Blade Runner 2049 (2017): A Masterfully Executed Sequel To One Of The All-Time Greats (Review)

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[Credit: Warner Bros.]

Blade Runner 2049 is the highly anticipated sequel set 30 years following its predecessor, Blade Runner. The film follows Officer K (Ryan Gosling) as he uncovers a hidden away secret related to the Replicants and that’s all I have to say about that. The film also stars Harrison Ford, Robin Wright, Ana de Armas, Sylvia Hoeks, Mackenzie Davis and Jared Leto and is directed by Denis Villeneuve (Arrival, Sicario, Prisoners.)

My Thoughts On The Characters And Story

As someone who adores Ridley Scott’s sci-fi masterpiece Blade Runner (final cut), I was obviously ecstatic to learn about the development of this sequel. As more and more information came out as to who will star (“fellow Canadian Ryan Gosling and Harrison Ford’s back, that’s cool”), who will work behind-the-scenes/Roger Deakins‘ involvement and the all-to-important question of who will direct (“another fellow Canadian and incredible filmmaker Denis Villeneuve?! Okay now this has my attention”), my intrigue levels shot through the roof and I needed to watch this film immediately. For any fellow original BR fans wondering how this stacks up, 2049 is a remarkably fitting inclusion into the world and I loved virtually every aspect of it. 

The narrative progressed beautifully and I personally had no issues with the pacing as I felt each scene flowed well with one another. The various twists and turns taken definitely kept me intrigued as there were a few moments when I thought I knew where it was headed and.. I was wrong. The film keeps you on your toes and because I was so invested with everything occurring on screen, the run time simply flew by.

“Blade Runner 2049 is the slowest kind of burn you can contain in a movie”

I acknowledge there are going to be many who don’t feel the same way, however that’s simply the beauty of film: shit is all subjective. Blade Runner 2049 is the slowest kind of burn you can contain in a movie and I admire everyone involved who chose to focus more on the slower, investigative-aspect to it rather than molding it to be a bombastic-ridden world with explosions going off every few minutes because certain studio execs believe that’s what the kids want. 

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[Credit: Warner Bros.]

Thankfully, 2049 Is Not ‘Member Berries’ Incarnate 

For those unfamiliar with the concept of Member Berries, they are basically a type of fruit whose sole purpose is to bring up idealized nostalgic feelings from your past (they also hold some sinister views as well but for the sake of this review, we’ll focus on the former.)

Words cannot describe how happy I am that 2049 is not a 3 hour long epic of an older Rick Deckard (and let’s throw in Gaff too!) searching for a new Blade Running partner or anything whose purpose is to sit back and gobble up the Member Berries from Scott’s classic. Without delving too much into spoiler territory, there are definitely callbacks incorporated into 2049 however it’s not a constant reminder every few minutes of “hey… ‘Member the Coca-Cola ad ooooh I member. ‘Member the snake Zhora had from the first one ooooh I member I loved the snake.” It was such an unbelievably enjoyable sequel because it effectively utilized certain aspects of the first one without becoming another version of the first Blade Runner. It is its own movie.

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Harrison Ford as Deckard and Ryan Gosling as K | Warner Bros.

Ryan Gosling portrays a stoic Officer K wonderfully. He portrays an emotionally detached being brilliantly yet as the film progresses, when there are hints of humanity peering out of him or when he must utilize the subtle components of his acting, he manages to execute them effectively. Harrison Ford actually looked like he wanted to be there which was nice. K’s interactions with Robin Wright‘s Lt. Joshi were incredibly entertaining to watch, you could tell whatever you needed to know about their professional relationship simply by paying attention to their glances. 

