"LICORICE PIZZA" // EXPANSION FILM REVIEW

BY MATEO MORENO

I won't bury the lead here: LICORICE PIZZA, the new film by Paul Thomas Anderson, is a freewheeling cathartic masterpiece. It has a tone much like his earlier films (Boogie Nights, Magnolia, Punch-Drunk Love) that seems to zing every which way you don't expect but has a lightness and joy that can be found in some of his films but isn't often the main event. Here, joy is proudly worn on its shaggy dog sleeve. This 1970's-set period film, lovingly capturing a bygone era where anything seemed possible, stars Alana Haim of the Grammy nominated rock band "Haim" and Cooper Hoffman, son of the late, great Phillip Seymour Hoffman (also a frequent collaborator of Anderson). Both of the leads are making their film debuts and both turn in soulful, passionate and inspired performances.

Inspired by the exploits of Anderson's friend and "Playtone" co-founder Gary Goetzman, Hoffman plays Gary Valentine (a version of Goetzman) who goes from child actor to selling waterbeds and pinball machines in the Los Angeles summers of the 1970's. He's drawn to an twenty-something woman named Alana (Haim) and she's mystified by him, unsure of what to make of his mixture of smooth talking salesman and boldly truthful man of the town. She becomes his chaperone on a trip out of town promoting a project he's starring in when his mother can't make the flight. He aims to impress her in every moment. She thinks she's incredibly worldly but is just as seemingly lost as he is, but also just as confident. The ever-present gap in their age swims throughout the film, never letting us forget it all the way through the end. This is the 70's, but he is still a teenager boy and she is a woman in her early 20's. Yet their odd ball friendship and pairing never strikes a dangerous tone but a joyful and meaningful one. It's two strange oddball lost souls meeting up during a strange summer and finding in each other the confidence they need for themselves.

Every moment in the film feels like an event, spring boarding from one unexpected scenario to another. This isn't a film that follows a traditional plot model in any way. It feels like life, shaking you from one tree to another. The duo are marvelous throughout, never letting go of their great chemistry together and apart, shimmering alongside several big name cameos. Sean Penn shows up as an egotistical movie star who can't stop talking about his own triumphs and Bradley Cooper appears as a version of real life producer Jon Peters (who Cooper recently worked with in A Star is Born). They are both manic, wild and truly phenomenal turns. Musician Tom Waits also simmers here as does Benny Safdie (the co-director of Uncut Gems). Waits is the catalyst of chaos and Safdie is a politician with a secret and neither one of them waist a single moment of screen time. There's also a marvelous sequence of a moving truck with no gas speeding downhill, backwards, that feels as white knuckle edge of your seat as any action sequence you've seen this year. And yes, there is the somewhat talked about controversial moment which involves John Michael Higgins as a sleezy restaurant owner speaking in a very offensive Japanese accent to his Japanese wives. Yet even these moments, he is the joke, not them. It's fully understood in the moment that he is the creep and we are laughing at him, not with him. He's a buffoon and also feels so specific and strange that I can almost guarantee it (like much of the film) is also inspired by a real life person.

Truthfully, I can't say enough good about LICORICE PIZZA. It's strange, absorbing and one of the most fun times I've spent at a theatre in recent times. It's by far one of the best films of the year and feels like it will go down as one of Anderson's most beloved own films, which is a tall order in itself. Take yourself out to the theatre and see this gem, in 75mm if you can. It's currently playing in its widest expansion yet. Disappear into the pure absurd joy Anderson has created here. Trust me, you'll enjoy your stay.

GRADE: A+

WRITTEN AND DIRECTED BY Paul Thomas Anderson STARRING Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, James Kelley NOW PLAYING IN THEATRES EVERYWHERE. FOR MORE INFO: LICORICE PIZZA

STUMBLING THROUGH // A FILM REVIEW OF "LICORICE PIZZA"

BY MATEO MORENO

I won't bury the lead here: LICORICE PIZZA, the new film by Paul Thomas Anderson, is a freewheeling cathartic masterpiece. It has a tone much like his earlier films (Boogie Nights, Magnolia, Punch-Drunk Love) that seems to zing every which way you don't expect but has a lightness and joy that can be found in some of his films but isn't often the main event. Here, joy is proudly worn on its shaggy dog sleeve. This 1970's-set period film, lovingly capturing a bygone era where anything seemed possible, stars Alana Haim of the Grammy nominated rock band "Haim" and Cooper Hoffman, son of the late, great Phillip Seymour Hoffman (also a frequent collaborator of Anderson). Both of the leads are making their film debuts and both turn in soulful, passionate and inspired performances.

Inspired by the exploits of Anderson's friend and "Playtone" co-founder Gary Goetzman, Hoffman plays Gary Valentine (a version of Goetzman) who goes from child actor to selling waterbeds and pinball machines in the Los Angeles summers of the 1970's. He's drawn to an twenty-something woman named Alana (Haim) and she's mystified by him, unsure of what to make of his mixture of smooth talking salesman and boldly truthful man of the town. She becomes his chaperone on a trip out of town promoting a project he's starring in when his mother can't make the flight. He aims to impress her in every moment. She thinks she's incredibly worldly but is just as seemingly lost as he is, but also just as confident. The ever-present gap in their age swims throughout the film, never letting us forget it all the way through the end. This is the 70's, but he is still a teenager boy and she is a woman in her early 20's. Yet their odd ball friendship and pairing never strikes a dangerous tone but a joyful and meaningful one. It's two strange oddball lost souls meeting up during a strange summer and finding in each other the confidence they need for themselves.

