Director Barry Jenkins brilliantly portrays the inner struggle of understanding one’s self-identity, sexuality, and masculinity through epic storytelling in “Moonlight.”

Childhood [Alex Hibbert], Adolescence [Ashton Sanders] and Adulthood [Trevante Rhodes] – this is the story of Chiron.

There’s no denying that we live in an era of discrimination dictated by the guidelines of conformity. I fear for those brave enough to step out i    nto the daylight, only to be cast amongst the shadows.

The world may seem dark and inequitable, but fear not, as there is a light at the end of the tunnel. Not only is “Moonlight” a visual masterpiece, it is one of the most poignant films of our time.

Samantha Moore/ Art Director

Director Barry Jenkins understands how the smallest moment can dramatically alter one’s perception of the world and themselves.

Life scoffs at the very idea of a simple three-act structure because there isn’t one familiar narrative that everybody will collectively experience. Chiron’s personal journey travels down that unforeseen trajectory.

“You cry?” a teenage Chiron asks this question to his best friend Kevin [Jharrel Jerome] on a deserted Miami beach.

He breaks his introspective facade with a crack in his voice. Kevin takes notice of his friend’s vulnerability and it’s at this moment that Chiron is able to break free from his inner oppression, even if it’s just for a few minutes.

The film is split up amongst three parts – i: Little, ii: Chiron and iii: Black, all of which communicate an audacious story of transformation, but not in the way you think.

Chiron is an introverted child of circumstance who represses his sexuality in a world that doesn’t understand him, a shockingly relevant issue.

At such an impressionable age, Chiron is highly observational, befriending an affectionate crack dealer [Mahershala Ali], and drowning out constant tirades from this crack-addicted mother [Naomie Harris].

Both performances are absolutely seamless, as these two manifest themselves as Chiron’s environment – unpredictable and unforgiving. “Moonlight” also delves into the ever-changing meaning of masculinity in the 20th century, but never bashes the audience over the head with an all-important sermon.

Jenkins revels in the artistry of absolute silence. For the most part, the cinematography is observed from Chiron’s perspective, encasing him within his own environment, breaking free every once in a blue moon, allowing the camera to roam about and capture the occasional 360° dolly movement.

The lighting is poetic and oddly calming, bathing the actors in neon like a warm blanket; this contrasts greatly with Miami’s often violent “War on Drugs” at the time.

Perhaps this story’s most surprising omission is that of thug culture, an all-too-familiar cinematic trope of Black America. No character falls under the trappings of those often unnecessary (and sometimes exploitative) clichés.

A few occurrences of pop and rap music can be heard in the background as diegetic noise, but for the most part, the score consists of classical orchestration.

The use of harmonic strings symbolizes Chiron’s constant fluctuation between tranquility and anxiety. Such a switch produces a daunting, overwhelming mood that overtakes each scene by storm.

“Moonlight” is easily one of the most daring and personal character pieces I’ve ever come across in my short lifetime.

I sat in the theater absolutely speechless, unaware of how to spark a meaningful discussion afterwards.

As the week went on, this human story stuck with me in such a way that I haven’t felt in quite a long time.

Much like a fine wine, I have a strong feeling that it’s going to age gracefully.

Rating: A+

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Andrew Garfield shines in “Hacksaw Ridge,” a tightly-paced war epic with the savagery of “Rambo” and the heart of “Saving Private Ryan.”

“Hacksaw Ridge” follows the true story of Pacifist Combat Medic (Pfc.) Desmond Doss [Andrew Garfield], who joined the army to serve his country during WWII, albeit with one exception –he refused to bear arms.

Courtney Bethel / Equinox Staff

Sticking by his religious beliefs, Doss rejects picking up a gun all throughout his basic training, taking every form of abuse thrown his way. When faced with the task at Hacksaw Ridge in Okinawa, Doss would save over 75 wounded soldiers on the battlefield, gaining the respect and adoration from his fellow privates and commanding officers for his selfless bravery.

Thou Shalt Not Kill — also known as the code of which Desmond Doss, the only conscientious objector in WWII to earn a Congressional Medal of Honor, lived by.

In a revelatory performance, Andrew Garfield gives a gut-wrenching performance as a simple Virginian boy that wanted to do good by his country just like everyone else. The difference is that he doesn’t want to follow the example of picking up a rifle and taking a life, even if that life may take a shot at him.

It could have been so simple for Doss to hold his religious standards above everyone else who  chooses to carry a weapon into hellfire of battle. Coming from a former religious background, I’ve seen others use faith as a means of superiority and this is not who he is. “Hacksaw Ridge” firmly sticks by Doss and his beliefs, but never makes the argument that his way of thinking is preferable to everyone else’s; this is what works for him.

