Hell is having to explain the movie Her to somebody. A man falling in love with an operating system is definitely a bizarre premise and by all accounts makes Her a weird film, but there’s more to it than the surface level would lead you on to believe. It’s a wonderful commentary on human relationships as well as our rapidly changing technology and the way we incorporate it into our day-to-day lives. It also weaves a simple yet moving love story to accentuate the new ways we are meeting our emotional needs with technology. There’s so much warmth and beauty to this film that it has stuck with me since I first saw it this past Monday and it’s quickly becoming one of my favorite movies.


Unable to move forward with his divorce, Theodore Twombly (Joaquin Phoenix) has slowly become a lonely introvert shielding himself away from society. Silently reaching out for some sort of connection Theodore eventually buys a new product called OS One. OS One is a personalized A.I. assistant designed to adapt and evolve into a more human like companion. Theodore chooses a female OS named Samantha (Scarlett Johansson) as his companion and together the two help teach other learn about life, dealing with the complexity of emotions, and finding happiness.


It’s a never-ending debate on whether or not technology is hurting or helping the way we interact with each other. We’ve never been more readily connected than we are now and yet there’s still a sense of detachment, especially in face-to-face communication. I’ve seen lasting friendships made through online communities and I’ve seen stories of malicious deception through online anonymity. Her takes this debate and provides us with a smart, funny, and often awkward look on both sides. The film opens up with Theodore going through the various different ways we use technology to connect with others but illustrating the emotional disconnect without the personal touch. From online chat rooms, video games, and automated news feed, Theodore wanders aimlessly through his life. He’s searching for some connection but each readily available avenue doesn’t provide him with the satisfaction he is looking for, as is evidently seen with his late night chat room partner.  Enter in Samantha. Together Samantha and Theodore hit it off far more than any of the other contrasting human relationships in the film. On paper the two are perfect for each other despite the fact that Samantha is a computer.

The biggest and obvious challenge the film faces is getting you to buy into this strange relationship. Personally it works for me largely due to the wonderful chemistry between Joaquin Phoenix and Scarlett Johansson. The conversations are playful and fun and the sense of happiness the two bring to the screen is undeniably warm. Scarlett Johansson especially brings Samantha to life with nothing more than her voice. The sheer range of pure emotion she brings to Samantha is pleasant and incredibly soothing. I found myself really invested not only in the living breathing Theodore but also the artificial Samantha. Her progression from an enthusiastic AI to something far more emotionally complex is interesting and served as a nice compliment to Theodore’s journey to understand his emotions. Joaquin Phoenix gives a great performance as well. He really captures the isolated sadness his character faces all while providing a warm sense of optimism. Both Johansson and Phoenix work in tandem to create a melancholy but beautiful look at human relationships and helps the film capture a true sense of love. Not just the romantic lovey dovey everything is perfect aspect but also the fears, the insecurities, and jealousy as well. By including this less than glamorous look into something as complex as love, the film impresses the rewarding experience of sharing your life with someone. Needless to say the film sold me on their relationship and it only opened up more interesting questions.


I remember thinking it was strange how matter of factly some people accepted this bizarre relationship, especially when Theodore and Samantha would be out and talking in public. However, in this near futuristic setting where professional companies are created to write personal love letters for others it makes all the sense in the world. It took me a second to realize how disengaged others often were in the public settings yet still communicating with their own devices. To them Samantha and Theodore are no different, if they even stopped to take notice at all. It really showcases the similarities to the way we are today whether it’s through long distant relationships or purely Internet based relationships in both a romantic and non-romantic sense. We’re constantly bombarded with notifications from social networks, texts, and emails, all while holding extensive phone conversations with seemingly no one. It really showcases the film’s ideas looking ahead at the evolution of human relationships and how obsessed we are with technology.

Sure what Samantha and Theodore have is strange, but who’s to say we’re not that far off? To quote a soon to be over quoted line from the movie, “Falling in love is a crazy thing to do. It’s kind of like a form of socially acceptable insanity.” Samantha and Theodore found their own sense of joy so what’s it to others as long as they’re happy? They seemingly meet each other’s needs emotionally and are helping each other learn new things. Although the film does a good job of showing both sides of the argument it eventually tips it’s hat on how it feels in the end and I think it serves as a wonderful litmus test for your own feelings, which is what makes this film great.