Every moment in the film feels like an event, spring boarding from one unexpected scenario to another. This isn't a film that follows a traditional plot model in any way. It feels like life, shaking you from one tree to another. The duo are marvelous throughout, never letting go of their great chemistry together and apart, shimmering alongside several big name cameos. Sean Penn shows up as an egotistical movie star who can't stop talking about his own triumphs and Bradley Cooper appears as a version of real life producer Jon Peters (who Cooper recently worked with in A Star is Born). They are both manic, wild and truly phenomenal turns. Musician Tom Waits also simmers here as does Benny Safdie (the co-director of Uncut Gems). Waits is the catalyst of chaos and Safdie is a politician with a secret and neither one of them waist a single moment of screen time. There's also a marvelous sequence of a moving truck with no gas speeding downhill, backwards, that feels as white knuckle edge of your seat as any action sequence you've seen this year. And yes, there is the somewhat talked about controversial moment which involves John Michael Higgins as a sleezy restaurant owner speaking in a very offensive Japanese accent to his Japanese wive(s). Yet even these moments, he is the joke, not them. It's fully understood in the moment that he is the creep and we are laughing at him, not with him. He's a buffon and also feels so specific and strange that I can almost guarantee it (like much of the film) is also inspired by a real life person. 

Truthfully, I can't say enough good about LICORICE PIZZA. It's strange, absorbing and one of the most fun times I've spent at a theatre in recent times. It's by far one of the best films of the year and feels like it will go down as one of Anderson's most beloved own films, which is a tall order in itself. Take yourself out to the theatre and see this gem, in 75mm if you can. But take yourself there, no matter how you see it and disappear into the pure absurd joy Anderson has created here. Trust me, you'll enjoy your stay.

GRADE: A+

WRITTEN AND DIRECTED BY Paul Thomas Anderson STARRING Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, James Kelley NOW PLAYING IN SELECT THEATRES. OPENS NATIONWIDE DECEMBER 25TH. FOR MORE INFO: LICORICE PIZZA

STILL HOOKED ON A FEELING // A FILM REVIEW OF "GUARDIANS OF THE GALAXY VOL. 2"

BY MATEO MORENO

There's an old saying that goes, "If it ain't broke, don't fix it." Movie sequels often go by this logic and more often than not, they don't match up to what made the original so special. GUARDIANS OF THE GALAXY VOLUME 2 follows this same logic; same cast of misfits, new space adventure, same writer/director. But while it might fall slightly short of the magic of the first, it's only due to the fact that we've already met them once. There's a lot of magic left in this team of heroes.

Volume 2 starts out with a great credit sequence of chaos, much like the first film. This time the whole team (Star-lord, Gamora, Rocket, Drax, and an oblivious to the battle Baby Groot) is fighting, along with a now Baby Groot, who's oblivious to the action. Groot, it should be said, stays a baby for the entire time and it NEVER grows old. Truly comic gold. They are fighting to get a valuable group of batteries away from a huge monster, the Abilisk. If they get the batteries, they can trade them for the release of Nebula (Karen Gillan), the sister of Gamora (Zoe Saldana) from a space colony known as The Sovereigns. They do indeed grab the batteries, but as they're leaving realize that Rocket has decided to steal them as well, so they go after the Guardians to get them back. Let's just say they're not too happy about it.

The Sovereigns are lead by Ayesha (Elizabeth Debicki) and she hires the Guardians old Frenemy Yondu (Michael Rooker) to bring them to her. But his reluctance to kill the Guardians doesn't bode well for this search and destroy (it's really hard NOT to like Michael Rooker). While the "will he or won't he" internal battle is going on, The Guardians end up meeting Peter Quill's (AKA Star-Lord) father, the Celestial being named Ego the Living Planet (Kurt Russell). From there the movie kicks off into a hellava space ride and goes totally weird and bonkers, in the very best way.

Writer/Director James Gunn nails the tone and humor again without ever feeling like we have "been there, done that." The cast and their rhythms rival any super hero franchise out there and the added story for Nebula really gives Gillian a chance to shine (Her scenes with Saldana are all great). Everyone seems to step up their game here, including Bradley Cooper's motion capture performance, which is not only hilarious but emotionally satisfying. And lest we not forget Kurt Russell, the man who steps onto any film set and makes it better. He's fantastic as Ego and, though there isn't much I can say without spoiling this entire review, his performance and relationship with Chris Pratt is right on target. GUARDIANS OF THE GALAXY VOLUME 2 is absolutely worth it, and really gets you excited to see these space pirates start playing with the Avengers crew soon (Oh Infinity War. Can't you come any quicker...?). Also make sure you stay for the 70 additional scenes during & after the credits (okay, maybe there isn't 70 but there's a lot). They range from the important (brush up on those 80's comic references kids) to the hilarious (two words: Teenage Groot).

MATEO'S GRADE: B+

Written & Directed by James Gunn Based on characters created by Stan Lee, Dan Abnett, Andy Lanning, Steve Englehart, Steven Gan, Jim Starlin, Larry Lieber, Jack Kirby, Bill Mantlo, Keith Giffen Starring Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Kurt Russell, Karen Gillan, Pom Klementieff Now Playing in Theatres Everywhere

GUARDIANS OF THE GALAXY VOL. 2 OFFICIAL TRAILER