Where most films would shove religious symbolism down the audience’s throat, Mel Gibson takes an alternative approach (aside from the closing shot) by presenting Doss as a kind-hearted simpleton, nothing more. He’s not the chosen one sent to protect mankind from the evils of this world, but rather a man that stared into a valley of death and walked toward the flames. And to think that this came from the same director of “The Passion of the Christ.”

It’s arguable that while Garfield commands the screen, Hugo Weaving nearly steals the show. Weaving seamlessly transforms into Tom Doss, a grizzled, drunken WWII veteran who’s broken by his service in the military. When his other son Harold ‘Hal’ Doss [Nathaniel Buzolic] arrives at the dinner table with a uniform on, Tom figures that he enlisted in the Army.

He sits there in an understandable state of anguish as the mental image of his son’s probable death haunts him so. It’s extremely difficult to have sympathy for a character who’s frequently abusive to his wife and children, but Weaving’s heartbreaking performance brings a level of empathy to what should be an unlikable prick.

On a lighter note, Vince Vaughn carries himself as Sgt. Howell, a tough but fair man of war who can crack a few jokes every now and then to ease the tension, which is best demonstrated in his introduction.

He’s an influence that Doss looks up to on the battlefield, but alas, the selfless soldier’s heart and soul belongs to another —  Dorothy Schutte [Teresa Palmer]. She turns herself over to Doss, but isn’t without her moments of strength and determination.

Dorothy isn’t designated as the 1940s love interest stereotype; she’s allowed to breathe and be her own person, throwing in a subtle nod to consent in an era where sexual harassment ran rampant.

Nobody has ever said that Mel Gibson is subtle in regard to how he approaches violence. When Doss and co. climb up the mountainside of Hacksaw Ridge, he’s thrust into a literal hell on Earth as copious amounts of blood spill out onto the battlefield. There’s no arguing that Gibson is unflinching in his depiction of war brutality, paying homage in some respect to “Saving Private Ryan’s” Normandy Beach sequence.

Some may argue that the gore is over-the-top, but I tend to differ. War is complicated, but what isn’t complicated is that blood is spilt on both sides of such a war. Gibson’s direction of the battle sequences are raw, yet smooth, never losing track of the action.

“Hacksaw Ridge” can be an unforgiving and somber experience, but to deny the privilege of witnessing this film’s scale on the big screen is a travesty.

Rating: A-

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Boasting dazzling visual effects, “Doctor Strange” is the cinematic equivalent of a kaleidoscope; everything might not fall into place, but when viewed from an alternate angle, you can’t help but be charmed by its ingenuity.

When Dr. Stephen Strange [Benedict Cumberbatch] loses his ability to operate due to a disastrous car accident, he seeks enlightenment from a being known as the Ancient One [Tilda Swinton]. Endowed with otherworldly abilities, Strange accepts his newfound responsibility as the Sorcerer Supreme. Alongside his fellow masters, Karl Mordo [Chiwetel Ejiofor] and Wong [Benedict Wong], the mystical doctor vows to defend the planet from such interdimensional threats as Kaecilius [Mads Mikkelsen], a rogue master of the mystic arts.

Samantha Moore / Art Director

For those who haven’t been keeping track, “Doctor Strange” is Marvel Studio’s 14th feature film in their ever-expanding cinematic universe. As an avid follower of the MCU, I view every new feature as a pay-per-view event. They show no signs of stopping, and with “Avengers: Infinity War” looming on the horizon, the universe as we know it, is about to turn topsy turvy.

But before the purple space God known as Thanos wreaks havoc upon our beloved heroes, it’s time to get a little mystical, debuting the art of magic to the MCU. Similar in vein to Robert Downey Jr’s Tony Stark, Benedict Cumberbatch’s Stephen Strange is an arrogant, yet conscientious playboy who’s plagued by a catastrophic event that helps him unlock his true potential. If Cumberbatch’s American accent seems odd at first, give it a couple of minutes and it should blend in quite nicely.

“Doctor Strange” presents a unique dilemma where most would ask themselves – how would I cope with losing the ability to perform my life’s work? In that sense, Strange is a sympathetic protagonist despite his varying bursts of impatience. Whilst unlocking a path unlike anything the world has ever seen, he’s eager to rise to the occasion, a familiar narrative within the realm of any origin story.

There’s a reason why Marvel Studios has succeeded with most of their properties; they excel at translating the bizarre and outlandish nature of their comic properties through a very simple formula. At this point, Marvel is almost a genre within itself, complete with its own set of tropes and then some. Unfortunately, “Doctor Strange’s” biggest detriment lies in its generic narrative.

Earlier this year, “Captain America: Civil War’s” Zemo brought an intensity to such a powerful, yet powerless antagonist that single-handedly tore the Avengers apart from the inside.

However, the addition of yet another underwhelming Marvel baddie manifests itself in the form of Mads Mikkelsen who falls victim to the MCU villain curse. Unlike the multilayered protagonist, the character of Kaecilius doesn’t have much to offer that hasn’t already been seen before in other lackluster MCU antagonists.