Without going into too much detail the film begins to capture the painful fall out of any relationship. It’s wonderful that although this film is first and foremost a love story it manages to include a very thoughtful sci-fi narrative on artificial intelligence as well. As things begin to take a turn for the worst the film begins to shed light on its personal feelings about emotional needs. I’m always amazed at how we strive to imitate such human nuanced responses in machines but I highly doubt we’ll ever reach a point where it becomes the alternative. My feelings with technology and relationships seems to fall in line with the films in that although it can be a wonderful thing we still need that elusive human element to reciprocate true happiness. Like anything there needs to be a balance in the way we handle our relationships and the way we handle our technology. It was nice to see the film shed light on the way the OS One adoption was spreading through their society. People were interacting with their own personal AIs in a variety of different ways to meet a variety of different needs. There’s room for this technology to aid us in connecting with others and learning about ourselves but the moment it becomes an escape to hide away from facing our problems or pure instant gratification is the moment it becomes just a hollow experience.

As I said early the hardest job this movie faces is getting you to accept the idea of falling in love with an OS. Playing the devil’s advocate here, it’s a tough pill to swallow that will leave you unengaged and most likely repulsed by the absurdity. On the outside looking in it is such a weird concept and most of the drama and tension evaporates under this silly premise, leaving it wide open for unintentional humor. It doesn’t help that the idea of being absorbed by our technology isn’t exactly fresh grounds either. It’s a constant debate that’s has been beaten to death going in circles. However, if you can set aside your feelings and buy in for just a moment, you’ll be rewarded with a love story that is far more thoughtful and speaks more about love and human relationships than most traditional romance films.


If you couldn’t tell I really loved the movie Her. On top of the thought provoking ideas the film provides it also creates such beautiful imagery. It’s a wonderfully colorful film with perfectly timed music creating an almost dreamlike perfect day. On the surface it seems to borrow just about every cliché moment from any indie feel good movie ever but it’s in its execution and knowing when to use these moments that make the film stand out.


In addition to Scarlett Johansson and Joaquin Phoenix, the film also features a sincere performance from Amy Adams who provides a heartfelt friendship to Theodore. Although it’s understated, Amy’s story mirrors Theodore’s in finding happiness. Amy’s journey and search for emotional reciprocation is a nice contrast to Theodore’s and shows the non-romantic side of emotional needs. Overall it’s such a warm movie and I’ve left the theater in a euphoric state and the glow has stayed with me since. If you’ll allow me to gush for a second it’s movie that really conveys the happiness about being alive and being in love. There’s a lot of depth to this film and it’s a great conversation to have.


Interested in writing reviews or news posts for Thinking Cinematic? Contact me at ThinkCinematicReviews@gmail.com! You can also send your guest reviews there too!

Connect with me at:
Twitter: @TreyRSolis
Twitter: @Think_Cinematic
Email: ThinkCinematicReviews@Gmail.com


Reviews: Hobbit, Wolf of Wall Street, Catching Fire and More

Long time no see! Reviews have been irregular lately but I wanted to start 2014 with an easy round up to get back on track. I’ve seen a lot of movies over the past few months and I wanted to write down a few quick thoughts on each one. Moving forward the review schedule will be a lot more lax than it used to be but I’m aiming to get back to writing more than I have these last four months. Somewhere along the way I felt like these reviews became very mechanical and emotionless which got away from what I really loved. I want to dial it back and focus less on formality and more on writing about films I enjoy. Anyway, here we go. First up, Ender’s Game.

Ender’s Game


Ender’s Game was a major disappoint for me. The two weeks leading up to the film’s release I read the novel and was instantly hooked. I fell in love with the characters and was immersed in the constant struggles Ender faced. The movie does away with a lot of this struggle and instead focuses more on flashy action scenes. The battle room, which served as a major chunk of the novel, is skimmed over rather quickly along with all the relationships Ender cultivated with his time there. I never got the sense of Ender becoming the respected leader he was in the books. Also the dynamic between Bonzo and Ender is completely ruined due to a rather unfortunate casting choice that causes far more unintentional humor than it should. Simply put, the film hits the high points that were in the book but without the proper time to breathe it felt like a waste of time amounting to nothing more than popcorn fluff. I wish I could remember the Reddit user to give them proper credit but they summed it up perfectly. The Ender’s Game movie is as good an adaptation as watching someone’s vacation slideshow is a good vacation.

