Our Take: 4.5/5 Stars

“Punk Rock is good for the soul.” The old adage rings true for “Mainstream Sellout,” the latest studio album from Colson Baker, also known as Machine Gun Kelly. 

Coming off the massive success of “Tickets to My Downfall,” Machine Gun Kelly continues both his foray into the punk genre and his foray into the world of mainstream fame and celebrity status. 

Painfully self-aware and combining deep themes with strong rhythm and melody, this album is sure to be a classic.  

This album is, in many ways, a continuation of the themes and sounds Kelly explored in “Tickets to My Downfall,” and fans of that album will be incredibly pleased with Kelly’s continued run into the punk and pop punk genres. 

The album is another collaboration with Blink-182 drummer and producer Travis Barker, and the roots of punk and pop-punk run deep. 

The influence of Barker’s band, as well as others, is evident. In many ways, the sister album, “Mainstream Sellout” has a tracklist that mirrors the song progression of the earlier album. 

After the first track, both albums descend into heavily rhythmic and high-energy songs, followed by a slower, angrier, middle song, then a return to the high energy and very catchy back half before ending with a soft, reflective and sad final song. 

However, this album is not a copy of its predecessor. Rather, it dives deeper into Machine Gun Kelly’s past, struggles and psyche to create a cathartic experience that is both powerfully nuanced and painful to experience. 

Many of the themes Machine Gun Kelly explores are similar to those he has explored in his last album and before. Drug addiction, depression, suicidal thoughts, toxic relationships and loss all feature heavily, but with two major changes. 

Many of the love songs on the album, like “sid & nancy” and “Twin Flame,” feature the idea of love that is so deep that it is painful and the feeling of being unworthy of love. 

Additionally, reflective of the album title, Kelly also explores the effect of fame and his recent high-profile life and relationship with Megan Fox. This exploration is a deeper dive than in “Tickets to My Downfall” and is more central and fleshed out. 

Reflective of Kelly’s enhanced celebrity status, the album boasts a strong lineup of featured artists. 

While it is not necessarily a new thing for MGK to include many featured artists in his albums, there is a notable increase in this album. Included in the mix of longtime collaborators are some new faces, including Lil Wayne on two songs (“Ay!” and “Drug Dealer”). 

While some features are really great, like Bring Me the Horizon’s feature on the acclaimed “Maybe,” and Iann Dior in “Fake Love Don’t Last,” I can’t shake the feeling that the album would be better with fewer, or no, featured artists. this is a very personal story being told and many of the featured artists don’t match the same emotion and energy that Machine Gun Kelly has carefully crafted. 

So, the question remains: is the album title true? Did Machine Gun Kelly sell out and bow to the pressures of his celebrity? I don’t think so, at least not entirely. 

The most popular song from “Tickets To My Downfall” was “My Ex’s Best Friend (featuring Blackbear),” and we find many songs that resemble the feel and melodic structure of this popular song. 

The feature also comes across as if Machine Gun Kelly is trying to reproduce the successful Tickets. This being said, there is genuine pain and emotion in the album and the punk genre suits him greatly. 

The two songs that combine to form the emotional core of the album are the title track “Mainstream Sellout,” and “Die in California.” 

While the former directly addresses the controversy of Machine Gun Kelly’s mainstream success and the criticism he has received being perceived as a mainstream sellout, “Die in California” provides a quiet, lonely and fearful counter to the mainstream label. 

In the sure to be overlooked song, Kelly reflects on the loneliness of fame, the loss of his authentic self and the pain that the limelight brings. 

A truly authentic and painful journey into his psyche, this song is what the “Mainstream Sellout” album is all about. 

Punk is a genre conducive to cathartic songs and painful explorations. 

Machine Gun Kelly has made this new genre his home, and fans can only hope that he will continue to explore punk for many years to come. If these first two albums are any indication, listeners are in for a powerful, cathartic and enjoyable ride.

After a two-year break due to the global pandemic, the Atlanta Science Festival is back this year in full force. With over 100 events, there truly is something for everyone. Kicking off this Saturday, March 12, the rest of the month is full of fun activities, talks, events and experiences. 

According to their website, the Atlanta Science Festival was founded with the purpose of “expanding access to science learning opportunities for all of metro Atlanta.” Expanding every year, the festival now features educational and career-building opportunities. 

Additionally, a heightened emphasis has been placed on diversity in both the scientific community and in the Atlanta community. Run by Science ATL, a nonprofit dedicated to spreading science literacy and science communication, the festival has taken on a life of its own and become an inclusive place for people of all ages and backgrounds. 

The festival includes over 100 events, spread out between March 1226. Most events are geared toward all ages, while some cater more toward younger kids or college students or adults. Topics also vary wildly and cover the entire STEM spectrum, so whatever festival-goers may be interested in, the Atlanta Science Festival probably includes it. 

