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 16 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 critic and columnist. In 2016, I joined Story Monsters magazine as a film critic 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
Boom baby! ***1/2
Your enjoyment of “Ocean’s 8” will entirely rely on how much your you liked Steven Soderbergh’s “Ocean’s” trilogy. If you couldn’t get enough of the previous three films and have been yearning for more, you can bet on having a good time here. If you’re officially Ocean-end out, this sequel/soft revival probably won’t offer many surprises. While safe and fairly by-the-numbers, it’s still a well-executed heist comedy with enough star-power and glitz to keep the target audience entertained. Anybody who’s onboard going into the theater will get what they paid for, no more, no less.
Sandra Bullocks takes the reins of the franchise as Debbie Ocean, Danny’s equally crafty sister. Following a five year prison sentence, Debbie plans to pull off the biggest heist of her life at the Met Gala. Anne Hathaway is an MVP here as a self-centered celebrity named Daphne Kluger, who will be wearing a $150 million necklace to the ceremony. Of course Debbie can’t pull off this job alone. Her eccentric crew consists of Cate Blanchett as her right-hand woman, Helena Bonham Carter as a struggling fashion designer, Mindy Kaling as a quirky jewelry maker, Awkwafina as a sketchy pickpocket, Rihanna as the world’s most gorgeous hacker, and Sarah Paulson as a housewife who comes out of retirement for one last job.
While this “Ocean’s” film has been classified as an all-female reboot, the leads aren’t written as stereotypical woman. Most of these characters just as easily could’ve been played by a man, but the presence of these eight charismatic actresses brings something refreshing to the equation. The entire ensemble shines and everyone works off one another wonderfully. Although Soderbergh didn’t return to direct this outing, Gary Ross captures the same slick style and cheeky tone. The heist itself is a creative one and leaves the audience guessing how exactly these people are going to get those diamonds off Hathaway’s neck.
What the film lacks is a compelling villain. From Andy Garcia to Al Pacino, this franchise has attracted some pretty cunning baddies. Here, however, there’s not really anyone for the audience to root against and the character who comes the closest to being an antagonist is completely forgettable. It briefly looks like James Corden might shake things up as an insurance agent, but he’s sadly underutilized. As a result, our heroes seem to have the upper hand from the start and there isn’t really a sense of dread.
In spite of its shortcomings, “Ocean’s 8” ultimately compensates with its capable cast and Ross’ confident direction. While it isn’t the franchise’s best outing, it does provide a solid launching point for a new era. It would’ve been nice if the filmmakers took more chances, but that’s what we have sequels for. It’d actually be fun to see the series continue with “Ocean’s 9” and “Ocean’s 10,” bringing things full circle... just like an O.
You praying to me? ***1/2
Over four decades ago, Paul Schrader forever changed cinema when he wrote “Taxi Driver.” While Martin Scorsese’s direction often soaks up most of the credit, Schrader deserves just as much recognition for crafting one of the 20th century’s most gripping character studies. “First Reformed,” which Schrader both wrote and directed, has the essence of a modern “Taxi Driver” with a touch of "The Last Temptation of Christ." It’s not as good as those films and chances are it won’t leave behind the same impact. Schrader’s film evokes many of the same feelings, however, taking the audience on an unsettling, understated, and uncompromising journey they won’t soon forget.
Ethan Hawke delivers one of his most powerful performances as Toller, a former military chaplain whose son died in war. Being the one who convinced his son to join the armed forces, Toller is already riddled with guilt and grief over his death. Although he’s clearly suffering from a fatal ailment, he’s reluctant to seek medical help. Toller has for the most part cut himself off from having meaningful relationships, only occasionally speaking to a fellow pastor (Cedric the Entertainer) and a well-meaning yet nosy choir conductor named Esther (Victoria Hill). This man of the Lord only becomes more conflicted as he grows closer to a pregnant woman named Mary, beautifully played by Amanda Seyfried. She asks Toller to council her paranoid husband, who’s convinced that the environment is beyond repair. Unfortunately, Toller not only fails her husband, but also slowly comes to believe that mankind has doomed the world God gave us.