Marvel’s greatest victories involve them thinking outside the box and exploring new themes, ideas and visuals.

As a purely visual experience, “Doctor Strange” is absolutely majestic, beautifully translating Steve Ditko’s dazzling artwork to the screen. One sequence in particular honors the colorful and trippy Star Gate sequence in Stanley Kubrick’s space epic “2001: A Space Odyssey.”  Tearing at the very seams of space and time, the psychedelic contortion of New York City allows for one of the most original and creative action sequences in any superhero flick.

Without the masterful visual effects, “Doctor Strange” is perfectly harmless; you pretty much know what you’re in for once you enter the theater.

Marvel carefully introduces a slew of fun and exciting new characters that’ll soon play a larger role in the future of this established universe. Until then, “Doctor Strange” works perfectly well as a fun, yet flawed stand-alone feature in Marvel’s expansive library.

Rating: B-

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

To my discouragement, “The Light Between Oceans” is the physical manifestation of an over-sentimental airport novel that helps you fall asleep on the plane.

Having endured the tragedies of World War I, Tom [Michael Fassbender] travels to Australia to start his new job as a lighthouse keeper. Not soon afterward, he woos the affection of a local girl, Isabel [Alicia Vikander], who he later weds.

Her greatest desire is to have a child of her own, but she’s been misfortuned with the burden of two miscarriages.

However, Isabel’s wish soon comes true as a rowboat washes ashore, carrying an infant and a decayed body.

Samantha Moore / Art Director

Although Tom believes that they should contact the authorities, he gives into Isabel’s longing need, raising the child as if it were their own. As the years pass, Tom and Isabel encounter Hannah [Rachel Weisz], a woman whose infant was lost at sea with her husband years ago, giving them the likely impression that she’s the child’s biological mother.

Burdened with the truth, the couple’s life is sent spiraling down an arduous path that’ll determine the lives of four people.

In many cases, it’s easy to give people the benefit of the doubt. With “Blue Valentine” and “The Place Beyond the Pines” under his directorial belt, Derek Cianfrance has proven that he has a unique approach to storytelling. Add the magnetic presence of Fassbender and Vikander and you should have one of the greatest films of the year, right?

In one interview, Cianfrance mentions that he values the majesty of his landscapes, so much so that he blindfolded Vikander before she arrived on-set, aiming to catch her natural reaction on camera. Sure enough, the cinematography by Adam Arkapaw is staggeringly beautiful, capturing the nostalgic feeling of a warm summer’s eve. Rarely has the blend of sea and sky looked so mesmerizing; if only I could say as much for the performances.

To put it bluntly, it’s a pretty movie with insignificant characters and plotting with an overly melancholic score that dares you to strangle the composer. “The Light Between Oceans” best embodies the traits of a TV melodrama of the week, wasting three A-list talents in the process.

When it comes to expressing sadness, Vikander and Fassbender can turn on the waterworks with ease, but it’s utterly useless when they have as much chemistry as two planks of wood.

After two dreadfully dull meet cutes, Tom and Isabel fall head over heels for one another and decide to get hitched on a whim.

Rarely do these inhabit the traits of actual people, but rather hollow characters in a cheap romance novel. They consistently make half-witted decisions that they understand will come back to bite them in the ass, but think nothing of it.

Because of this, it’s extremely difficult to sympathize with their strange (and convenient) predicament.

It’s fairly ironic that a film entitled “The Light Between Oceans” has very few moments of actual levity. After the wedding, it’s one tedious scene after the other, embodying the familiar traits of a Nicholas Sparks melodrama.

You have no idea how painful it is to say such a thing about two of the greatest actors working today. With any other script (minus the stilted dialogue), these two would be a dynamic couple worth remembering throughout the ages. But alas, some lights aren’t bright enough.

Rating: C-

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Inevitable clichés aside, “Queen of Katwe” is an inspiring, uplifting account of a young girl’s persistence to play chess and become more than a pawn to her poverty-stricken surroundings.

10-year-old Phiona Mutesi [Madina Nalwanga] constantly endeavors the grievances that come with living in Katwe, a local slum in Kampala, Uganda, with her family. Everything changes when she stumbles across Robert Katende [David Oyelowo], a kind-hearted missionary that finds comfort in teaching children how to play chess.

Enamored by her determination, Katende takes Phiona under his wing as his protégé. Knocking out one local championship after the other, Phiona sets her eyes on the big prize, one that would endow her with an opportunity to lift her family out of poverty.

While riding on a broken-down miniature bus, a group of underprivileged slum children sing songs to pass the time. Upon their arrival at the college, they all look out the window, viewing the vast campus through a chain-link fence.