Events are spread out throughout metro Atlanta, so on top of being informative and fun, attending the festival is a great way to get in touch with the Atlanta community and see everything the city has to offer. 

The Atlanta Science Festival website, atlantasciencefestival.org, has a detailed list of all the events, as well as ticketing information and other opportunities. Additionally, this year, many of the events are available in a virtual format, and the festival’s website has those details as well, along with other COVID-19 guidelines and recommendations. 

Since the beginning of the Atlanta Science Festival, the Institute has played a leading role in the festival. In conjunction with each other, Tech, Emory University and Metro Atlanta Chamber founded the festival back in 2014. In the years that have followed the festival has grown exponentially and has become a source of community outreach, learning and fun for Metro Atlanta. 

In this year’s festival, there are many events orchestrated by Tech groups and faculty. 

The Institute’s STEM Communication and Outreach Group has organized a “Science of Crafting” event (March 12), the School of Earth and Atmospheric Sciences will be leading an all-ages welcome exploration of Earth’s weather, along with other phenomena including earthquakes and volcanoes (March 12), and Tech will once again be holding the Guthman Musical Instrument Competition, a nationally recognized competition to construct musical instruments with an expo preceding the event (March 12). 

In addition to the many fun activities organized by members of the Tech community, there are more official networking and science educational opportunities. The Institute is hosting a “Science and Engineering Day,” on March 19th in which visitors will tour our state-of-the-art facilities, meet with lecturers and researchers and do all sorts of fun activities, as well as a Latino College and STEM Fair that same day. 

Also on the docket is a “Tech Talks” event in which Tech faculty and students share experiences and exciting developments in their respective fields (March 17), as well as a discussion on the science of marijuana with Tech professor and comedian Dr. Pete Ludovice (March 18). 

Be sure to check out all the events hosted by the festival this month and support science literacy in our community. For more information, visit atlantasciencefestival.org. 

Our Take: 4.5/5 Stars

Over the past few decades, audiences have seen many iterations of the character of Batman, both live action and animated. With so many retellings, it would be easy for the character to become overused and dry. However, in the most recent addition to the Batman lore, co-writer and director Matt Reeves strikes gold. 

Twisting the Batman story into something darker and more original, it will be sure to provide diehard fans and novices alike with an enjoyable ride. In a roundtable press conference, Reeves sat down with his producer, Dylan Clark, as well as several of the primary actors to discuss the film and the experience of finally bringing this story to the big screen.

The prestige and honor of working on a Batman film was not lost on anyone on set. Everyone approached the film with a sense of humility and awe. Jeffrey Wright (“No Time to Die,” “Westworld”), who steps into the role of Detective Gordon, Batman’s police contact, described working on the film as “gratifying and impressive.” 

Everyone involved agreed to take it seriously and to do it right. For Robert Pattinson (“The Lighthouse,” “Good Time”), the acclaimed actor who dons the famous cape and cowl of the Dark Knight, the hard work of the cast and crew is what makes it so easy to do your own job. 

“The people putting in 100 percent every day brings you into the character,” he said.

This dedication from the cast and crew throughout the entire production process is evident in the final film. The attention to detail is incredible and every little thing combines together to create a truly immersive and a truly unique Batman film.

We, as an audience, are no stranger to the darker elements of the Batman story. Many interpretations of the caped crusader in film and television depict the tortured nature of Bruce Wayne and Batman and frame him as the sole incorruptible protector of the City of Gotham against seemingly overwhelming and
impossible odds. 

This film, however, takes this one step further. We are introduced to a darker, grittier Batman who is tortured on a whole separate level. Really this is what audiences have been waiting for, and, honestly, a Batman film like this should have been made a long time ago. A welcome change comes from the insecurity Wayne has not only about his mission but about himself. With a narrative and visual style wonderfully reminiscent of the classic film noir genre of early Hollywood, the film blends the thematic
elements of the story and into the visual style in a way that is both visually stunning and incredibly powerful.  

Reeves relates the writing process and, in particular, facing the blank page as being in a dark room on his hands and knees, reaching out for something familiar. In setting out to write a new and different Batman story, Reeves focuses his sights on a younger Batman, one who is not yet fully fledged. 

For Pattinson, he said that the younger and “more frail” Batman allowed him an opening into the character and helped him craft his performance. 

“Batman is fallible,” he said.