Environmentally conscious films tend to range from well-intentioned to unbearably self-righteous. “First Reformed” isn’t without its preachy moments and can at times be a bit too on the nose, especially when it comes to tackling big corporations. More often than not, though, the film avoids the clichés you might expect. This isn’t a movie that tries to provide an easy solution to a global problem. Rather, it’s about a man desperately searching for answers, but finding nothing but uncertainty around every corner.
Like Travis Bickle, Toller simply wants to fit into something greater. The more he struggles to find a purpose, though, Toller starts to take extreme measures in hopes of fixing a timely issue. A more straightforward film would’ve just made Toller a one-dimensional martyr. Instead, he emerges an incredibly complex protagonist. You could argue that he’s a Christ-like figure willing to sacrifice his life for the greater good, but he could also be seen as a deeply troubled individual on the verge of committing suicide.
In terms of style, Schrader keeps things subtle and intimate with a tight aspect ratio. The film isn’t without its surreal moments that catch the audience off-guard, however, most notably a psychedelic flying sequence reminiscent of “The Big Lebowski.” The ending in particular is going to have a lot of people scratching their heads. With nothing spelled out and a slow pace, “First Reformed” admittedly isn’t for everyone. For those familiar with Schrader’s work, though, you’ll definitely walk away with something to think about.
Never forget, Han shot first ***1/2
There have been amazing “Star Wars” movies like “The Empire Strikes Back,” awful “Star Wars” movies like “The Phantom Menace,” and even divisive “Star Wars” movies like “The Last Jedi.” Now we get “Solo,” the first “Star Wars” movie that’s just… fine. It’s not great, but it’s not bad either. It’s a thoroughly assuming adventure that’ll keep die-hard fans and casual viewers entertained, although the experience probably won’t stick with them like any of the of the previous entries. Considering that the film’s production had so much going against it, most notably director Ron Howard taking over for Chris Miller and Phil Lord, it’s comforting to see everything come together with mostly positive results. Since this is “Star Wars,” though, you’d think that the film would spark more passionate feelings, be they good, bad, or mixed.
The film naturally provides an origin story for young Han Solo, played by Alden Ehrenreich, who wishes to become the galaxy’s greatest pilot and reconnect with his old girlfriend Qi'ra (Emilia Clarke). On his road to becoming an unlikely hero, Han of course crosses paths with a Wookiee named Chewbacca and a charming scoundrel named Lando Calrissian (Donald Glover). He’s also taken under the wing of a Long John Silver-like smuggler known as Tobias Beckett (Woody Harrelson). Beckett signs Han up for a job that’ll make them all wealthy, although the odds aren’t exactly in their favor.
Han Solo is such an iconic character that it’s impossible to separate him from Harrison Ford. That being said, Ehrenreich does about as well as any young actor possibly could in the role. It’s been reported that Ehrenreich was required to take acting lessons well into filming at the request of Lucasfilm. This had many fans worried, recalling the scene from “Hail, Caesar!” where Ehrenreich’s character is miscast in a comedy of manners. Fortunately, Ehrenreich ultimately pulls off a believable performance, successfully mimicking Ford’s voice and body language. While it can feel like an impression at times, Ehrenreich wins us over with his charm and charisma. The same can be said about Donald Glover, who’s the next best thing right after Billy Dee Williams. In other words, this isn’t another Hayden Christensen situation.
The rest of the cast is well-suited for their roles too. Harrelson is a likable con man, Clarke is an alluring dame, and Paul Bettany is a menacing gangster. There’s also Phoebe Waller-Bridge as L3-37, a droid activist who wonders why her kind can’t be served at every cantina. It would’ve been nice if the film provided more commentary on machine prejudice in this universe, but perhaps that’ll be another “Star Wars Story.” The action, while nothing mind-blowing, is keenly executed and the visuals are nothing short of stunning. The film isn’t without pacing issues, especially in the final act where we get multiple climaxes. There’s also a surprise cameo that’s admittedly pretty cool, although adds little to the plot. As far as space westerns go, however, “Solo” is a solid piece of work, even if it really didn’t need to exist.