Samantha Moore / Art Director

In another movie, this wonderfully subdued moment would be accompanied by a harmonious score. Here, the children fall silent. Unaware of luxuries, they don’t know how to react; they’re dumbfounded. When greeted with their rooms, they choose to sleep on the floor; it’s all they know. This is “Queen of Katwe.”

In a surprising turn of events, Disney hasn’t gone to the lengths that they usually have toward marketing one of their “based on a true story” narratives. It’s truly a shame. With an established autrice (Mira Nair) at the helm, “Queen of Katwe” deserves better.

In the ending credits, each actor stands opposite of their real-life counterpart, and in that moment, it clicked. This was more than another “based on a true story” cash-in.

Where many people call out for a diverse selection of films within the industry, “Queen of Katwe” acts as a beautiful response. Not only does Mira Nair direct some of the best written female characters of the year, she offers insight into a culture rarely depicted in the modern cineplex.

David Oyelowo is the closest we have to an audience surrogate. Through this heartwarming human being, we see what he sees. When offered a position that could potentially take care of his family, the first thing he thinks of are the slum children.

He owns a nice home with enough food to last a lifetime and yet, he thinks of others before himself. When his students doubt themselves before a local match, in the moment, he conjures up a humorous parable that lifts their youthful spirits. For what this scene could have been, it comes across as genuine rather than manipulative.

As expected, Lupita Nyong’o is tremendous as a strong-willed, yet fragile single mother that craves the best for her children, but struggles at every turn to keep life in-check.

Her scenes involve the exploration of such adult themes as class discrimination, prostitution, poverty, foreclosure, etc. that seem out of Disney’s wheelhouse, and yet, they’re wonderfully subtle, never beating the audience over the head with their importance. Mira Nair lets the drama play out for itself, allowing those watching to soak up the emotion.

Cinematographer Sean Bobbitt frames nearly every moment as if the audience is a fly on the wall. After a while, you inhabit a living, breathing environment and the people in it. It’s challenging to define Madina Nalwanga’s presence as a simple performance because she’s so in tune with the narrative that she metamorphosizes into Phiona, embodying her youth and naivete.

The same can be said for most of Katende’s students, who each have their brief individual moments to shine, especially a devastated young girl that comically weeps, “She stole my Queen, she stole my Queen!” after her not-so-glorious defeat at a local competition.

Alongside the successes of “Sully” and “Deepwater Horizon,” “Queen of Katwe” proves that under the right circumstances, the phrase “based on a true story” can mean more than manipulative tearjerkers.

Some clichés are inevitable, but this was a smart showcase of how to execute them correctly. At the end of the day, many will walk out with big smiles on their faces. I know I did.

Rating: B+

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

While Antoine Fuqua’s re-imagining doesn’t reach the cinematic heights of Akira Kurosawa or John Sturges, “The Magnificent Seven” is still an entertaining B-movie Western with a climactic shoot-out, you shouldn’t dare miss.

Oppressed by the ruthless industrialist Bartholomew Bogue [Peter Sarsgaard] and his men, the people of Rose Creek conclude that they’ve had enough. Emma Cullen [Haley Bennett], a recent widow, acts on the town’s behalf, searching for bounty hunter Sam Chisholm [Denzel Washington]. Sympathetic to their cause, Chisholm accepts but recognizes his inability to act alone, rounding up a diverse army of men spread across the territory:

Josh Faraday [Chris Pratt] – Gunslinger with a heart of gold.

Samantha Moore / Art Director

Goodnight Robicheaux [Ethan Hawke] – Ex-Confederate sharpshooter.

Jack Horne [Vincent D’Onofrio] – Gargantuan tracker with an axe at the ready.

Billy Rocks [Byung-hun Lee] – Assassin with a handy pair of knives.

Vasquez [Manuel Garcia-Rulfo] – Mexican outlaw.

Red Harvest [Martin Sensmeier] – Brave Comanche warrior.

As the seven men come to appreciate the people of Rose Creek, it becomes increasingly clear that while many will be slaughtered by Bogue’s approaching squadron, they’re prepared to lay down their lives if need be, a magnificent sacrifice if you will.

A remake to a remake of a cinematic masterpiece; doesn’t that make your head hurt? How does one follow in the same footsteps as Akira Kurosawa [“Seven Samurai”] or John Sturges [“The Magnificent Seven” (1960)]? Well, it’s simple. If it ain’t broke, don’t fix it.

Director Antoine Fuqua offers a well-meaning send-up to the ensemble Western with an exciting remake that’s better than it has any right to be. Despite a limited resurgence, the Western remains a genre that’s since faded out of the public consciousness, but if you add Hollywood A-listers [Denzel Washington and Chris Pratt] into the melting pot, you pique their curiosity.