The one gripe I have is with the antagonistic element of the film. I always strive to set aside preconceived feelings I have about any previous installments of a franchise but hey, I’m only human. While I obviously didn’t expect anything on the level of Rutger Hauer’s phenomenal portrayal of Roy Batty or the complexities surround Eldon Tyrell’s beliefs, I felt that Jared Leto‘s Niander Wallace ultimately fell kind of flat. While I understood his motivations, there wasn’t anything particularly compelling about him and I felt more annoyed when he appeared on screen than anything else. I also really did not like Leto’s take on him, the… slow…. talking in hopes of… seeming menacing… definitely added to the annoyance I felt with him. I did enjoy Sylvia Hoesks’ portrayal of the Replicant With A Name and loved watching her interactions with various characters.

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The one line he had that I loved | Warner Bros.

How Were The Other Aspects Of Blade Runner 2049?

Alright the rest of this review is gushing about the eyegasmic components of everything 🙂

With how divisive Blade Runner is, one thing that is universally agreed upon is that it looks absolutely phenomenal… If it was somehow possible to heighten the appreciation for the aesthetics of the BR universe, Blade Runner 2049 accomplishes it. It truly can’t go unsaid just how incredible every single frame looked, the focus on even the most minute of details is thought of and it is simply marveling to look at. It’s worth checking out for the appreciation of Roger Deakins’ cinematography itself. Deakins is essentially the Amy Adams of the Academy Award Cinematography World only instead of five nominations the Arrival actress has under her belt, the man boasts an impressive 13 nominations for his work and hasn’t won one. 

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[Credit: Warner Bros.]
Known for being the Master of Naturalism, Villeneuve apparently stressed a vital component needed from him and it’s an understatement to say he delivered:

“Right from the get-go, Denis said, ‘I want it cold, wet, and snowing. I want it to really feel atrocious.'”

The film also has an interesting use of effects particularly one involving SPOILERS laying a computer generated effect on a live being END SPOILERS. I didn’t agree with the specific use of CGI during one instance, I thought it would’ve been much more effective had we never seen it and probably added way more money to the budget when it could’ve been avoided. 

The score certainly had some fantastic moments with some subtle hints of the work done by the great Vangelis from the original. Of course it wasn’t on the level of the Vangelis score, however there is no way I will hold that against them since his BR score is simply untouchable. I just wanted to express my love for that original score and how great this new one manages to pay homage yet also create something unique to 2049.

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[Credit: Warner Bros.]

If you’re a fan of the original Blade Runner or if you’re interested in slow burning, amazingly gorgeous sci-fi flick, check out Blade Runner 2049.

Blade Runner 2049 receives 4.5/5 Matt Damon heads.


featured image credit: warner bros.

Were you a fan of Blade Runner 2049? Let me know your thoughts in the comments below!

Fox Is Developing A Female-Led TV Reboot Of Shane Black’s ‘The Nice Guys’ – Can A TV Reboot Capture The Same Magic As The Original?

Shane Black’s 2016 film The Nice Guys is one of the best comedies in recent memory. It masterfully integrated the heart-pounding action elements of a buddy-cop romp with the sharp, dark wit commonly seen in Black’s films. Now, it’s officially returning to the public eye on the small screen with a change that seems to be a current trend in both film and TV.

According to The Hollywood Reporter, Fox has “given a script commitment plus penalty” for the gender-swapped reboot of The Nice Guys, which is currently titled The Nice Girls. The series is still in the early stages of development and is described as a one-hour contemporary female take on the acclaimed feature film which saw Ryan Gosling and Russell Crowe play a mismatched duo tasked with solving the disappearance of a young woman in 1977.

2011’s 30 Minutes Or Less writer Michael Diliberti is set to write and executive produce the series along with Ken Kao (The Glass Castle), Rodney Ferrell and Black’s frequent collaborator, Joel Silver. Silver served as the producer on the original film and also produced the Lethal Weapon franchise – another property that has been rebooted as a TV series on Fox and is currently on their second season. The network also recently announced a TV adaptation of the Arnold Schwarzenegger classic True Lies, so they certainly aren’t slowing down when it comes to adapting film favorites for the small screen.

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[Credit: Warner Bros]

Can This TV Reboot Capture The Film’s Brilliance?

It’s somewhat ironic that while The Nice Guys was an antidote to the lack of original storylines in movies, it has now become another property set to be reimagined for TV.

