Barbie vs Oppenheimer –
Between all of the cigarettes and satirical jokes, stands arguably the biggest matchup in cinematic history. “Barbie” directed by Gretta Gerwig and “Oppenheimer” directed by Christopher Nolan, faced off in theaters when both opened on July 21. Actors for both films gave incredible performances, focusing on visuals and storylines. But, “Barbie’s” more progressive plot gave “Oppenheimer’s” storytelling biography competition. While “Oppenheimer’s” script and chilling performances are superior, “Barbie” plays to the female audience giving it the upper hand. “Barbie” demonstrates realistic struggles within society, tastefully executes satire, has ultimately hypnotized the world through its show-stopping sets, and comedic undertones. “Oppenheimer,” on the other hand, takes a different approach to appreciating the simplicity of the film. “Oppenheimer” allows its clean-cut scenes and dramatic melodies to speak for itself. I give “Barbie” 5/5 stars for taking necessary risks in the Hollywood scene and “Oppenheimer” a 5/5 for distinguishing the solemn tragedy of war. All in all, through this pink rivalry, “Oppenheimer” was the bomb.
Asteroid City- 5/5
Due to his signature quirky characters and color schemes, it is a privilege to walk into the fictional realm of Wes Anderson. While incorporating an incredible cast, it’s interesting to put Scarlett Johansson as one of his main leads. Often we find Johansson in very plot-heavy movies that put a lot of emphasis on dialogue, and we don’t normally see complex plots like she’s used to in Anderson’s work. Anderson does a great job putting more focus on his characters and on-screen visual chemistry that other directors can’t. “Asteroid City” is no exception. Watching Augie Steenbeck (Jason Schwartzman), a recent widow and father of four, figure out the town of “Asteroid City,” I catch myself glaring at mesmerizing visuals and transforming discographies throughout its entirety. I give Asteroid City 5/5 stars for its trademark directive style that has yet to fail me.
No hard feelings- 2/5
Because Jennifer Lawrence comes from a line of more serious movies and complex characters, seeing her in a comedy film was surprising, to say the least. Often Lawrence has displayed her corny personality in interviews and on red carpets but never on the big screen. Owing to her natural comedic timing off-screen, I was confident going into the theaters, but quickly turned timid. The entirety of the film felt forced and uncomfortable, not only because of the unnatural chemistry between our two leads (Lawrence and Andrew Barth Feldman) but because of its controversial age gap as well (Lawrence 33 and Feldman 21). As Lawrence’s intro to comedy, I was expecting to see what she’s good at: reliable scripts and dramatic tension through her scenes. Putting her in a scene nude is not stretching her diversity, it’s a setup for failure. I give “No Hard Feelings” 2/5 stars for taking perfectly good actors and forcing them to “fit” the mold of comedy.
Indiana Jones- 2.5/5
For years Steven Spielberg led Indiana Jones through missions and crusades, but as new director James Mangold takes the wheel of this new film, Indy is in the backseat. Harrison Ford, without a doubt, has had an incredible career, so why did I have to fight to see his stage presence? Phoebe Waller-Bridge portrays the new character, Helena Shaw, who possibly plays a bigger role in the film rather than Harrison. Her new profound role in the film starts up conversations on whether Harrison is looking to pass the torch to a female lead from his old age. Not only do we see a change in focus on characters but direction as well. I quickly was disappointed in how this movie was structured. Leaving the theaters, I struggled to put together a plot that made sense. Being nearly a three-hour film, I expected incredible setting placements and breathtaking beauty shots, but no. I shouldn’t have to imagine what a movie looks like, nor work to understand the plot and the value in the series. I give “Indiana Jones Dial of Destiny” 2.5/5 stars for continuing the legacy but failing to execute.