While “The Magnificent Seven” adheres to familiar cliches of the Hollywood Western, it rarely feels lazy or uninspired, but rather, caring and self-aware. A group of cowboys are hired to protect a small-town setting with a cold-blooded antagonist looming on the horizon. We’ve seen this take place time and time again, and yet, there’s a special charm in its simplicity.

Much like its predecessor, “The Magnificent Seven” clusters a group of the biggest names in Hollywood, as well as a few new faces. The main difference is that this rogue group of sharpshooters are equally diverse in terms of character and ethnicity. In an era where racial prejudice runs rampant, an assemblage of such a diverse team offers a glimmer of hope of what we can strive to be, to work together in unity. Only when the team comes to an understanding, do they fully grasp the gravity of their situation.

With all that said, these are not complex characters (for the most part), they’re the masculine actions heroes of the wild wild west and that’s perfectly okay. However, some of their actions are questionable, which can lead to some overly violent moments that feel out of place within its environment. But much like dealing with a child, it’s difficult to stay mad at them for too long, especially if that child is the lumbering Vincent D’Onofrio or the smarmy Ethan Hawke.

On a side note, it was refreshing to witness a tough, determined female protagonist [Haley Bennett] embodying a character than being regulated as the love interest. Emma Cullen doesn’t have time to bat her eyes, she’s too busy getting in on the action, defending her town and the people in it.

In layman’s terms, when Bogue and his men ride into town, he’s up a certain creek without a paddle (or so you think), culminating in a magnificent 40-minute climactic shoot-out with some of the best action cinematography of the year.

No shakiness to be found, it must be some sort of miracle. The camera follows the action instead of the action becoming the camera. Everything is clear and in focus, offering a grand scope to the grandiose battle for Rose Creek, all while the legendary James Horner (R.I.P) offers a triumphant score to accommodate the final stand.

With a tighter screenplay and a half-hour shaved off, “The Magnificent Seven” would have left a bigger impact but alas, Fuqua suffers from his greatest opposition – pacing. At 134 minutes, the steam starts to wear off well before the twitchy Peter Sarsgaard returns for the climax.

It’s only in those final moments where the film charms you with what it intentionally promised. It’s no “Seven Samurai,” but what is anyway?

Rating: B-

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Clint Eastwood makes a triumphant return to directing with ‘Sully,’ an engrossing tribute to the brave titular hero of New York and those that came to his aid. Tom Hanks and Aaron Eckhart shine amongst many tremendous performances.

When Capt. Chesley “Sully” Sullenberger [Tom Hanks] woke up on January 15, 2009, little did he know that he would end up saving 155 lives. When a massive flock of Canadian geese damaged both engines of US Airways Flight 1549, Capt. Sully and his co-pilot Jeff Skiles [Aaron Eckhart] pulled off a spectacular water landing on the Hudson River. When computer simulations theorized that Sully could have made it back to LaGuardia airport, an investigation is launched to discover what truly happened on that fateful day.

Big or small, there’s no doubt about it, heroes are heroes. When Capt. Sully performed the “Miracle on the Hudson,” his name was instantly synonymous with heroism, having saved 155 lives. Despite over 40 years of flying, a 208 second forced landing defines his entire career. How was Clint Eastwood possibly going to stretch out 208 seconds into a feature film? By some miracle, he pulled it off.

‘Sully’ is, in itself, a movie about celebration, honoring those that jumped to the rescue in a moment’s notice. In the blink of an eye, Sully could have made a frightful decision, one that still haunts him with images of “what if.” Tom Hanks portrays the heroic Captain as very level-headed and humble. He recognizes what he did, but isn’t looking to receive any type of praise. To him, it’s all part of the job.

Samantha Moore / Art Director

Clint Eastwood’s latest directorial efforts have been a little dry, hardly immersing the audience into the environment. Now that he’s finally re-discovered a color palette, the locations of ‘Sully’ are realistically mundane. There’s nothing special about the set design. It’s all very basic, but that’s the brilliance of it because by creating such an average surrounding, it feels that much more grounded in reality. When Capt. Sully goes to get a snack in the airport gift shop, you feel as if you could walk right past him on a whim.

Not only is Sully the main focus, Eastwood takes the opportunity to introduce us to various passengers, bystanders and rescue workers that participated in the incident. Nobody expected what was about to happen, and see to see it from multiple perspectives gave it a true sense of authenticity. If that wasn’t enough, the absence of a score adds a harrowing, haunting silence to the suddenness of the situation.

If I have any regrets, it’s that there was no opportunity for me to see ‘Sully’ in IMAX, considering about 95 percent of the film was shot with IMAX cameras. However the broadening scope was astonishing, even on an average-sized screen. New York City is a massive chunk of land, and when the plane hovers above the Hudson river, every building can be seen in its entirety. During the crash sequence you’re with Sully and Skiles, all while feeling the immediate fear and panic of the passengers, many of which believe their death is imminent.