The Nice Guys was praised by fans and critics alike, and grossed $62 million worldwide on a $50 million budget. While that number is respectable, it wasn’t nearly enough to warrant the studio giving the green light for a sequel that virtually every fan of the film (including myself) wanted to see.

It’s somewhat ironic that while The Nice Guys was an antidote to the lack of original storylines in movies, it has now become another property set to be reimagined for TV. A reboot can certainly be just as good as the film, however it’s seemingly destined to be a constant uphill battle because of how revered the original film is – why not just create a brand new property featuring two female characters similar to Ryan Gosling’s Holland March and Russell Crowe’s Jackson Healy? 

Including The Nice Guys’ label on this potential series is going to come with certain expectations that simply wouldn’t be present had it been developed as a new addition to the classic buddy-cop genre.

I truly hope that original director Shane Black is somehow involved in the creative process. The original was a 16-year passion project of his and the love he had for it is clearly illustrated with every word spoken from each character. Black describes how he strove to not make the main pairing in The Nice Guys your typical buddy cop duo:

“… [It’s] so common nowadays if you’re doing a detective or cop buddy movie to just pluck two SNL alumni and say ‘Be funny.’ And that’s something I was never capable of. I need guys who are organically good—who have the gravitas and the acting chops to do the dark moments as well.”

It’s with this mindset and the subversion of certain action comedy tropes that caused fans to adore The Nice Guys as much as they do. Hopefully The Nice Girls is able to follow in the footsteps of its cinematic counterpart and feature action sequences that aren’t necessarily one bombastic bang after another, and well-rounded characters who don’t solely exist for a punch line.

(Sources: THR | Variety)
featured image credit: warner bros.

Are you looking forward to The Nice Girls? Let me know your thoughts in the comments below!


Blade Runner 2049 (2017)

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[Credit: Warner Bros.]

Rick Deckard: You’re a cop. I had your job once. I was good at.
K: I know.
Deckard: What do you want?
K: I want to ask you some questions.

Starring: Ryan Gosling as K, Harrison Ford as Rick Deckard, Ana de Armas as Joi and Jared Leto as Neander Wallace, dir. Denis Villeneuve (Prisoners, Arrival).

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Cinematographer: Roger “You Gon’ Come At The King, You Best Not Miss” Deakins
cinemagraph source: orbo

Click Here For My Review Of Blade Runner 2049

Nostalgia’d Review: Drive (2011)

This Week, Ryan Gosling Decides To Race His Way Into My Heart With Nicolas Winding Refn’s Drive!

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[Credit: FilmDistrict]
Standard: All right. So I illegally walked over to a seventeen year old girl. And I walk up and I say, “Hello, Miss. What is your name?” And she didn’t say anything.
And then I said, “Well my name is Standard Gabriel.”
Then what did you say?
Irene: I said, “Where’s the deluxe version?”

Based on the 2005 novel by James SallisDrive follows the unnamed Driver (Ryan Gosling), a Hollywood stunt driver who moonlights as a criminal-for-hire-getaway driver, as he forms a bond with his neighbour, Irene (Carey Mulligan) and her young son while her husband (Oscar Isaac) is in prison. When dangerous circumstances arise, the Driver is tasked with utilizing his talents to stay alive. The film also stars Bryan Cranston as the Driver’s well-meaning employer, Shannon, Albert BrooksRon Perlman as a pair of mobsters who love utilizing profamity to express themselves – I am all too familiar with that idea – and is directing by the stylistically stylish Nicolas Winding Refn (Only God Forgives, The Neon Demon).

The Driver Is A Phenomenal Character



If you are familiar with director Refn’s work, you know many of his characters are not given elaborate backstories which allows the audience to learn as much as they need to learn as the film progresses, nothing more nothing less. He is a big believer in the concept of showing and not telling. Whenever we see the Driver interact with others, he expresses himself in two or three words, maybe seven if he is feeling frisky. We know he moved to Los Angeles a few years ago and began working for Shannon at the garage, the aforementioned Shannon being one of the few in his life that he feels comfortable enough to say more than a few words to.