The film embraces that. This attitude and characterization lead to a much more interesting story and a more nuanced portrayal of the iconic character than audiences have seen recently. Desperation, too, seems to be a defining characteristic of not only Batman, but really all of the characters. Zöe Kravitz (“Big Little Lies,” “Gemini”), steps into the role of Selina Kyle/Catwoman, and masterfully counters Pattinson’s Batman, adding depth and intrigue to the film. Her character is driven so much by desperation and watching Kravitz embody the role is almost mesmerizing. The connection between Batman and Catwoman is the emotional core of the story, and the driving force of the entire film. It is expertly intertwined into the narrative and well designed. 

“The connection was built into the script,” Kravitz said. “It was something we, as actors, could connect to.” 

That connection to the role is what pushed them to craft such strong and intriguing performances. This is a great film. It is a step in the right direction for what a Batman film can be and maybe should be. But it feels the studios are trying to balance between the marketability of a rated PG-13 film, and a story and character that so desperately wants to be let loose. With obvious influences from dark crime stories, the film feels a little too reserved for what it wants to be. One immediate influence that comes to mind for the film, both visually and narratively, is David Fincher’s 1995 film “Se7en.” Fincher’s dark detective film benefits greatly from the added freedom of an R rating, and it feels as though Reeves’s “The Batman” would have as well. 

This is what a Batman film should be: gritty and dark with tortured characters and a twisted, mysterious plot. There is so much to say about this film, but really, movie goers just need to experience this film for themselves. 

Paul Dano (“There Will Be Blood,” “Love & Mercy”) said it best when he said that the film “was immersive from beginning to end” and that the film grabs you from the very first frame and doesn’t let go until the credits roll. Both an incredibly beautiful film, and a film that provides powerful and timely commentary about our society, this film is a “must watch.” 

Do yourself a favor. Go see “The Batman” as soon as you can.

Nostalgia is a powerful thing. Casting a rose-colored light on memory and time gone by, nostalgia tends to smooth out the rough edges of history and artificially boost the positive qualities of a memory.

While often romanticized, nostalgia still alters and distorts reality and truth. The idea of creating a truthful interpretation of history, then, is made more difficult through heavy nostalgia. Employing nostalgia, an author or filmmaker can craft an enjoyable recreation, an imitation of history, but to create an honest film, one that is truthful and one that says something larger than life, the filmmaker must strip the layers of good feeling away.

This is something that writer and director Baz Luhrmann (“Moulin Rouge!,” “The Great Gatsby”) took several years doing for his newest film, “Elvis,” which details three decades of the rise and fall of the King of Rock and Roll: Elvis Presley. Set for a June 24 release, Warner Brothers has just released the first trailer for the highly anticipated film.

“Elvis is the original punk,” says Luhrmann in a conversation with interviewer Nelson George. “Without nostalgia, he’s really provocative and strange and shocking.”

Luhrmann is not shying away from the strange and shocking quality that Elvis had on his audiences, a quality that Colonel Tom Parker, Elvis’s manager who is portrayed in the film by the legendary Tom Hanks (“Forrest Gump,” “Philadelphia”), utilizes to his advantage. Both Elvis’s life and his performances were quite a spectacle, and that quality seems to be reflected in the film. In many ways “Elvis” feels larger than life, with a sense of grandeur that is truly fitting for a king.

But Luhrmann doesn’t want audiences to get carried away in the spectacle. At the end of the day, this is the story of a life, of a real person. Also sitting down with George, Austin Butler (“The Shannara Chronicles,” “Once Upon a Time in Hollywood”), who plays Elvis, has described the icon as a “tortured person” with a deep “spiritual yearning.” 

There is so much more to Elvis than the spectacle, and this film aims to highlight this. Attempting to highlight both the complicated relationships between Elvis and those close to him, like his manager, and Elvis’s role in the shifting cultural and political landscape of America at that time, the film details a great deal of Elvis’s life.

A prominent and powerful scene in the film shows Elvis as a child experiencing the gospel music of the Black Church. Elvis has a strong connection to Black America, and Luhrmann described Black music and culture as “the canvas on which the story is writ.” Without Black culture, he says, there is no story and no Elvis. Also alluded to in the trailer is Elvis’s connection to the sexual revolution in America.

Butler was cast as the music icon over three years ago, and during that time, he has spent a lot of time in Elvis’s head. Taking on this role, Butler felt a great responsibility to Elvis’s family, his fans and to the King himself to take the role seriously and to bring an honesty to his interpretation. At the beginning, Butler says, it felt similar to when a kid puts on his father’s suit and the fabric hangs around him and he wonders if it will ever fit. But eventually, Butler adds, the suit, and the role, does fit.

Working with voice coaches, performances coaches and with the same movement coach who worked with Rami Malek in his Oscar-winning role of Freddie Mercury in 2019’s “Bohemian Rhapsody,” for years prior to filming, Butler has brought a high level of dedication to the role. 

Featuring a strong cast and a great director at the helm, the film looks to be an interesting interpretation of the King’s life and career.