Thor: The Dark World


Thor: The Dark World was satisfyingly entertaining, far more so than Iron Man 3. It was nice to get a deeper look at Asgard and how that side of the universe lives. The movie started off a little slow for me but it definitely picked up once Thor and Loki partnered up. My only concern is the film’s understandable love affair with Loki. Despite their dynamic stealing the show and being the source of the film’s fun, I felt like the film dropped all other aspects of the story to showcase them. I like Loki enough that I don’t want his character to outstay his welcome. For what it is though, Thor: The Dark World is a solid action film. I was a little surprised how much the early parts of the film reminded me of the Star Wars Prequels, in a good way of course.

The Hunger Games: Catching Fire


I was caught off guard with how much I enjoyed The Hunger Games when it first released in 2012. It was a decent film and covered enough of the books for me to be happy with it. Although my interest in the film didn’t make it through all the books, specifically the third entry, my interest was still piqued for the films. Catching Fire is an incredible follow up to The Hunger Games and delivers on intense action guided by strong performances. I was impressed with Catching Fire’s ability to incite so much anxiety within me, particularly in a scene involving a swarm of Jabber Jays that did a wonderful job of conveying great panic.

One of my complaints with the first film is the way it got away with a lot of the violence by quick cutting before a character died. It was somewhat of an understandable distraction but it was still off-putting nonetheless. Catching Fire’s strength this time around is the fact that the dangers Katniss faces is more elemental based than combat based allowing for the film to be more lenient with its violence and action. It was a much more immersive experience for me this time around it made the film a lot more enjoyable. Doubt it’ll convert any new fans but it’s definitely worth the time for those who already bought in the first go around.


Frozen wide

Frozen was far more enjoyable than I expected and I happily ate crow for all my previous doubts. It’s a great throwback to traditional Disney musicals and features an impressive track of catchy songs, some of which I may or may not have had on repeat in my car for days after. The story plays wonderfully on old Disney princess tropes and provides a nice message for young audiences. It’s a simple story but the execution is charming enough to be entertaining for all ages. The animation itself is wonderfully done and features incredibly beautiful scenery. I wasn’t completely sold on the character models themselves, which at times felt too clean like they were something straight out of a direct to DVD Barbie movie. However this could have been a creative choice, as the character models feel more natural as the movie progresses further into its adventures outside the fairy tale setting. If you’re a fan of animation, especially old Disney films, than this film is a must see film.

The Hobbit: The Desolation of Smaug


I’ve been conflicted on my feelings for The Hobbit: The Desolation of Smaug for quite a while. The same old song and dance is that the decision to split this simple story into three films would be too much of a good thing. The Jackson Lord of the Rings fan boy in me was thrilled for a new trilogy but it’s never been more evident than with Desolation of Smaug that this may not have been the right choice after all. Don’t get me wrong, I enjoyed my time with Desolation of Smaug but it’s far from a film I would recommend to anyone. It feels like a series of inside jokes or stories that fans will enjoy but for everyone else it feels like it spends a lot of time accomplishing nothing.

The biggest crime the film commits is the gradual shift in focus from Bilbo to the dwarves almost completely. It’s somewhat understandable given that the Dwarves’ quest translates more to exciting cinema than Bilbo’s story but it’s only frustrating when the film decides to spend it’s screen time on superfluous subplots instead. The Legolas, Kili, and Tauriel love triangle is completely unnecessary, especially given the fact that we’re rushed through great moments from the book like Beorn’s House, Mirkwood, and the Wood Elves prison. It’s just a shame that for a movie called The Hobbit, the time we spend with the hobbit has slowly diminished. Overall it’s a narrative mess that feels like it’s obviously been spread way to thin.  Despite these troubling decisions, the film more than makes up for it with the outstanding River Barrel scene and it’s wonderful depiction of Smaug.

Smaug in particular is truly a great spectacle and is the series greatest animated character since Gollum. The dragon is emanating with power and ferocity that commands your attention every second he’s on screen. The dialogue between Bilbo and Smaug is wonderfully playful and conveys such a great sense of power Smaug holds over Bilbo. The film (surprise surprise) takes liberties with the Lonely Mountain scenes but by that point I was more than willing to forgive it and enjoy the ride. As enjoyable as these films are, in the end I can’t help but wish for a tighter film that focuses more on adapting The Hobbit than being inspired by it.

The Wolf of Wall Street


The Wolf of Wall Street is vile, unapologetic, and downright immoral, but I loved every second of it. It’s definitely not a film for the faint of heart but if you’re willing to join the ride it’s an incredibly bizarre trip. Sex, drugs and alcohol dominates the life of Jordan Belfort and watching the slow descent into depravity and madness is a train wreck that you can’t look away from. The film’s humor is definitely dark and often reaches such ridiculous levels that you can’t help but burst out laughing. American greed through the eyes of Scorsese is extremely uncomfortable and brutally savage. Leonardo DiCaprio gives an absolutely remarkable performance that blurs the line of insanity and absurdity, undeniably making Jordan Belfort DiCaprio’s craziest character yet. Jonah Hill also delivers a wonderful performance that shows the actors incredible range of talent. Hill and DiCaprio share a wonderful on screen dynamic that is the heart of the film’s humor.