Han Solo is undeniably one of the greatest characters in the history of cinema. After the original “Star Wars” trilogy and “The Force Awakens,” though, it feels like everything has already been said about him. This film does nothing to diminish Han Solo’s legacy. On the contrary, it’s true to the character’s spirit from beginning to end. The film just doesn’t add anything new to the character, or the “Star Wars” mythology for that matter. Considering that “The Last Jedi” left the masses split down the middle, it makes sense that “Solo” would be safer, but it’s hard to get really invested in a story where you can predict everything that’s going to happen. In a nutshell, if you want a “Star Wars” picture that takes risk, this isn’t the picture you’re looking for. If you’re in the mood for a brisk, lighthearted romp in a galaxy far, far away, however, “Solo” is satisfying, albeit a bit scruffy-looking.
Am I the only one who wants to see Peter get his own spin-off? ****
In an oversaturated superhero movie market, the original “Deadpool” stood out with its self-aware sense of humor and unapologetic R-rating. “Deadpool 2” is essentially more of the same. That’s not at all a bad thing, as the film ultimately delivers exactly what we want: more over-the-top violence, more gratuitous swearing, and Ryan Reynolds as the Merc with a Mouth. On one hand, it’s kind of disappointing that “Deadpool 2” doesn’t up the ante, but it’s hard to imagine how a sequel like this could possibly be as fresh as its game-changing predecessor. It’s still a most entertaining second chapter with enough memorable moments to warrant the price of admission.
Reynolds is better than ever as Wade Wilson, aka Deadpool, who acknowledges upfront that the Oscar-nominated “Logan” is a tough act to follow. Similar to Wolverine’s relationship with X-23, this film follows Deadpool as he takes a temperamental mutant named Firefist (Julian Dennison) under his wing. Firefirst lands in hot water, however, when he’s targeted by mutant solider from the future named Cable, played by Josh Brolin. To protect his little buddy, Deadpool forms a new team called X-Force, which includes Zazie Beetz as the lucky Domino, Terry Crew as the not-so-lucky Bedlam, and Rob Delaney as the powerless Peter.
While you’ll go to the theater to see Deadpool himself, Reynolds fortunately doesn’t have to carry the movie on his own. Deadpool has a terrific ensemble to support him and his interactions with everyone, from Stefan Kapičić’s Colossus to Brianna Hildebrand’s Negasonic Teenage Warhead, are a delight to watch. Brolin also further proves that he can do little wrong with his debut as Cable. Funny to think that Brolin dominated the MCU as Thanos only a couple weeks ago and now he’s in another Marvel movie. And yes, Deadpool doesn’t hesitate to poke fun at this.
As you would expect, “Deadpool 2” is full of hilarious comic book and movie references, most notably taking shots at the DC Extended Universe. There are even some obscure references you never would’ve expected to see in an “X-Men film,” such as the parallels between “Frozen” and “Yentl.” Although the jokes mostly hit bullseyes, “Deadpool 2” admittedly slows down whenever it tries to be a real superhero movie. You don’t care that much about Deadpool’s growth as a person and the story is nothing new. As a matter of fact, the plot here would be a pretty basic rehash of “The Terminator” or “Looper” if it weren’t for the humor. Unlike “Kick-Ass 2,” though, this film fortunately doesn’t forget that it’s supposed to be a comedy above all else.
For all the moments that drag, “Deadpool 2” always has an inspired gag or an inventive action set piece waiting around the corner. Even if it’s not as good as the original, it’s sure to be enjoyed by anyone who likes Deadpool. It also has what might be the greatest end credits sequence in the history of film. Without giving too much away, let’s just say that it makes up for the sins of the past while opening the door for a potentially interesting future. With that said, bring on the “X-Force” movie!
Wha... what just happened?! ****1/2
"Avengers: Infinity War" makes everything that came before look like a slight brawl. Bigger doesn’t always equal better, but in this case, going big pays off in marvelous ways.
Read full review at Story Monsters.