Seemingly told by Hank’s Colonel Tom Parker, the story seems to definitely be an interesting one. Parker, as told in the opening line of the trailer, is often cast as a villainous role in the Elvis story, but Luhrmann does not believe there are true villains and heroes in his stories.

There is always a perspective to a story, he says. Every story is someone’s story. Because of this and his dedication to honesty in his interpretation of the story, all the characters are morally gray, meaning that they, like in the real world, are neither all good nor all bad.

To Luhrmann, the great storytellers never told the story of a person’s life. Shakespeare, he says, never wrote a play about King Richard.

Rather, the great storytellers used a life as a canvas to tell larger stories and explore larger ideas. 

Despite many allusions and questions raised in the trailer, audiences will just have to wait until June 24 to find out everything Luhrmann, Hanks and Butler have in store.

Our Take: 4/5 Stars

For over twenty years, Venus and Serena Williams have been household names not only in the world of tennis, but in American culture and society. Two of the greatest tennis players of all time, the sisters’ journey to stardom has been nothing short of incredible.

The Williams sisters have inspired countless people, especially young Black girls, to chase their dreams and to push themselves to succeed.

With Warner Bros. new film, “King Richard,” and the sisters’ continued efforts on and off the court, Venus and Serena are sure to continue inspiring the next generation for years to come.

“King Richard” tells the story of Venus and Serena’s upbringing, and the influence their father, Richard Williams, on their lives and their careers. Beautifully shot and expertly written, the film follows the sisters as they transition from family training to official and professional training and ultimately the dawn of Venus’s professional career.

Richard, portrayed in the film by Will Smith (“Ali”), was a constant presence in his children’s lives as he helped them hone their craft, develop as both people and players and begin their professional careers.

Richard might not have been a perfect father, but he was one who undoubtedly wanted the best for his children. Despite the questions that have arisen about his overbearing nature, the film casts a favorable light on Richard’s role as their trainer.

The Williams family were heavily involved in the production of “King Richard” and worked tirelessly to maintain honesty in the portrayal of both their father and their family life. Despite this, the classic trope of a father too involved and too pushy in his children’s athletic life shines through, but with enough nuance and truly heartfelt and caring moments to give a balance and humanity to the film. You can say what you want about his methods, but in this film, Richard Williams truly loved and cared for his daughters.

Smith’s portrayal of Richard in this film is a tour-de-force. Despite a career that very few actors could match, this is easily one of Smith’s most powerful performances to date, and an Oscar nomination could be on the horizon.

The rest of the cast also provided incredibly nuanced and powerful performances. Aunjanue Ellis (“Men of Honor”) provides a strong partner for Smith’s Richard in the role of Oracene Price, Venus and Serena’s mother. Despite the film following Richard and the sisters more closely, Ellis’s performance alters the film from a sports story to a story about family.

And that is the real soul of the film. During the course of the film, the two up-and-coming tennis stars (and especially Venus) are pushed quickly into this world of pressure, hype and media attention and the family is forced to cope and adjust. Richard and Oracene hold the family together and navigate the treacherous waters of fame. Stars of the film will be names to remember, with Saniyya Sidney (“Hidden Figures”) and Demi Singleton (“The Lion King” on Broadway) playing the roles of Venus and Serena respectively. As with the characters they portray, stepping into such a high-profile film and high-profile roles comes with a great deal of pressure, but the two young actors shine regardless. The amount of the work that they put into the film was extraordinary, as, on top of all the acting work, the two needed to learn to play tennis in the iconic style of two of the game’s most iconic players. And Sidney did it all while playing with her non-dominant hand (she is left-handed and Venus is right-handed).

When watching this film the audience can easily feel the closeness of the Williams family and the drive and sacrifice exhibited by Venus, Serena, Oracene and Richard to achieve a seemingly impossible dream. The filmmakers made the effort to highlight the fact that in this case; unlike many situations with very driven parents, the ultimate impetus came from Venus and Serena themselves. No matter how hard Richard and the rest of the family worked, Venus and Serena worked harder and never complained.

“King Richard” is a beautiful portrayal of family and drive, and is definitely one of the most inspiring films of the year.

Our Take: 4 Stars

It is hard to think of a film in recent memory with as much hype surrounding it as Denis Villeneuve’s new film “Dune.” Originally scheduled for a Nov. 2020 release date, it feels like audiences have been waiting forever to see the star-studded adaptation of Frank Herbert’s novel. But on Oct. 22, the wait is finally over.

While it is easy to give in to the hype of the film, there have also been reasons for concern. Despite one of the most talented collections of actors working today and a director that can seemingly do no wrong, many believe that a good adaptation of “Dune” is impossible.