The thing I loved the most about this film is the way it’s able to bring the audience crashing down to reality no matter how bizarre the rampant drug fueled escapades ran out of control. There’s such a stark contrast between the seemingly invincible wolves of Wall Street and the real world people that they’re affecting as well as the real danger that they’re putting themselves through. It’s these brief reminders throughout the film that provides a quick realistic glimpse of the self-centered protagonist that the film seemingly shines a glamorous light on. It’s a subtle touch but it’s the point of the film that there is no moral compass here. We’re supposed to be upset and bothered by the film.

I’ll concede the movie isn’t for everyone though. Much like Jordan Belfort, the movie doesn’t know when to quit. I felt like the film could be trimmed down to make a tighter movie, and the excessive narration can feel a little spoon-fed at times. The Wolf of Wall Street may end up being my guilty pleasure, but it’s a film that more than deserves your time at least once. Oh, and trust me when I say this film earns it’s hard R rating.

Interested in writing reviews or news posts for Thinking Cinematic? Contact me at ThinkCinematicReviews@gmail.com! You can also send your guest reviews there too!

Connect with me at:
Twitter: @TreyRSolis
Twitter: @Think_Cinematic
Email: ThinkCinematicReviews@Gmail.com

The Last Three Weeks of The Walking Dead Were Terrible


The Walking Dead title card

I have a love hate relationship with The Walking Dead, so much so that I’ve banked on this joke three times now. At its best the show effortlessly creates incredibly suspenseful horror with the perfect blend of human emotion and moral ambiguity to pull at your heartstrings, but at its worst it’s a logically frustrating show that loses focus from time to time. Normally the show would find ways to keep drawing me back in, either through high-energy finales or hanging story arcs waiting to be resolved. However these last three episodes of season four may have finally pushed me over the edge, so much so that it’s stirred me out of my two month writing hiatus to try and explain to myself what went wrong. I’ve found nothing but high praise for these last three episodes of Walking Dead and I’ve begun to question my own critical compass. So consider this not a review, but a public plea for help to understand why these last three weeks of The Walking Dead were terrible.

Fair warning the following paragraphs are going to be discussing The Walking Dead in detail with spoilers. If you aren’t caught up with the most recent episode of The Walking Dead then I suggest you skip this until you have watched through the mid-season finale.

The problems with the last three episodes of The Walking Dead can be traced back to last season. Season three had its moments but it was often weighted down with the task of introducing a new cast of characters in Woodbury, specifically the main villain, the Governor. It also didn’t help that the show ambitiously decided that this new cast was strong enough to hold up entire episodes on its own, which didn’t turn out to be the case. Despite the talents of David Morrissey, I never felt the show ever developed the Governor as much as they think they did. I always felt that we were told more about his evilness more than we were shown (save for his treacherous interaction with Maggie) and I only felt like the Governor was ever a big deal because he was a big deal in the comics (which could also be said about Tyreese). Sure, decapitated walker heads in a fish tank isn’t exactly a sign of wholesome goodness, but it’s not exactly evil either. Sure, keeping zombiefied love ones is also weird but isn’t that what Herschel did with like twenty of his family members back in the barn?


Maybe my memory is failing me but I’m having a hard time coming up with memorable scenes where the Governor acted with pure malice instead of just his own sense of retaliation and justice.* In ways there were few differences between Rick and the Governor and I never felt convinced for this evil reputation the show promised but never delivered. However, I looked past it and decided to buy what they were selling, mainly because the show was still entertaining when it wanted to be. A season of back and forth blows between Rick’s prison group and the Governor’s Woodbury group was seemingly leading to an all out war to end the confrontation between the two. However, the finale was nothing short of unsatisfying, wasting a lot of built up energy that fizzled out with nothing much changed. In the end the Governor was left alive, albeit alone and on the run.

* I’m currently in the process of rewatching all of The Walking Dead and I’m specifically going to track the progress of the Governor with a more critical eye in regards to the show’s ability to create a convincing villain.