Irene’s son, Benicio is another person the Driver feels comfortable enough to hold an entire conversation with, particularly when discussing the moralistic aptitude of a television shark. It is because of the few tidbits we are given about the Driver that makes him such an intriguing character. We know the very basics about him and want to learn more about how he managed to perfect his driving and hammering skills.

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[Credit: FilmDistrict]
He feels like a regular human yet there is something superhuman about him – if that makes sense. Refn illustrates this idea by revealing that the nature of the Driver character is meant to be more than what the surface conveys:

“… The Driver was meant to become a superhero, and he’s denied all these things—relationships, companionship. And why would he be denied that? It was because he was meant for something greater.”

There are certain moments where he manages to pull off the seemingly impossible and I genuinely wondered how the fuck did he do that?? This idea certainly lends credence to the notion that he is a powerful being in a hyper-realistic world… And that is what I love about it! Since Gosling is spectacular in the role, you want to see more of whatever it is he is doing even if that means suspending your disbelief that this man is not your regular human. His eyes speak wonders by staring at whatever he happens to be staring at; whether it be glaring into the eyes of an enemy or gazing at the ridiculously gorgeous nighttime LA roads.

I never thought I would be ecstatic at the prospect of someone being colour blind, however Refn attributes his inability to seeing mid-colours as a reason why all his films are very contrasted:

“… If it were anything else I couldn’t see it.”

The Gorgeous Cinematography of Drive:

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No Surprise Here: The Soundtrack Is A Character Itself

Refn regular, Cliff Martinez composes the synth-heavy score for Drive and the soundtrack features a number of amazing artists including Desire, my favourite track of the film (“A Real Hero”) by College and Electric Youth and, of course, the song most associated with the film: “Nightcall” by Kavinsky. For those that have never seen or heard anything about Drive, the opening title credits for the film – following a beautifully tension-filled opening sequence – will intrigue you at least a tiny bit to check out what the film is about:

Favourite Scene! (SPOILERS)

Alright, do you want to know the exact moment where I felt the most excited to see what would transpire in Drive? The first seven minutes of the movie. Refn does not waste any time in getting straight into the action and by “action,” I am not only referring to zooming car chases and destruction. Why I appreciate Drive as much as I do is because it doesn’t have to resort to the seemingly hour-long car chases to grab my attention. The film is very much a character piece, an aspect to it I’m sure a few were unfamiliar with when they initially went into it (more on that below).

[Credit: FilmDistrict]
As the beginning sequence unfolded, I expected that bombastic car chase to ensue since I have become accustomed to that occurring in virtually every car-based film I have seen. As a character piece enthusiast, imagine my surprise when the 2:30 mark happened and instead of barreling down the road to an imminent car chase, the Driver pulled off to the side and turned off the car lights.

  • The Subversion Of Expectation. As mentioned, I did not expect at all for the Driver to pull to the side. I fully expected some type of chase to occur since he accelerated out of the spot and headed toward the road. When they were on the bridge with the helicopter looming over them and were seemingly caught, I then said to myself “okay NOW the chase will happen…” He pulled into a garage and Grand Theft Auto-style waited until the heat wore off. Finally he exited and pulled up to a red light, cop car straight ahead waiting for his next move, “alright now that chase will happen…” The Driver pulls off his ingenious plan that made me fall in love.
  • The Incorporation Of The Radio. Throughout the sequence, I wondered why the shit this guy was so fixated on the Clippers game. TURN THAT DOWN AND PAY ATTENTION TO THE ROA– Ohhhhhhhh… Oh. That’s dirty. And great. Dirty and great all over.
  • The Lack Of Bitching From The Guys In The Back. The classic trope of the people who burst into the car when they are in a rush and yell at the driver to “hurry up! Go faster! Get us out of here!” Motherfucker, the person in control of the vehicle is more than aware that they need to drive. You screeching in their ear what is equivalent to saying “the sky is blue!” is not helping anyone. These guys got in the car and allowed the getaway driver to do what the getaway driver should do… Get away.