Nevertheless, while the investigation aspect is important, the unconventional structure jumbles the flow of events. The transitions aren’t as clear-cut as they could have been, but ultimately the point comes across the same. As the audience, you root for him when he’s questioned by the National Transportation Safety Board (NTSB), but you’re also intrigued to learn if maybe there’s something else he could have done.

The miniature flaws throughout ‘Sully,’ such as strange editing choices, over-vilification of the NTSB, etc, can be easily forgiven because of one thing. In an age of cynicism, this is a film in which a hero gets his due. It’s simple and to the point, wasting very little time with anything that’s not the big picture. Clint Eastwood wanted to honor Captain Sullenberger, and did so with a loving tribute to the man who defied the odds.

Rating: B+

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Owning everything under the sun, Disney has reached a point where they can commit franchise murder and nobody would blink an eye.

Looking for a brand new venture, they’ve started to adapt many of their animated properties into live action. With variations of “Mulan,” “Beauty and the Beast” and “Peter Pan” on their way, Disney won’t be stopping anytime soon. All we can do is hope they’ll bring something new while honoring the spirit of the source material. If “The Jungle Book” is any indication of what’s on the horizon, I’m on board.

Raised by wolves, Mowgli [Neel Sethi] has known nothing but the jungle for most of his life. When the fearsome tiger Shere Khan [Idris Elba] vows to kill the man-cub, Mowgli must leave the jungle or watch everyone he loves suffer the consequences.

To guide him on his journey to the man village is Bagheera [Ben Kingsley], an overly protective panther, and Baloo [Bill Murray], a carefree bear content with the bare necessities of life. Both struggle to keep Mowgli out of danger as he stumbles upon the temptations of the jungle including a devious snake [Scarlett Johansson] and a larger-than-life orangutan [Christopher Walken].

Not only does “The Jungle Book” act as a respectable homage to the Walt Disney classic, in many ways, it surpasses it. Those seeking a faithful adaptation of the Rudyard Kipling novel of the same name need not apply, as this interpretation of the tale is based upon its animated predecessor. But don’t fool yourself, this is not the G-rated family film you might expect.

Animals may speak and sing, yet they still inhabit a world in which predator and prey dichotomy exists, and a young human thrown into the mix only complicates matters. Beware, as some children may be frightened by some of the more darker, intense moments.

While his performance could use some tweaking, Sethi made a great  Mowgli, bringing a sense of childlike wonder to the vast landscape of the perilous jungle. It’s even more impressive when you understand how the production came to be.

At the end of the credits, you’ll see “Filmed in Downtown, Los Angeles,” a term that should feel familiar by now, but, in this case, signals a game changer in the Hollywood system. About 99 percent of what you see on screen was shot in a studio backlot against a green screen. No sets, no practical effects, no exotic location shoots, just Sethi acting against nothing.

“The Jungle Book” works with such a simple story, focusing more on character moments and the fact that a first-time actor managed to bring heart and emotion to creatures he couldn’t see only adds to the performance.

Despite their conception being left to a computer, every animal littered throughout the film is photorealistic to the nth degree.

Rarely will you doubt that you’re looking at anything other than a tiger, bear or panther. While Sethi had the hardest job among them all, credit must be given toward the voice actors for their tremendous performances. On the lighter side, Ben Kingsley as Bagheera is the coddling parental figure that we all remember, wary to let Mowgli dare get out of his sight, only jumping into violence when he has to.

On the other hand, there’s the man, the legend known as Bill Murray, voicing our favorite happy-go-lucky bear Baloo. He’s always ready with the quips and easy tricks necessary to live a successful life in the jungle. Lazy to a fault, but when danger is on the horizon, Baloo thrusts into action to protect the man-cub he’s come to know and love against the predator that everyone fears.

When I mean predator, I don’t mean Johansson as Kaa, the slick snake whose screen time is less than advertised. That said, she makes a good impression as the character that’ll you leave scratching your head as to why they kept her in to begin with.

I would gladly give her up for five more minutes of screen time with Walken as King Louie, a role he was born to play. Needless to say, when “I Wanna Be Like You” comes on, unlike the original version, I was entertained and petrified at the same time. All I’m going to say is prepare for many sleepless nights.    

To say that Elba’s casting as the intimidating Shere Khan was a match made in heaven is an understatement.

In this interpretation, a clear motivation is given to his quest to spill the man-cub’s blood. Used sparingly, his presence is sure to cause fright wherever he roams.

As fairly predictable as the plot may be, what makes this adventure work is not where it’s going, but rather how. Director Jon Favreau crafted something out of nothing, letting his imagination run loose and wild. “The Jungle Book” is a technical marvel with lovable characters brought to life by pristine CGI, all heading toward a riveting climax made grandiose by James Newton Howard’s captivating score.