This loose Governor plot line hung over the series’ fourth season like a dark cloud. I had many conversations with friend stating that I would be entirely okay with the Governor staying away from the show as long as possible. The Governor’s only real strength was his golden voice and the fact that he had already amassed a following willing to do his bidding. Now that he was alone and exposed for the untrustworthy person he was he had nothing to fight back with. The only way he could serve as a potential threat to the prison group is if he somehow found a new group of mindless followers, or became a super villain capable of taking on the prison who clearly out numbers him. The former option would feel too much like a reset of last season and the latter ultimately ridiculous even for a show about the walking dead.


However the fourth season seemed to be headed in the right direction. Focusing on the aftermath of the supposed ‘war’ with Woodbury we saw a new prison group working hard to restore a sense of society. A much more calmer Rick turned farmer grappled with his demons and shied away from the gunslinger he once was. The season opener posed the question how far is too far-gone and do we get to come back from the bad things we’ve done? This narrative theme held together an impressive string of five episodes that dealt with an entirely new type of threat that the group hadn’t faced before. A fast moving flu virus outbreak began to plague the prison and set off a chain of events that introduced us to a lot of great stories. New characters were introduced, old favorites were tested, and we ultimately received one of the best episodes of The Walking Dead has seen with Internment. There were a lot of plot lines setting up for interesting conflict among the group. Daryl and Bob were at ends after the incident involving the alcohol, Tyreese was on a war path looking for Karen’s murderer, the prison was left in shambles from flu, and of course the awaited reaction from Daryl after Rick’s decision to let Carol go was on the horizon. The half season could have ended here and I would have been entirely happy with these five episodes instead of what was still to come, but unfortunately the show’s dark cloud couldn’t stay away forever, coincidentally answering its own question posed in the opener.

Coming to a complete halt, season four shifted its entire focus from the prison to the Governor in the sixth episode. My initial reaction was indifferent but after some mulling over I began to warm up to it. Despite the series once again banking on its overconfidence in the strength of a new cast to anchor a whole hour, the episode was able to inject a little more humanity into the Governor than we ever saw last season, even if it did beat you over the head with its symbolism. I actually liked this version of the Governor more than the one we got last year and I actually cared more about his exploits. Realizing his mistakes we saw the Governor try to turn a new leaf, start a new life, and become a better person. It was an interesting way to handle this character and it mirrored the story line we were watching unfold with Rick. I wasn’t fond of the vacation slideshow like progression of the characters, especially the forced love angle between the Governor and Lilly, but even still I was prepared to eat crow for my doubt in the return of his character. That is until the show decided that it wanted to go back on the work Live Bait had started and give us back the super villain like Governor in Dead Weight.


So it turns out the Governor can’t change who he is and returns to the psychotic killing machine we knew before in Dead Weight. Not that big of a deal but it meant we were entering the first scenario of the Governor’s return that I feared. He brings Lilly, her daughter Meghan, and Tara to a new group run by his former partner Martinez. When Martinez unexpectedly dies (at the Governor’s hands), the next in line to step up is Pete. Then after Pete unexpectedly dies (also at the Governor’s hands) the Governor steps up to take charge of the group. I find it hard to believe that in roughly 48 hours two deaths go unquestioned and the group willfully allows this mysterious newcomer to take charge of the camp. Especially if we take into consideration that Pete’s hot headed brother Mitch knows the Governor killed Pete. Yes the Governor’s power is his golden pipes of persuasion but getting this peek at how he amassed such a following like he did the first time around is like finding out that the force is dictated by a person’s midichlorian count. There are some things better left unexplained. The biggest crime of all is the fact that Dead Weight leaves the previous episode Live Bait ultimately feeling pretty useless. Why spend the time making an argument for a changed Governor just to do away with it the very next episode? It’s a frustrating way to lay foundation for this big Governor return and it only gets worse.

Too Far Gone takes the cake as far as The Walking Dead blunders go. After two weeks of being singularly focused on the Governor we finally make a visit back to the prison and try to pick up right where we left off, but as far as I’m concerned it’s a little too late. The episode tries to rekindle the energy left hanging on the line by shoe horning in moments that didn’t feel nearly as impactful without the proper build up. Rick’s confrontation with Daryl lost the impact it once had after this two-week hiatus. Bob and Daryl didn’t get the time it needed to hack out their differences and Tyreese’s outrage is lazily paired with the almost forgotten rat plotline that doesn’t seem to matter anymore. These little plot lines feel rushed in favor of the Governor vs. the Prison round two in a last ditch effort to make up for last year. However, Too Far Gone is filled with so much annoying frustration and logic that it boils down to nothing more than hollow action. It had its exciting moments but in the end this finale is even more frustrating than the season before it.