See My Favourite Scene Below:

The ‘I Have Been Duped!’ Lawsuit

Somebody on the Earth sued the distribution company behind Drive, FilmDistrict, for “[promoting] the film… as very similar to the Fast and Furious, or similar, series of movies.” In 2011, Sarah Deming of Michigan believed the film would be more in vein of Fast and the Furious instead of in the style of a fucking Nicolas Winding Refn movie and stated:

“Drive bore very little similarity to a chase, or race action film… having very little driving in the motion picture…”

She was also offended by the idea that the film features a criminal Jewish mobster who utters derogatory remarks against his people because THAT IS HIS CHARACTER:

“Drive was a motion picture that substantially contained extreme gratuitous defamatory dehumanizing racism directed against members of the Jewish faith, and thereby promoted criminal violence against members of the Jewish faith.”

Deming wanted a refund for her movie ticket, in addition to halting the production of “misleading movie trailers” in the future. “The plaintiff intends to turn her individual case into a class action lawsuit, thereby allowing fellow movie-goers an opportunity to share in the settlement.”

‘Billy Madison’ [Credit: Universal Studios]
If I haven’t conveyed my opinion on this issue enough, I firmly believe this woman is a moron. Not for feeling like a trailer misled her but because she believed suing was a legitimate option. Certain trailers are misleading as fuck. Welcome to the world of the movie trailer. I was duped into thinking The Phantom Menace was the second coming of Christ and look at that shit pile.

Check Out The Trailer In Question Below, However Be Warned It’s Spoilerific:

Did the trailer of Drive make it seem like a super action-packed movie? Sure. Does that warrant suing for anything? Maybe in Fantasyland where unicorns are the authority and it rains chocolate kisses.

And don’t get me started on her claiming the film portrays Jewish people in a negative light. The film portrays criminals in a negative light… You know, BECAUSE THEY’RE CRIMINALS. I guess she also missed the whole point of Nino (Perlman) using the derogatory term to express just how shitty their family is… You know, BECAUSE OF CHARACTER DEVELOPMENT.

Five Years Later Update…

This lawsuit hasn’t let up. Thankfully for the judges with common sense:

“A judge in Oakland, Mich. rejected plaintiff Sarah Deming’s putative class action in March 2012, concluding that there was no misrepresentations of material fact even assuming the trailer contained subliminal anti-Semitism.”

Apparently following the rejection, the plaintiff tried to get the judge removed from the case for allegedly being anti-Semitic himself. That dispute went to a Michigan appeals court which, on October 15th, 2013:

“… [Handed] down a decision that stated in part, ‘Any affirmative representations the trailer made about being a racing movie were not inaccurate; the movie does contain driving scenes… Moreover, plaintiff, contrary to her hyperbole, does not refer us to any actual violence against, or even criticism of, Jews that has resulted from the film being shown.’

Apparently the plaintiff’s lawyer (Martin H. Leaf) has not given up on the idea that the film contains anti-Semitic messages so this saga will continue.

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‘The Happening’ [Credit: 20th Century Fox]

If you’re looking for a Fast And The Furious-esque picture, Drive that is not. If you’re interested in watching a visually pleasing character piece on a man who is so much more than just a talent behind the wheel, I highly recommend checking out Drive.

Drive receives a Matt Damon whooping it up in The Martian.

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‘The Martian’ [Credit: 20th Century Fox]

Click Here For More Nostalgia’d Reviews!

featured image source: James White

Did You Spot Any Of These During Your First Watch? Check Out All The Film References Made In ‘La La Land’!

It is no surprise that this year’s incredible addition to the musical genre, La La Land drew inspiration from a myriad of other iconic musicals. These include such classics ranging from Singin’ In The Rain to West Side Story, with hints of Grease sprinkled throughout and a whole lot of Fred and Ginger.