Acclaimed director David Lynch adapted the novel in 1984 to generally unfavorable reviews, and since then there has been a stigma around the story. One of the seminal works of science fiction literature, and a defining novel of the twentieth century, Herbert’s work is complex and detailed and in many ways, one that a single film could not possibly do justice.

But it is also a work with such grandeur and spectacle that it begs to be seen on the big screen.

Director Denis Villeneuve had called it a life-long dream of his to adapt “Dune” into a feature film, and, with an incredible array of science fiction films, like “Arrival” and “Blade Runner 2049,” under his belt, he is perhaps the best working director to helm the project.

Villeneuve’s involvement in the project became a big draw to many actors and is part of the reason the film has such an all-star cast.

Stars of the film talked “Dune” with the Technique at a roundtable hosted by The Daily Bruin.

“I wanted to work with Denis, first and foremost,” said Timothée Chalamet (“Call Me by Your Name”), who stars in the film as Paul Atreides. Villeneuve and the crew crafted an atmosphere greatly conducive to greatness. “[It was] a total dream come true, I would do it again in a heartbeat.”

Zendaya (“Euphoria”), who stars opposite Chalamet as Chani, knew she had to get involved when she saw the cast.

“It felt like such a no-brainer. You have such a dream team of people that you could possibly work with,” she laughs. “I saw the cast being assembled and I was just like ‘I just want to get in the room, have a shot at it.’ So, I pursued it quite aggressively.”

The film follows the conflict between two powerful Houses in the galactic empire: the noble House Atreides and the cunning House Harkonnen.

The incredibly talented Chalamet steps into the starring role as Paul Atreides, the son of Leto Atreides (Oscar Isaac, “Inside Llewyn Davis”) and Lady Jessica (Rebecca Ferguson, “Mission Impossible: Rogue Nation”), and the heir to House Atreides.

Young Paul is forced away from everything he has ever known when his family is given control of the desert planet Arakkis and must take over the mining of mélange, a spice used for just about everything in Herbert’s world. On this new and nearly inhospitable planet, Paul faces danger around every corner and will be forced to become who he was always meant to be.

The film is very long, over two and a half hours and some parts are very slow and retrospective. While the plot is always interesting, and the masterful performances and direction doesn’t hurt, the pacing feels off in some moments, and it does drag on occasion.

Nevertheless, the soul of the film and its incredible craftsmanship make up for any drawbacks in the pacing and dialogue.

The film is visually spectacular, with every frame perfectly constructed.

Villeneuve approaches the film with such attention to detail and with such an attitude of reverence that the work is truly a sight to behold.

The visuals in this film are movie magic and unmatched in size and splendor.

On top of the visuals, the cast, described by Chalamet as “some of the strongest and most talented actors working right now,” pull the audience into the film and truly commands their attention. It is a sight to behold and definitely something to experience.

But the most powerful aspect of the film is how relatable it is, despite its scale and its other-worldly setting and storyline. Themes of honor, duty and family are ever-present throughout the film and helps the audience connect with Paul and with the story.

The film balances its cosmic scale with some surprisingly grounded and human moments that provide a different kind of life into the film. Villeneuve and the rest of the cast and crew went to great lengths to help audiences connect with the story, especially younger audiences.

While the presence of Chalamet and Zendaya bring a youthful energy to the film, there is more to it than that.

The film is essentially a coming-of-age story told through a larger-than-life adventure. Paul, a handsome, rich, powerful and incredibly gifted royal, becomes a surprisingly relatable figure in Chalamet’s hands.

In the film, we see the beginning of Paul’s growth into manhood, a story that any young person can see themselves in. Paul struggles to understand who he is and what his place is in his family, his community and the universe.

“I think those are things all of us struggle with when we’re at that age and we don’t know who we are and we’re trying to find ourselves, find our voice, our identity …” Chalamet said.

In many ways, movies are so powerful because we can relate to them, and the fact that an audience, and particularly a new generation of “Dune” fans, can relate so well to this is an incredible thing. Perhaps Paul’s journey to find himself will uplift and inspire young audiences everywhere.

Our Take: 4/5 Stars

“The Sopranos” is arguably one of the most iconic television series of all time. Fans of the series will be excited to step back into the Sopranos universe with the release of “The Many Saints of Newark” on Oct. 1. Taking inspiration from “The Sopranos” creator David Chase, the film, which is a prequel to the show, adds depth to the existing characters and provides new and exciting elements to the story.

The film follows Dickie Moltisanti, played by Alessandro Nivola (“Face/Off”). Dickie, who is mentioned several times in the series, is Tony Soprano’s uncle and ultimate father figure. The film deals with Dickie’s relationship with Tony and how he shapes him into the man that audiences know from the “The Sopranos.” But despite the many references made to Dickie in the series, creator David Chase wanted a fresh approach to the character.

