All the top 10 lists Nick has scripted for WatchMojo.com, the 7th largest YouTube channel in the world throughout 2014.
Nick's film review column at Filmfestivaltoday.com.
A comic strip sadly inspired by the real life of Nick Spake.
At the age of fifteen, I launched NickPicksFlicks.com, a website dedicated to the art of film. Since then, I have worked as a published film critic for Arizona State Press, Ahwatukee Foothills News, Nerd Repository, Film Festival Today, Arizona Filmmaker Magazine, and East Valley Tribune. Entertainment writing has also given me the opportunity to interview several big name celebrities, including Emma Stone, Chris Evans, J.J. Abrams, Emma Roberts, and various others. My life hit a roadblock in 2013 when I was diagnosed with Hodgkin's Lymphoma, but I refused to let having cancer prevent me from writing film reviews and finishing college with a 4.0 GPA. In May 2013, I graduated from Arizona State University, achieving a BA in Theatre and a minor in communications. Teaching me just how precious life is, my disease further influenced me to reach out to others through my writing. Today, I'm happy to say that I am currently cancer free. As of September 2014, I have worked as a freelancer writer for WatchMojo.com, which recently surpassed 6 million subscribers on YouTube. This video content site has acted as a creative outlet for me to write top ten lists about movies, television, video games, and pretty much everything else. Out of the hundred scripts I've contributed to them so far, I'm primarily proud of the Top 10 Sci-Fi Movies of All Time, Another Top 10 Super Bowl Commercials, and Top 10 Worst Movies of 2014. In 2015, I joined the Flickreel family as a a critic and columnist. I'm overjoyed to be on the team and can't wait to bring you all more movie reviews.
5 Stars= It's Simply the Best
4 Stars= Totally Rocks
3 Stars= Rad
2 Stars= Bad
1 Star= Terrible
Zero= Totally Sucks
Denis Villeneuve’s “Arrival” would make a superb double feature with Jeff Nichols’s “Midnight Special,” which hit theaters earlier this year. Both movies have phenomenal buildup, calling to mind Steven Spielberg’s “Close Encounters of the Third Kind.” “Arrival” in particular is perhaps the closest any contemporary film has come to capturing the wonder of a classic “Twilight Zone” episode. Like Rod Serling’s best works, “Arrival” is a poignant and clever piece of science fiction with provocative themes that parallel our own society. Above all else, this is a challenging mystery that keeps you guessing until the final act, which fortunately doesn’t disappoint.
Amy Adams, who’s still overdue for an Oscar, gives one of her finest performances as Dr. Louise Banks. This linguist becomes the government’s go-to girl when several UFOs arrive on earth. Upon making first contact, the military quickly finds that the aliens are unfamiliar with the human language. These extraterrestrials primarily communicate through visuals that kind of look like inkblots. Banks is tasked with not only interpreting their language, but also teaching the aliens how to converse with humans.
“Arrival” features great supporting performances from Forest Whitaker as a US military colonel and Jeremy Renner as a hunky mathematician. However, the film belongs to Adams, who creates a strong, smart, and driven protagonist at the center of the biggest event in human history. Banks is already coping with the loss of her daughter, who died for a terminal illness. Yet, this doesn’t stop her from pushing forward with the weight of the world on her shoulders. Adams brings a genuine sense of awe to her role and keeps us invested every step of the way.
The aliens are also unique creations with some of the most distinctive designs since “District 9.” Their spaceships in particular are highly inventive, looking like eclipsed moons on the outside. On this inside, though, they’re reminiscent of the Star Gate from “2001: A Space Odyssey.” With a budget of only $50 million, Villeneuve accomplishes so much on a visual level than Michael Bay, Roland Emmerich, or Zach Snyder could with $200 million. While the effects here are extraordinary, they really aren’t the focus here. This is a movie about communication, which is especially significant in an era where so many cultures seem divided and disconnected. If we could all learn to speak a universal language, though, we might just move towards a brighter future.
There’s an unwavering sense of uncertainty throughout much of “Arrival,” as Banks attempts to uncover why these aliens are here. Have they come to enrich humankind or cause our downfall? Eric Heisserer’s screenplay brings everything full circle in the end with a twist that surprisingly doesn’t feel forced. Villeneuve, who previously gave us “Prisoners” and “Sicario,” continues to prove that he’s among our most impressive up-and-coming directors. One can only hope he’ll bring the same passion and intelligence to the upcoming “Blade Runner 2049.” Until then, “Arrival” is a modern sci-fi classic that’ll make audiences think while also influencing them to keep watching the stars.
"Loving" is a dramatization of arguably the most significant interracial marriage in American history. It’s actually surprising that Hollywood has taken almost fifty years to produce a major motion picture about the Loving v. Virginia case. Of course there was a 1996 made for television movie starring Timothy Hutton and Lela Rochon. Even in today’s supposedly progressive world, the themes depicted in "Loving" remain as relevant as ever. Sure, interracial marriage might not be prohibited in the US anymore, but audiences can still draw parallels to same-sex marriage, which only just became legal in all fifty states. Racial tensions also continue to run high in our country with many people taking sides. In that sense, "Loving" couldn’t have come at a better time, especially now that Donald Trump is president.
