kasserlannister

Superman, as a character, will always be difficult to pull off, let alone an entire story fit for this day and age. Unlike Batman, he could be boring to a non-comic reader, whether he's too cartoonish or too overpowered. But James Gunn proved that wrong (once again) with confidence that he made trunks over trousers work again.

They did not waste our time and made us watch his alien origins over again. Instead, we were flung right into a world co-existed by metahumans and with a working Superman. That was a refreshing start for a Superman movie. I loved that.

"Superman" is a Superman comic book come to life-the colors, the science, the tone, the characterization, from the depiction of the chaotic and vibrant energy in the Daily Planet, the spectacle-obsessed Metropolis, to the major players. Rachel Brosnahan did just the Lois Lane I wanted as both the audacious journalist and as Clark's confidante. Nicholas Hoult now holds the best cinematic Lex Luthor for the all-worth-the-2M-pay portrayal and being the big bad (bald) through and through. Scene stealers courtesy of Krypto and his frolics furparents can attest to, Mr. Terrific's genius and fight scenes, and even Guy Gardner, whom I thought would have an over-the-top portrayal. There was also an inspired decision in casting Pa and Ma Kent with actors who undemandingly adapted as ordinary farmers.

David Corenswet IS textbook Superman. I loved all the flight scenes, being immersive and almost tangible. His suit glowed with no ambition of superhero coolness and superfly but meaning. I wish for more of his Clark Kent, not gonna lie, but he did Superman justice with firmness, leadership, compassion for all beings-big and small, and symbolism of hope. The unconscious smile on my face for every scene he appeared in, in the realization of the world's longing for this kind of Superman on the big screen for years. James Gunn did that. This is the Superman we deserve. And I am happy the new generation will grow up with this iteration. So punk rock.

My last point goes to what made this film not just a reminiscence of a Sunday morning show: the political themes, how they resonate with the current situation of our world, are brilliantly implied between the fictional elements of the film. The relevance of it all and the rise of a better Superman story is a beautiful accident on purpose. I hope we all side with humanity just as we feared and cried and cheered with Jarhanpur.

James Gunn once again supervised the strengths in his writing evident in his past works: equal character accentuation (animals included) (some with interesting subplots), monsters, and needle drops. The Gunn never jammed. He debuted the DCU on the big screen with real hope through Superman. This-and I am super-optimistic-shall ripple.

Couldn't get the Palisades fire in my head while watching "Flow" and all the affected wildlife from coyotes to birds and bats, from that baby deer and mountain lions we saw all over social media. "Flow" is essentially that, only on a different element but effectuated by the same crisis; a film told in the POV of a voiceless, sentient creature who just wanted to survive and catch air over nondiscriminatory impacts of the climate crisis.

"Flow" is not a labyrinthine story but done with so much care and compassion, framed in one of the best cinematography and score of its year, worthy of its win at the Golden Globes. But I believe this project is more a cautionary tale and a reminder of who we are and how important communal action and compassion are, so be kind to everyone; we all strive for survival and life. And that encompasses other species. I take comfort in the fact that whichever film wins at the Oscars is a triumph for all wildlife.

Brb going to hug my brother's four cats.

I was all set to a 4-star rating (half a star better than each of the Sean Baker films I have seen). Then the final scene happened.

Baker always hits the spot of organicism out of real-life depiction in the films he wrote and directed, especially if it's a story about domestic issues and the lower spectrum of the social class. Sex work narratives might not be new in Baker's filmography but his treatment in Anora was the most ambitious of all, after his consistent attachment with A24 (which is a bummer for me as a fan of the studio; Anora felt and looked like an A24 work).

Anora was well-paced powered by its electric screenplay by Baker. The film opened with so much energy, reflective of our main girl's facade as a young stripper apt for a Russian-American neighborhood in New York. Then there was Drew Daniels' cinematography of iconic A24 (I'm so sorry, Neon) lighting in the club and spacious outdoor shots reminiscent of Baker's The Florida Project with A24 (really really sorry, Neon). All these technical strengths weighed on the shoulders of Mikey Madison, the most decorated actor this awards season and who is ultimately winning the Oscars. Carve her name to the trophy already.

From the calculated tone and energy as a stripper to skin-deep qualities of a young working woman surrounded by much older men, Madison gave perfect human shape to "Ani". All flirty, feisty, foxy, frenetic-all the effin' f words until the last seconds through total silence and ponderation. That's when Anora resounded. Not her heels, not her screaming, not her playlist, not Ani...

Anora.