“When we first started filming, he [Chase] told me that I shouldn’t pay any attention to anything anyone said in the series about the character because they’re all liars,” Nivola said in a roundtable for the film. Nivola’s powerful performance as Dickie provides an emotional core to the film that is very grounded. Dickie’s character provides some interesting layering to the legend of Tony Soprano, and Michael Gandolfini (“Cherry’’), who steps into the role of Tony, plays off Nivola’s strong performance to highlight the influence that Dickie has on Tony’s development.

Set amidst the 1967 Newark race riots, the film quickly establishes a new element in both the world of “The Sopranos” and in the larger category of mob stories. While many mob stories allude to racism, very few deal with it in as outright a manner as this film does. The film jumps backwards to Tony Soprano’s youth and immerses the audience into the city’s racial tensions from the perspective of a family far removed from it. “This protest and riot happen in Newark, and all this is happening and then you get to the Soprano family and it doesn’t touch them,” said Gandolfini.

In contrast with the Soprano family’s detachment is Harold McBrayer. Harold is intensely connected to the riots and to the larger movement happening in the United States. Stepping into the role is Leslie Odom Jr. (“One Night in Miami”), who fits seamlessly into the story and provides a much-needed counterweight to Dickie.

In crafting his performance of Harold, Odom said that he “wanted to hopefully offer a character that was as psychologically rich and interesting as those they [the audience] have grown accustomed to.” And it is safe to say he succeeded. Not only does Harold provide the necessary conflict with Dickie, he also offers a strong voice as the film deals with the racial tensions of the time. “Brutal honesty” were the words used by Nivola to describe the film’s depiction of racism. Odom agrees. “Hey man,” he said, “my feeling is: do not clean it up. Not for me.”

According to Odom, the film’s honest depiction of racism creates the power of the message — a message that the audiences are supposed to hear loud and clear. “If art can be brave, the bravest thing you can do is knock out the fourth wall and let us see you live as you are,” he said. “To show us the ugly parts, because you showing me that forces me to look at the ugliness within myself.”

Another connection that this film has with its preceding series is the fact that the young Tony Soprano is played by Michael Gandolfini, the son of the late James Gandolfini, who portrayed Tony in the series. Gandolfini, an accomplished actor in his own right, spoke about the process of stepping into the role once filled by his father and the challenges and enjoyments he found when doing so. The personal aspect, he says, was not something he focused on in the day-to-day act of shooting the film. “When crafting the character, one thing I focused on was having these little bite-sized chunks,” he said. “I didn’t think too much about the macro.”

It is the little things, like the classic Tony Soprano accent and mannerisms, that brought the celebrated character to life through this different actor. In many ways, Gandolfini approached the role like any other. “I was playing Tony, I wasn’t playing James.”

But Gandolfini also discussed his feeling of pride at watching the final film for the first time. “I felt so much pride that me and him got to do it together, that I got to do this with my dad, as his son, as two Gandolfinis,’ and also as two actors,” he said.

In a lot of ways, “The Many Saints of Newark” is about guilt, about regret and about trying to do good things in bad situations. This idea, despite being told through the lens of a rather niche genre, is a universal experience. There is something very human and relatable about the story. These characters are nowhere near perfect, but like all of us, they walk a balance between good deeds and bad. This internal struggle draws audiences in and connects them to the story in a way that many films attempt, but rarely succeed, to do.

For those familiar with the series, the film provides some valuable backstories and explanations for the events of the series. For those who are just being introduced to the Soprano family, “The Many Saints of Newark” provides an excellent exposition to the series with only minimal spoilers.

Our Take: 2 Stars

With Disney ramping up production on its next theme park inspired film, The Haunted Mansion, and with the announcement of a sequel film, The Technique takes a look at the recently released “Jungle Cruise.”

Announced back in 2004, “Jungle Cruise” was shelved for over a decade before being brought back from the dead in 2015. Over the next few years a strong cast of Hollywood A-listers came on board, and Disney pumped a budget of almost $200 million into the production, making it one of the most expensive films of all time and breathing new life into the project. Following its joint release in theaters and on Disney+, “Jungle Cruise” has been received somewhat favorably, and has spearheaded Disney’s new joint-release model.

But is it actually good? The short answer is “kinda.” It is an exceedingly average film, and while it does have some positives, they don’t overcome the glaring errors in its screenplay and in its conception.