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‘Face The Fleet’ | [RKO Pictures]
Sara Preciado decided to take these various inspirations and edit a side-by-side comparison between certain sequences in the contemporary La La Land with its classic counterparts all set to the instrumental tune of “Another Day Of Sun.” The result will make you want to spend an entire day sitting in front of your couch rocking a movie musical marathon.

Check Out The Side-By-Side Comparison Below:

How Often Are Certain References Made?

  • Singin’ In The Rain (1952) is, of course, one of the main inspirations/draws for La La Land because of those vibrant, beautiful colors and the fantastic chemistry between Gene Kelly and Debbie Reynolds. The “Lovely Night” sequence started off with a nod to Kelly’s titular dance and it particularly showcased Ryan Gosling‘s musical chops.
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  • There are also numerous parallels with West Side Story (1961), particularly during the “Someone In The Crowd” sequence wherein Mia’s (Emma Stone) friends convince her to attend this extravagant party. Plus, the “City Of Stars” sequence where Sebastian (Gosling) is just singing along without a care in a world is just like Tony (Richard Beymer) felt singing about “Maria.”
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[United Artists]
  • Any fan of the musical genre who watched La La Land immediately caught on to the numerous inspired sequences that drew from the masters themselves, Gene Kelly and Fred Astaire. From the park bench scene in Shall We Dance (1937) to that hint of On The Town (1941) and that glorious Broadway Melody of 1940, we loved those talented men during the Golden Age of Hollywood and we certainly would not mind seeing more of them in the present.
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[Summit Entertainment] 

Other References Include:

  • An American In Paris (1951)
  • The Bandwagon (1953)
  • La ballon rouge (1956)
  • Funny Face (1957)
  • Les parapluies des Cherbourg (1964)
  • Les demoiselles de Rochefort (1967)
  • Sweet Charity (1969)
  • Grease (1978)
  • Boogie Nights (1997)
  • Moulin Rogue (2001)

| La La Land (2016) Review |

Did you catch all the references made on your first watch of ‘La La Land’?

Check Out The Following For More:

La La Land (2016): A Captivatingly Beautiful Work That Solidifies My Love For The Musical (Review)

‘La La Land’ | Summit Entertainment

La La Land tells the story of aspiring actress, Mia (Emma Stone) and jazz pianist, Sebastian (Ryan Gosling) as they experience the various highs and incredible lows the City of Stars may grant you. It also stars John Legend and JK Simmons and is directed by Damien Chazelle (Whiplash).

My Thoughts On The Characters And Story

Back in September, I wrote a piece entitled “La La Land Is Gearing Up To Be One Of The Best Movies Of The Year” because of all the immense buzz the film was generating at various film festivals, particularly at the Toronto International Film Festival (TIFF). I didn’t get a chance to watch the film until last night, a few weeks after its initial release. The main reason for the delay being every time we wanted to watch it, the suitable showtime would be all sold out. After finally getting a chance to watch it, I can safely say this is my favourite movie of 2016. I loved every single second of La La Land.

‘La La Land’ | Summit Entertainment

I think a major reason why I enjoyed it as much as I did is because of how huge of a fan I am of those iconic musicals, specifically the classic Fred Astaire/Ginger Rogers pairings and Singin’ In The Rain, easily my favourite musical of all time. Those who aren’t generally a fan of musicals can certainly enjoy this film for its beautiful portrayal of the relationship between Mia and Sebastian, however the way the musical aspect is incorporated into it is absolutely brilliant. The incorporation of the music to progress the story along is utilized flawlessly, I would argue perfectly. Using songs to transition between scenes can either be executed beautifully or awkwardly and I am happy to say I believe La La Land falls into the former. Musicals can be seen as jarring because people randomly decide to start singing, however there was never a moment in La La Land where I felt the random burst of song was unwarranted. Each respective song enhanced the sequenced immensely plus the music used to illustrate the state of their relationship is showcased wonderfully.