Rallying at the prison fences the Governor calls out to Rick with a small militia and tank at his side. He’s captured Herschel and Michonne and is giving them until sundown to vacate the prison. Despite holding all the cards, Rick pleads with the Governor and his people to take the civil way and share the prison. Although he makes a convincing argument, delivered wonderfully by Andrew Lincoln, the Governor calls Rick a liar and slashes through Herschel’s neck with Michonne’s katana instigating the war.

The Walking Dead is no stranger to dealing deaths to characters that are fan favorites but for a character I loved so much, a character that delivered a powerful performance in Internment, a character brought to life by that amazing talents of Scott Wilson, I felt nothing for the death of Herschel. Instead I was only annoyed by the show’s mishandling of all the emotional build up wasted from the first five episodes in an attempt to bring back a Governor who had long out stayed his welcome. Herschel deserved better than that and the show made a huge mistake not capitalizing on the energy built up from Internment. On top of that, the death of the Governor isn’t even that satisfying. Michonne delivers a heavy blow by stabbing the Governor in the back while he was busy strangling Rick, but instead of finishing the deed Michonne walks off leaving the Governor to lie on the ground.

Photo Dec 08, 9 32 20 PM

It’s not the group we cared about getting to deal the final blow on the Governor, but Lilly who hadn’t even been a factor until these last two episodes. I get that it was suppose to be a big moment for Lilly since apparently she and the Governor were in love, but when the show only took an episode to establish this love it seems like the wrong person got revenge especially when the characters the Governor impacted way more suddenly didn’t care to finish the Governor off for good. Oddly it seems fitting that the writers were so unsure who got to finish the Governor that he gets passed around like the confusing character he was so that everybody gets a piece of him. In the end the Governor left the show much like he reentered it, meaningless and trying too hard to be symbolic.

I’ll concede that the virus storyline may not have been the flashiest string of episodes that The Walking Dead has ever done but it at least made sense narratively and worked well together. Slamming on the brakes to insert the return of the Governor disrupted so much of the season that it questions what exactly the show was trying to accomplish. Was keeping the Governor alive and well last season worth bringing him back for just three more episodes? One of which didn’t matter, and the remaining two that felt like nonsense. The only way the Governor even convinced his camp to take on the prison was by lying to them and telling them that the prison group were murders that could not be reasoned with. It was them who deserved the protection of the prison walls and it was theirs for the taking. However, even after Rick pleads with them to take the civil way and live together, basically offering entrance to anyone of them who wanted to go in, the group still blindly follows the Governors orders to kill them all. They damage the fences, they blow up the concrete walls, and they attract more walkers to the place that they’re supposedly trying to take over for their own protection.


Where was the logic in that? Why did no one besides Tara decide to listen to reason and realize that the Governor was insane and power hungry? As a whole they were basically faceless characters whose only purpose were to serve as a weapon for the Governor to wield against the prison in this season three reset. It was a huge mistake calling on them to hold up entire episodes on their own, especially when the show isn’t exactly known for it’s great character development. If they were so dead set on this Governor story than why not weave it in and out with the first five episodes to fill out the season? It would have at least been more effective paralleling Rick’s character. Both Rick and the Governor were two sides of the same coin and it’s interesting to see the different paths they took. At least in this way we still get the emotional build up from the virus arc all while knowing that the Governor is slowly stirring against the prison. The inevitable wrath of the Governor paired with the almost insurmountable threat of the virus would have created so much drama and suspense for our beloved group at the prison that it would have been more satisfying. Herschel’s death wouldn’t have felt all for naught and the powerful performance’s that the actor’s gave would have been complimented nicely with good story telling. Despite Too Far Gone being the finale we deserved last season, there was nowhere near the same amount of energy leading up to the conflict like there was last year even without its payoff. It’s such a shame that the show seemed so focus on correcting last season’s wrongs that it hurt this season even more. Instead The Walking Dead should have listen to the advice Rick gave to Carl. Don’t look back. Just keep walking.


The simplest answer to why these last three episodes of The Walking Dead were terrible is that different people have different opinions and ultimately it’s just a TV show, but the discussion is what makes it fun. So what’s your take on season four so far? Are you happy with the way things have turned out or are you close to calling it quits as well? The only thing keeping me coming back for the second half of season four is the fact that the Governor is finally gone and the hope that Scott M. Gimple and the rest of The Walking Dead crew can pick up the pieces from here. This constant cycle of starting strong and finishing weak is getting old and it won’t be long before The Walking Dead is too far-gone.

