Princess Leia hands off to R2-D2 and which eventually prompt Luke Skywalker to initiate the most famous explosion in movie history?

It’s a question worth asking, and a story worth exploring. However, it’s still easy to believe that Rogue One may be more of a cynical cash grab from Disney, who now owns Lucasfilm— a desperate attempt to wring more money out of a famous franchise. I am very happy to report that such concerns can be safely put to bed, because Rogue One is a lovingly crafted and thrilling tale, and one that fans of the franchise will almost certainly dig.

The film opens with Jyn Erso (Felicity Jones) as a young girl, watching her father, Galen (Mads Mikkelsen) get carted off by the Imperial Commander Orson Krennic (Ben Mendelsohn) to assist in building a super-weapon that will turn the tide in the war between the Imperial Army and the Rebel Alliance. Jyn, however, successfully hides, and is rescued and trained by resistance leader Saw Gerrera (Forest Whitaker).

When we next see Jyn, it is 15 years later, and she is “rescued” from an Imperial prison transport by resistance fighter Cassian Andor (Diego Luna) and his re-programmed Imperial droid, K-2SO, voiced by a quip-filled Alan Tudyk. Why does the resistance want Jyn? Because her father has been the principal mastermind behind the construction of the Death Star, and she may be the only one who can convince Gererra to help track him down and extract the location of the Death Star plans. To complicate matters, Imperial pilot Bodhi (Riz Ahmed) has shown up, claiming to have a message straight from Galen regarding the Death Star plans.

Soon, Jyn is whisked away on a planet-spanning adventure to snatch the Death Star plans and save her father, if indeed he can be saved. Along the way, the resistance picks up some additional ragtag fighters, including the mysterious blind monk Chirrut (Donnie Yen) and his heat-packing protector, Baze (Wen Jiang). But time is running short: the Death Star has already tested its formidable destructive capabilities, and the shadowy presence of Darth Vader (voiced by James Earl Jones) looms. Can they successfully storm the Imperial stronghold, steal the plans and turn the tide of battle once again?

We already know the answer to that question, and therein lies the tricky balance of a tale like this one. Can a story whose conclusion is forgone still manage to surprise us? Perhaps the biggest success of the film is that director Gareth Edwards and screenwriters Chris Weitz and Tony Gilroy so successfully make this story feel essential. This isn’t just a paint-by-numbers, fill-in-the-gaps mid-quel. It deepened my appreciation of the original, and even fills in a major plot hole and long-time complaint that could be leveled at it. Why the heck would the Imperial Army build the Death Star with such a small but fatal flaw? By films end, that head-scratcher is given a very satisfying answer.

Rogue One is a thrilling adventure, and a welcome addition to the Star Wars universe.

Story-wise, Rogue One is a success, but what about all these new characters? For the most part, they’re welcome additions. I felt more emotionally connected to the characters here than I did watching The Force Awakens. Jyn’s love for her father is a particularly strong motivator, and the camaraderie the resistance fighters share is palpable. The heart of Star Wars has always been its characters, and this one is beating and alive. I particularly liked K-2SO, who adds some much-needed humor to the proceedings, and Chirrut, who is just a straight-up bad-ass, and has a connection with the force unlike any we’ve seen in this universe so far.

But, when I start to dwell on particular characters, I begin to recognize my biggest complaint with the film. There are lots of new characters introduced here, and it’s understandable that not all of them would get fully satisfying arcs. But why did the best characters have to get the short end of the stick? I was glad to see the amazing Yen get such a major role, and his character’s relationship with Baze is affecting. But his motivations are vague and, although he’s meant to be mysterious, I felt like I didn’t get to know him well enough to have a major connection with him. He’s mostly there to look cool, and come along on the adventure because…he has nothing better to do? Or look at Saw Gerrera; a major role played by an A-list actor, and yet he’s sadly under-utilized. I wish some of these other characters had been given the same care and attention as the Ersos or Cassian.

The film also suffers from poor pacing in its first third. Characters are introduced haphazardly, and scenes cut back and forth chaotically. It’s a bit hard to follow at first. But man, does Rogue One ever get going once it hits its stride. Krennic is a great addition to Star Wars villainy, a sniveling ass-kisser with a lust for power and a persecution complex. He’s just unhinged enough to be menacing, but even he cowers in front of Darth Vader, which fans we be thrilled to see return to the screen. The legendary Sith Lord’s screen time is brief, but you feel every moment. His character is brilliantly utilized, with just enough fan service to satisfy without overdoing it.

Rogue One is often filmed closer to a gritty war film that a traditional Star Wars movie; the bright colors of The Force Awakens are almost nowhere to be found. We instead get lots of handheld footage, some shaky cam and lots of muted colors. This is the right design for the divergent tone of the film, and Greig Fraser’s cinematography, along with the stellar production design, go a long way towards selling the film. The action scenes are sensational, sure, but I’m more impressed with how much it looks like A New Hope. From the costumes, to the way the X-Wings and Star Destroyers fly to the design of the Death Star, every frame is crafted like a work of art. This is a gorgeous film, and one I highly recommend seeing in Imax 3-D.

There’s just something about the joy of being in the Star Wars universe that Rogue One gets, and that is perhaps its greatest triumph. We get to see tons of new planets during the film’s run time, and several interesting and original creatures. I’ve always loved the backgrounds of Star Wars films, filled with characters and stories we will probably never know. There’s so much mystery and creativity to it, the kind that spans hundreds of novels, video games and TV shows to attempt to fill in some of the gaps. It’s the most lived-in universe in all of cinema, and Rouge One invites us into that space and doesn’t let go.

Rogue One is not the most polished of Star Wars films. In fact, elements of it can be downright frustrating. But man, is this one cool movie, and during the sensational climax and pitch-perfect ending, I felt my complaints melting away. This is a must-see for franchise fans, and one I’ll be happy to include in my Star Wars marathon rotation for years to come.