The depiction of success, failure and how long it may take to reach that level of success one strives (or not!) are themes the film deals with through immaculate cinematography and music. The relationship between Stone and Gosling drives this film and because of how fleshed out they are, you feel for them if they hit rock bottom. You want to see both succeed in this industry that truly stomps on more dreams than grants them. SPOILER/MINOR ISSUE I felt like Keith (Legend) offering Sebastian the role of pianist for The Messengers was a tiny bit contrived, however it ultimately didn’t bother me as much since they already had an established prior relationship and Keith is aware of Sebastian’s skills and talent on the piano. END SPOILER.

There Are More Than Enough Disgustingly Stunning Visuals

From the very beginning with that Cinemascope shot to its final moments, I was genuinely in awe for most of this film because of how beautiful it looked. Chazelle’s impeccable direction manages to showcase as much as he possibly can by involving the rich atmosphere that ultimately becomes a character itself. Sequences that follow that tracking shot motif by focusing the camera on a character and just following them through certain instances is just so enjoyable to watch, damn it! Here is a taste of some of my favourite shots from the trailers that were so incredible to view on the big screen:

Let’s Talk About The Music…

Guys. If anything, listen to the soundtrack of this film because it is easily one of my favourite movie soundtracks. Certain jazz riffs of course reminded me of Chazelle’s 2014 Oscar-winner for Best Supporting Actor, Whiplash and every song is written and performed fantastically. The music composer for WhiplashJustin Hurwitz composed the music for La La Land and Chazelle has found a keeper because thus far, their collaborations is 2/2 for perfection in music.

Hurwitz’s ‘Epilogue’ Encapsulates All The Glorious Sounds:

I can only hope that more filmmakers follow suit and create new worlds that follow the musical formula because I had such an enjoyable experience with La La Land. Damien Chazelle’s ability to portray individuals struggling through music is remarkable and I simply cannot wait to see what he directs next.


If you’re tired of my gushing and want to see fantastical musical numbers in a beautiful world, not to mention Emma Stone and Ryan Gosling absolutely killing it on the singing front, do a hop and a skip over to your theatre and watch La La Land.

‘La La Land’ | Summit Entertainment

For More Fun, Tap Your Way Over (sorry) To The Following:

La La Land receives a coveted 5/5 Matt Damon heads.


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Hey Girl… Prepare To Blast Off With Ryan Gosling As He Is Set To Star In Upcoming Neil Armstrong Biopic

That’s one small step for man, one giant leap for this Canadian heartthrob as Ryan Gosling has signed on to star in Damien Chazelle‘s upcoming biopic on the most famous astronaut in the world.

Universal Pictures Presents ‘First Man’

The handsome and talented actor will reteam with his La La Land director for First Man, a Universal Pictures biopic centered on Neil Armstrong, the astronaut who became the first man to set foot on the moon. Apparently Gosling has been interested in the project since late 2015, however a finalized deal was reached in December.

Photo: The Hollywood Reporter

According to studio sources, the film will aim to tell the story of NASA’s mission to land a man on the moon, specifically the years 1961 to 1969. The goal is to explore the sacrifices and the cost — on Armstrong and on the nation — of one of the most dangerous missions in history.

The film will adapt the James Hansen book, First Man: A Life of Neil A. Armstrong and in case you’re feeling any type of initial hesitation, writer Josh Singer is set to pen the script… Singer was the Oscar-winning co-writer of the 2015 Best Picture winner, Spotlight, so I think the script is in good hands.

Chazelle Is A Fan Of Gosling’s Work Ethic

In an interview with the American Film Institute (AFI) for this year’s critical darling, La La Land, Chazelle complimented Gosling on his persistence in learning how to actually play the piano for the role. He revealed how surprised he was that Gosling managed to “[nail] every single piece” in the film despite not knowing how to play at all prior to shooting!

Watch The Chazelle Clip Below:

Chazelle clearly enjoyed working with Gosling on his third ever feature film directing gig, so it will be interesting to see how he tackles Armstrong, space and more Gosling!

Source: [The Hollywood Reporter]

Are You Looking Forward To Some Astronaut Gosling?


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