Over the past several weeks, I embarked on a cinematic journey through the Fast and Furious franchise, watching them in order, each for the very first time. It’s not a perfect series by any means, but I fell deeply in love, especially as the series progressed and switched from being prominently about street racing to being big-budget action capers, becoming all the more ridiculous and over-the-top in all the best ways. Despite what you might expect from an eighth entry in a franchise, with The Fate of the Furious, Vin Diesel and his family of street-racers-turned-government-agents still manage to up the ante and deliver one of the absolute best movies in the series.
F8 picks up with an opening scene that calls back to the good ol’ days of Fast & Furious(circa 2001-2006), complete with trash talking, street racing and a tropical pop hit setting the scene. Dom (Vin Diesel) has settled down in Havana with Letty (Michelle Rodriguez), but it isn’t long before he’s dragged back into the increasingly explosive life he’s lived for the past 16 years. What sets this entry apart from its seven predecessors, is that this time Dom’s playing for the wrong team, and betraying the family he loves. Gasp!
Raw, creepy, and thought-provoking: The Babadook is designed to give the viewer an inside perspective on what depression feels and looks like, and it succeeds. In The Babadook, there is no romanticizing this disease, which is cleverly disguised as Mister Babadook. Jennifer Kent’s first feature-length film was not wasted with this incredible picture. Beautiful cinematography and allegorical expression are used brilliantly to cover a subject that is sometimes kept in the basement, under lock and key.
We are introduced to Amelia Vannick (Essie Davis) and her son Samuel (Noah Wiseman), and instantaneously, due to the superb misè-en-scene, it is painfully obvious that this is a tense household. The feelings that are presented through the use of these elements give such believable verisimilitude that it is hard not to imagine yourself in Amelia’s situation.
Recently, we featured reviews from two students on the 2009 film The House of the Devil. Below is another perspective on the same film, written by Jet Fuel Review Managing Editor Sam Gennett.
For film fans who are nostalgic for the ‘80s but are tired of re-watching Halloween to get their retro-horror fill, Ti West’s The House of the Devil (2009) is a refreshing rejuvenation of late ‘70s and early ‘80s horror. Shot on 16 mm film, this movie seems to have been teleported from the ‘80s into the 21st century. With the grainy film look, dim cinematography, and use of Mötley Crüe’s “Kickstart My Heart,” West brings viewers back to the good ol’ days of flannel, indoor ashtrays, and Satan worship.
Samantha (Jocelin Donahue), desperate for money, takes a babysitting job, but didn’t we all learn what happens when you babysit after watching Elizabeth Shue in Adventures in Babysitting (1987)? Clearly, Samantha missed that film because she coerces her friend into driving her to a house in the middle of nowhere. They pass a cemetery on their way there, and the shot is briefly superimposed over the establishing shot of the house, effectively foreshadowing events to come.Continue reading →
Searching for Sugar Man, directed by Malik Bendjelloul, is a documentary that tells the story of an “invisible” musical genius, and his profound influence during the rock n’ roll era. Sixto Rodriguez, a humble and grounded musician, acted as a revolutionary icon for the youth of South Africa throughout the 1970s.
Searching for Sugar Man is a true story that brilliantly depicts the music career of a man that “never existed.” Although Rodriquez touched the hearts of thousands of people, he remained a mystery to the rest of the world. To unveil the mystery of the legendary figure, fans worked together in order to analyze Sixto’s well-written lyrics. His impact was tremendous, but his music was the only piece of him that seemed to exist.
This documentary takes the audience on an adventure in which they can experience the fascinating exploration for the “Sugar Man” himself. Malik Bendjelloul’s incredible artistic abilities comment on the film in a unique way that captivates the audience.
Below are two Lewis University students’ perspectives on the 2009 horror film The House of the Devil.
Get Your Paper Bags Ready
House of the Devil takes you on an emotional rollercoaster from beginning to end. You start by comfortably strapping into the relatable college environment, listening to the deafening, upbeat ’80s soundtrack, and awaiting the thrill. Once you’re secure and devoted without an exit, you begin by slowly traveling into heightened suspense and elevated anxiety as you become aware of the climactic drop that is inevitably in front of you. Once you reach the top, you get a few short moments to gasp and take your last breath before you’re consumed by the full-speed terror, teased without knowing what twists and turns may come next. Finally, you’re abruptly halted as the ride has come to a stop.
The debate hall of Cambridge University is filled with graduates and undergraduates, with handfuls of people still left outside. James Baldwin, best known at the time for his eloquent essays and literature, such as Go Tell It on the Mountain and Notes of a Native Son, is debating William F. Buckley, an American conservative who laid the groundwork for Ronald Reagan’s presidency. The question up for debate: “Is the American Dream at the expense of the American Negro?”
James Baldwin left his quotable handbook of statistics at home this day and decided to turn the audience inside out. Baldwin spoke of the destruction of his identity, a collective experience among the black community in the United States. The destruction of his identity, caused by the American population’s refusal to accept the growing racism in the United States, adding decades more to the centuries of oppression.
Baldwin spoke of his experience as something that came from an utter shock, from the realization of his ancestor’s upbringing, to the realization of the color of his skin. He expressed that everything in his world was white, from the sticks and stones, to the faces on television, to the faces down the block — all white. He continues to express his shock, the realization that he himself was not white, since he never looked in the mirror before. He explains, “It comes as a great shock around the age of five, or six, or even seven to discover that Gary Cooper killing off the Indians when you were rooting for Gary Cooper, that the Indians were you.” Baldwin’s analogy proved his offset. The country in which he was born left no place in society for him; nowhere to evolve, grow, or prosper.
The Godfather, directed by revered filmmaker Francis Ford Coppola, is a period drama that realistically depicts the hardships and misfortune associated with the Italian Mafia in the early twentieth century. Coppola’s film tells the fictional story of Vito Corleone and his endeavors as the head of an organized crime family in New York City.
The Godfather allows its audience to become transfixed in the secret, underground dealings of an extremely powerful crime organization that is built upon both trust and fear. However, maintaining this power does not seem to be a simple task, as the Corleone family faces the constant threat of other families who desire their fortune and supremacy. In addition to the film’s well-constructed plot, Coppola remarkably utilizes various film elements in order for the audience to better connect with the characters in an emotional manner. It’s the emotional appeal of The Godfather that makes it one of the greatest films of all time.