The Walking Dead’s second half of season four returns to AMC on February 9th, 2014!

Interested in writing reviews or news posts for Thinking Cinematic? Contact me at ThinkCinematicReviews@gmail.com! You can also send your guest reviews there too!

Connect with me at:
Twitter: @TreyRSolis
Twitter: @Think_Cinematic
Email: ThinkCinematicReviews@Gmail.com

Miami International Auto Show

In honor of the Miami International Auto Show the fine folks over at Priority One Jets have started a discussion on the most iconic cars from the big screen. They’ve asked me to help share their post as well as add a few thoughts on a car that I believe to be iconic. First off let’s look at a couple examples that they’ve come up with followed by my own inclusion at the end.

This week, thousands will be traveling to Miami for one of the largest and most prestigious car shows in the nation. In honor of the Miami International Auto Show (November 8th- November 17th), we have compiled a list of some of the most iconic cars in film and television. Whether you plan oncatching a private jet to Miami, or just following the action through your computer screen, auto enthusiasts will be left begging for more!


Aston Martin DB5

Skyfall: “Bond. James Bond.” Besides having one of the most recognized phrases in movie history, the quintessential spy films are also famous for their lust-worthy selection of automobiles. Considered by the Aston Martin company as “one of the most iconic cars ever produced”, the DB5 model has appeared in 6 of the Bond films. From its film debut in 1964’s “Goldfinger” to a small-scale 3D printed replica in  “Skyfall”, the Aston Martin DB5 continues to be an irreplaceable piece of Bond history.


Lincoln Continental

The Godfather: Hailed as one of the greatest gangster films of all time, Frances Ford Coppola immortalized the Lincoln Continental for both movie and car enthusiasts all over. The two most recognizable models are the Limousine and the Coupe, which were featured in pivotal moments such as (Spoiler Alert!) Sonny Corleone’s untimely demise. In January 2013, two of the vehicles used in the film were auctioned off for a cool $120,750. Guess they made him an offer he couldn’t refuse!


1992-1993 Ford Explorer XLTs 

Jurassic Park: Now I feel obligated to preface this by saying you’ll never find anyone more useless than me when it comes to vehicles but if I had to choose an iconic car it would be the Ford Explorer XLT from Jurassic Park (1993).  The vibrant greens, yellows, and reds of the custom painted tour vehicle easily stood out in the film and are featured in some of the most memorable scenes from the classic film. The Ford Explorers are such a huge centerpiece for our first introduction to the T-Rex that they’re nearly inseparable. Whether it’s being pushed off a ledge, or being smashed through the sunroof, the Ford Explorers XLTs served it’s purpose through some truly gripping and terrorizing scenes, easily becoming an iconic piece of cinema.

For the full list of iconic cars and more sure to head on over to Priority One Jets and join in on the conversation!



At its core Gravity is a wonderfully tense sci-fi thriller. The feeling of isolation is incredibly overwhelming and the long takes in space are truly breathtaking. Visually the film is outstanding and is one of the rare films that is enhanced by 3D. The minimum use of score and sound enhances the feeling of being stranded in space and the movie is able to play on this wonderfully. The film is story telling at its finest and makes wonderful use of beautiful symbolism and narrative symmetry. Dr. Ryan Stone is the movie’s main focus and watching her rebirth and character transformation is an incredibly wonderful experience. Gravity is a masterful film and easily one of the best to come out of 2013.

Gravity had me sold from the very first trailer. After being stressed out from the first two trailers I swore off watching anymore in an attempt to experience this movie as fresh as possible. The going in blind experience more than paid off and Gravity has easily become one of my favorite movies of this year. Beautiful, stressful, and overall satisfying, Gravity is simply amazing.


A bio-medical engineer, Dr. Ryan Stone (Sandra Bullock), accompanied by veteran astronaut Matt Kowalski (George Clooney), embarks on her first space walk while on her the space shuttle mission Explorer. When a debris shower crashes into the shuttle it causes a chain reaction of destruction that leaves the two astronauts stranded out in space with no communication. Together the two must work together to survive with little oxygen and no transport.