Rating: A

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com

Rent the tux and grab a seat, it’s time for the Eighty-eighth Academy Awards! I now present to you my rundown of every Best Picture nominee and, my god, there was such a great collection of films being honored with the most prestigious award in Hollywood. Although Spotlight snagged the Best Picture win, I’ll be counting down from my least favorite film to my personal pick for the prestigious award. Let’s get started!

#8: The Big Short

Comedy director Adam McKay and his merry men [Steve Carell, Brad Pitt, Ryan Gosling and Christian Bale] come together to tell an all too familiar tale of greed for the modern age, a scheme that went right over our heads during the 2008 housing market crisis. Shot as if it were a mockumentary, these characters shine a bright light on the socio-economical culture that surrounds us. While its content is important for audiences to see, it tends to drag toward the second act. There’s a point where characters are repeating the same information with nothing much new to add to the situation. With impressive performances, brilliant editing and a haunting climax, “The Big Short” is an informative ride among the ranks of such despicable people.  Rating: B

#7: Bridge of Spies

Many have discounted Steven Spielberg’s latest historical drama as stale and lengthy, but to my surprise, I quite enjoyed the slow-burn pacing. When you add the cinematic magic of Spielberg and the writing of the Coen Brothers, you have yourself a winning formula. With Hanks as a delightful Jimmy Stewart type figure, “Bridge of Spies” has the spirit of a drama/thriller from the days of 1950s Hollywood. As much as I adore this film, however, it had no chance of grabbing an Oscar and it didn’t deserve to.  Rating: B+

#6: Spotlight

We have our winner here in sixth place. Noteworthy for being one of the best newspaper movies since “All the President’s Men,” “Spotlight” deserves all of the commendation it’s been acquiring. How director Tom McCarthy went from “The Cobbler” (a critical catastrophe) to a Best Picture nomination  and win is nothing short of a miracle. Sharp performances from Michael Keaton, Rachel McAdams and Mark Ruffalo are stellar examples of flawed characters who we want to see succeed against insurmountable odds. Many predicted that it would take home Best Picture, but I thought it was going to another deserving nominee instead. Rating: B+

#5: The Martian

Even with the recent downward slope of famed director Ridley Scott, he managed to pull this magic trick out of nowhere and reminded us of his sci-fi glory days. Matt Damon gives a vigorous performance of a lone survivor who ventures to keep his spirits up despite every obstacle that’s thrown his way. While back on Earth, a wide array of talent comes together to bring back one of their own before it’s too late. “The Martian” is an absolute delight that unites all of us in spirit, watching a man making the best of a bad situation, doing his best to stay alive, even if that means cracking a few jokes along the way.  Rating: A-

#4: Brooklyn

Out of all the nominees, “Brooklyn” is known as the movie many people still haven’t seen. Every year at the Oscars, there’s always that one and it’s such a shame because the film is a delectable delight. The term “date movie” gets a bad rap because of the manipulative Nicholas Sparks drivel that thinks nothing of its audience. “Brooklyn” is a date movie that brings credibility to the name through an exquisite performance from Saoirse Ronan. So, strap yourselves in for a blast of nostalgia from a time not too long ago where Gene Kelly was the bee’s knees.  Rating: A-

#3: Room

Ever since I discovered Brie Larson through “Short Term 12,” I knew she was destined for a longstanding career and, with the release of “Room,” she’s cemented that future. Director Lenny Abrahamson traps her and breakout star Jacob Tremblay inside a shed and their interaction with one another transcends throughout the entire film. Observing Tremblay’s character and his discovery of the hardships and benefits of the outside world makes it clearer than ever that he was worthy of the nomination that he didn’t receive. However, Brie Larson did take home the gold for Best Actress and that was well deserved. Rating: A-

#2: The Revenant

If my review last week was any indicator, I loved “The Revenant” from beginning to end. For the second year in a row, director Alejandro G. Iñárritu delivered another astonishing, visceral experience that had my eyes glued to the screen. With remarkable performances from Leonardo DiCaprio and Tom Hardy set amongst the extraordinary cinematography from Emmanuel Lubezski, “The Revenant” is not one to miss. Finally, Leo recieved the Oscar he has deserved for so long now. Iñárritu took Best Director as well. Either way, there is no argument from me. Yet, while I would’ve been satisfied with Best Picture for this film, my heart belongs to another. Rating: A+

#1: Mad Max: Fury Road

“I live, I die, I live again!” Never has a quote so eloquently described the career of genre director George Miller, a man who came on the scene with “Mad Max,” slumped with the “Happy Feet” series, and has now resurrected the action genre with “Mad Max: Fury Road,” an exercise in pure madness! What is there to say that hasn’t already been said by now? Since the day I saw it in theaters, I declared it an action masterpiece and with a Best Picture nomination, that status shall remain throughout the ages. Out of all the nominees, I really  hoped “Mad Max” could have taken the crown all the way to Valhalla!  Rating: A+

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com.