There are certainly pros to this film, namely its cast. Dwayne “The Rock” Johnson essentially reprises his role from the new “Jumanji” franchise films as Frank Wolff, a charismatic and somewhat sketchy steamboat captain who makes his living taking European tourists up the Amazon river. Frank bites off more than he can chew when he agrees to take Dr. Lily Houghton (Emily Blunt, “A Quiet Place”) and her brother, MacGregor (Jack Whitehall, “Bad Education”) up the river to find a fabled tree whose flowers can be used to cure any illness. Lily, portrayed by the incredibly talented Blunt, provides a powerful foil for Frank, and the two develop a complicated and entertaining relationship. As witty banter slings back and forth between Johnson and Blunt, the chemistry between the two provides the best aspect of the film, and their strong performances outweigh the questionably written dialogue that they are speaking.

Thrown into the mix is Whitehall, who enhances the humor and adds a little bit of heart to the film, helped along by his natural humor and delivery. MacGregor is a smaller and rather different character from Whitehall’s travel series “Jack Whitehall: Travels with my Father,” but MacGregor’s travel experience seems to be inspired by Whitehall’s father in the show.

With $200 million to spend, the sky is the limit for a company with the resources that Disney has. Unfortunately, this film is all pizzazz and has very little substance. Its problems are fundamental and go back to the very conception of the idea. “Jungle Cruise” is little more than a thinly veiled advertisement for one of the most historic and popular attractions of the Disney Theme Parks, and the film never rises to the creative level or production value of the movies that made Disney a juggernaut in the film and entertainment industry. A good idea for a movie is not “something like that Disneyland ride,” and a good movie is not made with the sole purpose of advertising.

Audiences can feel this when watching the movie. With a plot stolen from “Pirates of the Caribbean,’’ another theme park ride, although a more effective adaptation, and a lazy production, the film falls flat and feels very uninspired. It is evident that, beyond the dedication and hard work of the cast, not a lot of effort went into the production of the film. Every scene relies heavily on its actors to overcome the shortcomings of the script, and despite filming in Hawaii, the use of CGI is ever-present and distracting.

In many ways, “Jungle Cruise” is reminiscent of the ride that inspired it. Things may look exciting and vibrant, but the façade is painfully obvious. A moment between Whitehall’s MacGregor and Johnson’s Frank provides a touch of heart and inclusivity, but the filmmakers refuse to commit to more than an allusion to MacGregor’s homosexuality, and contain any mention of it into one small and easily removable scene.

All in all, much like an amusement park ride, the film is enjoyable enough on the surface, but has structural issues all the way to the foundation that even a wonderful cast cannot entirely remedy.

Our Take: 5 Stars

For thousands of years, mankind has been telling and retelling myths and legends. From stories passed down through word of mouth to legends written and rewritten over the years, our fervor for myth has only grown.

Arthurian legends like “Sir Gawain and the Green Knight” date back to the 5th and 6th centuries. While the historical actualities have been heavily debated, King Arthur has been a large force in English and Welsh folklore for over a thousand years.

The most recent adaptation of Arthurian myth is David Lowery’s epic film, “The Green Knight.” After being delayed for over a year, the film, produced and distributed by A24, has been highly anticipated by both critics and movie lovers across the globe.

The film, which has been advertised as a retelling that is more faithful to the original story of “Sir Gawain and the Green Knight,” has been quite polarizing since its release.

It’s important to note that the story of “Sir Gawain and the Green Knight,” like any legend that has been handed down through the generations, has no single definitive version. Before being told in this film, this story was retold many times — each retelling slightly, or not so slightly, different from the last. “The Green Knight,” while adhering much more closely to its source material than other modern Arthurian adaptations, does take some liberties.

This film is not for everyone. It is definitely slow and meandering, and while it does follow a definitive plot, it doesn’t always feel like it. It is also largely metaphorical and the best way to approach it is through the lens of some medieval moral lesson.

Like its source material, the entire epic is crafted to convey certain ideas and certain lessons. In approaching the film this way, each individual event becomes easier to swallow and the seeming abstractness of certain scenes becomes more clear.

David Lowery has established himself as one of the most promising new faces in American cinema. He made his name crafting nuanced and thought-provoking works (such as previous A24 production “A Ghost Story”) and with his newest film nothing has changed. Despite the fact that “The Green Knight” is telling a moral lesson, it is surprisingly subtle and well crafted; It doesn’t beat you over the head with its message.

Every element of the film, from the writing, the direction, cinematography and acting are all crafted with a specific purpose in mind, and so all aspects of the production are in harmony with each other. If any part of the film was lacking then the magic spell would have been broken. Fortunately for the audience, the technical aspects of the film are nearly flawless.

Lowery crafts an eerie and ethereal ambiance throughout the whole film that pulls the audience in and doesn’t let them look away for a second—not that anyone would want to look away from this film anyway. Each frame is stunning, evoking the impression of a piece of medieval artwork.