Gravity’s story is simple but it’s story telling at its finest.  The primary theme of the film is letting go and moving on, and it works wonderfully against the backdrop of space. The overwhelming feeling of isolation for Dr. Stone and Kowalski is ever present and the danger is captivating. Much like the trailers, the film greatly stressed me out and I found myself constantly holding my breath throughout the film. The film really hones in on the dark beauty of space and the terror of being alone.  Gravity is also one of the rare films that is greatly enhanced by the 3D. The extra depth perception really hammers in the feeling of isolation with our characters seemingly floating out right in front of the screen with a beautiful depiction of Earth in the background. The 3D also enhances the feeling of zero gravity with all the random objects within the shuttles floating around in and out of scene, and even more so with the debris shooting past our characters outside on the space walk. This extra depth adds so much visual satisfaction to the film, that my only gripe is not being able to see it in IMAX 3D.


Dr. Ryan Stone is the main focus of the film and her character arc is incredibly rewarding from beginning to end. I’ve been reading a lot of Dan Harmon’s story circle, which is a streamlined version of Joseph Campbell’s monomyth, so you’ll have to forgive me if I’m gushing here but Gravity follows this to a tee.  We get to witness the rebirth and growth of Dr. Ryan Stone and the film adds in so much beautiful symbolism and wonderful story symmetry that it’s hard not to get caught up in the cyclical nature of the film. I want to go a little more in depth with this but it’ll feature a lot of spoilers so if you haven’t seen the movie please skip the next few paragraphs.

Story Spoilers

We learn in the film that Dr. Stone tragically lost a child after an innocent playground accident. She’s alone and unable to move forward from this event and her life has been greatly impacted by this ever since. This theme of loss and facing death, as well as letting go and moving forward, is so wonderfully depicted in this film. When we first meet Dr. Stone she is timid, awkward, nervous and easily frightened by the space walk. When the debris crashes into the shuttle she is flung into orbit and violently sent spinning out of control without being able to stabilize herself. This Dr. Stone gives in and panics while easily accepting her death. However, Kowalski eventually rescues her and the two embark on a journey to get home. Through small talk Kowalski learns of her child’s death and begins to comfort her and advise her on the importance of living life to the fullest even after dark times.

Through the course of the movie we watch Dr. Stone undergo change, eventually losing Dr. Kowalski and having to fight for herself. There’s a scene in particular where Dr. Stone finally makes it to ISS where we get to see her symbolically shed all her emotional baggage (her space suite) and watch her rebirth into a Dr. Stone that is now able to remain calm and alert, let go, and focused on getting home. It’s little symbolic moments like these that make the film so visually and narratively rewarding. I could go on and on about this but I’ll leave it up to you to discover. It’s seriously wonderfully done.

End Major Spoilers

I’ve got admit going into this film I was a bit worried about the inclusion of Sandra Bullock. Though I never doubted her talent wise, she seemed to stick out with the tone of the movie. I’m happy that I’m eating crow here because Sandra Bullock’s performance is simply perfect. George Clooney is wonderful as well, and easily plays the smooth and ever calm Kowalski. The two work great together and are able to deliver some humorous banter despite the heavy setting.


Visually the movie is outstanding and is accompanied by a wonderful score. The incredible long takes are truly awe-inspiring and offers some intense moments of dread. The decision to omit audible explosions and sound in space is greatly appreciated and the film is able to play on this. There’s a scene in particular with Dr. Stone letting out frustration by screaming and pounding on control panel. The scene is very moving and very chaotic and when the film cuts to outside the shuttle everything is quite again and the contrast is moving. This continued use of minimal score and sound helps to enhance the feeling of being in space. These little details all culminate into a truly masterful film and are able to deliver an experience that is truly breathtaking.

I’m very hard pressed to find any negatives that aren’t more than being nit picky. The main focus on Dr. Stone leaves little room for any other characterization, but it’s understandable. This lack of characterization does make some moments of the film a tiny bit overdramatic as well. The film also tends to overstate its lessons and it feels a little heavy handed. Finally the dialogue can be a bit cheesy but it’s a fine border between cheesy and funny so for the most part it works. Plain and simple I love Gravity. There are few movies that are able to deliver an experience like this and it’s worth every second.


At its core Gravity is a wonderfully tense sci-fi thriller. The feeling of isolation is incredibly overwhelming and the long takes in space are truly breathtaking. Visually the film is outstanding and is one of the rare films that is enhanced by 3D. The minimum use of score and sound enhances the feeling of being stranded in space and the movie is able to play on this wonderfully. The film is story telling at its finest and makes wonderful use of beautiful symbolism and narrative symmetry. Dr. Ryan Stone is the movie’s main focus and watching her rebirth and character transformation is an incredibly wonderful experience. Gravity is a masterful film and easily one of the best to come out of 2013.

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