Joel Edgerton turns in some of his finest work as Richard Loving, a white man from Virginia. Richard is deeply in love with an African American woman named Mildred Jeter, beautifully played by Ruth Negga. When Mildred becomes pregnant, Richard doesn’t think twice about asking her to marry him. Since it’s 1958, though, interracial marriage is still outlawed in their home state. The couple tries to beat the system by getting hitched in Washington, D.C. After returning to Virginia, however, they’re both quickly incarcerated.
Richard and Mildred are given two options. They can either remain in jail or find a new home in Washington. The two naturally choose the latter, but the adjustment isn’t easy. As much as Mildred loves Richard, it pains her to be so far away from her family in Virginia. It appears that the couple might be able to finally get some justice when a politician named Bernie Cohen (Nick Kroll) catches wind of their situation. He believes that the case could go all the way to the Supreme Court, abolishing the interracial marriage ban for good.
Mildred is willing to get in front of the cameras and voice her opinion. Richard is much more reluctant to put himself out there, fearing that his family will be harassed and killed. He’s willing to take a risk, though, if it will make his wife happy and lead to a brighter future. This is largely what makes "Loving" such a great film. Even when Richard and Mildred aren’t speaking to each other, they’re always on the same page. Life might not always be simple for them, but the audience never doubts for a second that these two adore one another and will overcome any obstacle together. The bond they share is truly powerful and poignant, reminding us that love should be the only factor when it comes marriage.
Writer/Director Jeff Nichols is known for making very understated films that manage to say a lot with minimal dialog or action. His signature subtlety is present throughout the entirety of "Loving." Nichols is given numerous opportunities to take a more straightforward or obvious route, but he avoids melodrama around every corner. Instead, he gets the film’s messages across through low-key direction and multi-layered performances. The result is a gripping, thrilling, and inspiring experience audiences everywhere should take to heart.
“Moonlight” is a stunning cinematic achievement that has a fair deal
in common with Richard Linklater's “Boyhood.” Both films are
extraordinary coming-of-age stories. “Boyhood” was primarily about
capturing the experience of growing up, however, painting a picture that
could speak to anybody. “Moonlight,” meanwhile, is arguably a more
personal outing, depicting a young man’s search for an identity in a
ruthless environment. Barry Jenkins’ film is tragic, gritty, and
occasionally flat-out brutal. At the same time, though, it catches you
off guard with its moments of sheer hope.
The movie is broken into three acts, following an African American named Chiron throughout childhood, adolescence, and adulthood. Newcomer Alex R. Hibbert plays Chiron as a young boy. Bullied by the other kids his age, Chiron is branded with the nickname “Little.” Chiron’s home life isn’t much better, as his dad is absent and his mom is an abusive drug addict. In a Best Supporting Actress caliber performance, Naomie Harris dominates the screen as Chiron’s mother. Creating a cruel and unpredictable character, her portrayal is right up there with Mo'Nique’s Oscar-winning work in “Precious,” although Harris’ character arguably has more humanity.
Chiron finds two parental figures in a drug dealer named Juan (Mahershala Ali) and his girlfriend Teresa (Janelle Monáe). While Juan seems like a threatening individual at first, he becomes the first person to show Chiron love and support. It quickly becomes clear that Juan puts up a tough front, having a heart of gold underneath. With that said, Juan is still forced to do things he’s not proud of in order to survive. Guess who sold those drugs to Chiron’s mother in the first place?
Ashton Sanders plays Chiron as a teenager, leading to the darkest act in “Moonlight.” Chiron is tormented at school, as thugs beat him relentlessly while shouting homophobic slurs. The closest thing Chiron has to a friend is Kevin (Jharrel Jerome). The closer they get, Chiron and Kevin find that their feelings for each other might run deeper than friendship. Like Juan, though, Kevin also needs to preserve his image to get by. This ultimately influences Chiron to make a decision that will forever change the course of his life.
Two-thirds into “Moonlight,” some
audience members might wonder why they’re watching such a bleak,
difficult film. However, they’ll begin to understand why in the third
act where Trevante Rhodes plays an adult Chiron. Without giving too much
away, the film’s final destination is a lot different than what
audiences will likely expect. Let’s just saw that it brings Chiron’s
life full circle in a smart, poignant, and beautiful manner.
Barry Jenkins has delivered a truly profound film about labels, society, and the masks we wear. “Moonlight” also provides an insightful looks at the phenomenon of nature vs. nurture, demonstrating what it means to product of your environment. It accomplishes this with superb acting, a gripping score, and subtle direction. Most importantly, it encourages us to see other people in multiple lights, as the world isn’t always black and white.
Directed by He Must Who Not Be Named ****1/2
Much like Nate Parker’s "The Birth of a Nation," "Hacksaw Ridge" is a great movie from a controversial man.
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