The real standout of “The Green Knight”, however, is the acting. Each performance, from Dev Patel’s (“Hotel Mumbai”) Gawain to Ralph Ineson’s (“The Office”) Green Knight, is powerful and captivating. Dev Patel brings depth, pain and honor to the role of Gawain, taking a mythically large hero and turning him into a man. Two scene stealers are the captivating and grounded Alicia Vikander (“Jason Bourne”), who portrays the commoner Essel, and Sean Harris (“Mission: Impossible”), who brings quiet majesty to the role of Arthur.

Some of this film’s greatest strengths, however, could also be its biggest criticisms. Like many quests the film has a slow, meandering pace.

And while it never loses focus of its goal, its progression is slow. Combining this pace with the highly metaphorical nature of the film results in a difficult viewing experience. The right attitude is required when viewing this work, and multiple viewings might be necessary.

This is a film that is meant to be felt, rather than seen. It is a story of honor, regret, fear, virtue and death. It approaches these ideas with honesty and reverence, giving nothing more or less than the truth. It is a difficult subject to discuss and, truthfully, difficult film to watch, but there is an honesty to the film that urges the audience to look deep into their own souls. It is not necessarily a film that will not be understood in its entirety, but it is one whose message will reverberate deeply in each viewer long after the credits roll.

Our Take: 4 Stars

Summer vacation may be over but that does not mean that fun summer vibes and good times have to end! Jump right in to Disney Pixar’s newest film, ‘Luca’, where the water’s fine. With its nostalgia, youthful energy, and colorful cast of characters, this film will have you smiling, laughing and (maybe) crying. Its beachy atmosphere combined with the enjoyable emotional roller coaster make it the perfect summer send-off.

To find inspiration for his feature directorial debut, Enrico Casarosa delved deep into his own life and history. The story that he crafted, written for the screen by Jesse Andrews and Mike Jones, is a delicious blend of myth and autobiography. Like the title character, Luca, Casarosa grew up in Italy and spent his summers on the Italian Riviera. Luca, in many ways, is a reflection of his creator. Casarosa said that he was very shy in his childhood, but everything changed after making a new friend, named Alberto (just like Luca does in the film). Alberto urged Casarosa to come out of his shell and to follow his dream of being an animator all the way to the United States.

Very rarely does Pixar make a bad film, and they definitely haven’t done so here. On the surface level, “Luca” is gorgeous. The animation is just the right mix of simplicity and reality, creating a fitting picture for this beautiful mix of life and fantasy. The animation and music create a stellar mood for the film, one that is consistent throughout the entire picture.

On top of the film’s charming mood, its messages of friendship, following your dreams and facing your fears create a classic Pixar hit with a youthful energy. It is refreshingly grounded in a very human story. Where in recent films Pixar has delved deep into the metaphorical, this film is firmly rooted in humanity. While maybe not as complex and openly philosophical as other films such as “Soul” (2020) or “Inside Out” (2015), there is a pleasant simplicity and humility to the film that has, perhaps, been lacking from other recent Disney Pixar films. While the plot is largely predictable, there are enough unexpected twists and turns to keep viewers of all ages interested. With its sense of nostalgia and themes and plot structure to match, watching “Luca” feels like growing up all over again.

It is not a perfect film, however. While most of the characters are very well fleshed out, the antagonist, Ercole, is flat and juvenile, and only serves as a plot device. While Ercole really is a secondary antagonist who motivates the underdogs, his development is so nonexistent that any scene he is in immediately breaks the audience’s suspension of disbelief. In a film with so much character development, the lack thereof becomes very evident.

Additionally, while this film is made by an Italian man, and is about life on the Italian Riviera, it still feels like an American look at Italian life. Cultural aspects highlighted in the film felt too generic to be personal. Things like pasta, vespas and soccer, while common in Italy, do not craft a deeper connection to the setting and create an almost lazy feel.

While Casarosa had one specific message in mind — the childhood friendships that help us become who we are — audiences have found many different interpretations of the film. The concept of having to hide one’s true self before eventually embracing it has drawn comparisons from both immigrant communities and members of the LGBTQ+ community. While these interpretations were unintentional, Casarosa encourages them — a film works when the audience can see themselves and their life in the characters and events of the story.

“Luca” is surprisingly hard to pin down. It is a beautiful film that is a strong addition to Pixar’s illustrious filmography. On first glance it doesn’t feel like anything special when compared to other Pixar films, but as it goes on it surprises you by its depth, its originality and its consistent and charming atmosphere. Carefully crafted plot progression and storylines allow Luca, Alberto and Giulia to grow up right in front of the audience’s eyes, and allows the audience to grow up right alongside them.

“Luca” may not be the best film Pixar has made in recent memory, but it certainly holds its own and stands apart from the mean.