With the limited comic book properties that 20th Century Fox has its hands on, there’s a bit of inconsistency on how they handle them. The “X-Men” franchise contains some of their biggest hits, and yet, they found a way to muck up some of those as well (“X-Men: The Last Stand,” “X-Men Origins: Wolverine”). Last year alone, they concluded the summer with the monumental failure known as “Fant4stic” that left many (including myself) wondering what went wrong. Knowing they have to atone for all of their wrongdoings, they’re putting all of their chips in and betting all on black with “Deadpool” and I gotta say, that was one hell of an apology.

Forget the “Deadpool” you thought you knew from “X-Men Origins: Wolverine.” That interpretation of the character no longer exists. This time, when the mask goes on, Deadpool [Ryan Reynolds] is the foul-mouthed, no holds-barred, mean, lean killing machine we’ve all been waiting for. Under the mask, before his transformation, he’s Wade Wilson, a mercenary for hire that finds the love of his life in Vanessa [Morena Baccarin].

Once Wade discovers that his body is riddled with cancer, he’s offered a cure as well as the ability to perform extraordinary feats. Things take a turn for the worst when Wade’s body is permanently scarred from the experiment, setting him on a revenge path to take out the man that made him a monster, Ajax [Ed Skrein], or Francis, it depends on who you ask.

Patrick O’Connor / Equinox Staff

Never has a tone been established as quickly than in “Deadpool” where the opening credits are already making you laugh before the movie even begins. In an age where comic book movies [many of them remarkable] are PG-13, there’s a clear absence of the R rated superhero and this film fills that empty hole quite nicely.

For years, “Deadpool” was a passion project for Ryan Reynolds. He was immensely disappointed as to how the “Merc with a Mouth” was portrayed the last time around and he wanted to appease the loyal fans. Through all of the marketing and the film itself, it seemed destined that Reynolds was born to play this role. Only he could break the fourth wall with such stamina and efficiency.

There are certain expressions that you’ll never hear a Marvel character say on the big screen, so as a character who pushes the boundaries far beyond what’s expected of him, Deadpool says it all. His quotes are incredibly unconventional but when he declares them, they’re that much more hysterical. The meta humor goes above and beyond to break down the tropes of the superhero formula, but does so in a loving fashion for the sub-genre.

This film is a love letter to the flip side of comics where the heroes don’t always follow the code of truth and justice, sometimes they’re just a**holes. Yet, while Deadpool is the way he is, his origin is one of heartbreak. For every moment that Reynolds isn’t in the suit, he makes up for it with recanting his story to us to show how he got to be in this predicament.

Relationships in comic book movies work about 50 percent of the time, but this is a rare case in which the love story is ubiquitous throughout but adds to the narrative rather than taking it away. Ryan Reynolds and Morena Baccarin’s chemistry is impeccable. These two could not be more similar in personality, which makes for some priceless gags, one of them involving a montage that contains one of the funniest things I’ve ever seen in a comic book film.

Best known for her work in the cult series “Firefly,” Baccarin is a lovable burst of energy with a hard edge. Just when you think that she’s going to play the stereotypical superhero girlfriend, she does something that goes against the stereotype. Since her relationship with Wade is as strong as it is, it makes his transformation into this disfigured mutant all the more distressing.

Wade’s transition from mercenary to monster is one of tragedy, pain and suffering. Even while he’s spraying bullets and severing heads, there’s a clear and understandable motivation behind his rage. Most of the hardcore violence is gory to the extreme, but it’s shot in such a way that makes you laugh, rather than sit there in disgust.

All of this, just to get to Francis, the sadist of the film. His malevolent nature is one of pure evil, yet Skrein only manages to reach the surface level. As an antagonist, he has the character down but the personality could have used some work. That’s not to say he was wasteful; I still feel like I got something out of him even if he wasn’t entirely memorable.

However, the two X-Men that follow Deadpool on his revenge path are outstanding. Both Colossus [Stefan Kapičić] and Negasonic Teenage Warhead [Brianna Hildebrand] work as the perfect comic foil for the outrageously immature protagonist. Each have their own unique capabilities that highlights their personalities. Their introduction is only the seed to a much larger plan regarding the X-Men.

Is “Deadpool” a game changer for comic book movies? Yes and no. No because the formula is still in place but as we’ve learned, if you can do something new with it, then you’re perfectly fine. Yes because the success of this film will [and should] lead to more R-rated adaptations of superhero/antihero properties to the big screen.

From start to finish, “Deadpool” was a riot with consistent humor, a believable romance and hard R action that never gets tiring.

Post Credits Scene? Yes, two of them. Don’t you dare leave the theater. You should know better by now!

Rating: B+

Matt Bilodeau can be contacted at mbilodeau@kscequinox.com.