Frydeas - Reviews

The Odyssey: Was it Truly Epic?

Christopher Nolan. IMAX. Matt Damon. 70 mm. What do all of these words have in common? It was all we heard this summer as we geared up for what should’ve been one of the greatest movies of the year: The Odyssey.

Now, I fooled myself into thinking that my reading of The Iliad would guide me breezily along the character identities, complex relationships, and Greek mythological lore intertwined in this film. But as the beautifully-captured-in-IMAX scenes flashed before my eyes, I found myself lost in the sauce of Greek Heroes, Trojans, Gods, and A-listers that seemed to appear in every dimly lit castle. The Odyssey felt like a film for “the real ones only”— the kind of movie that deceives itself as “enjoyable” for or “resonant” with anyone, but in reality, requires a substantial foundation of knowledge to really consume in all its depth. Because of this, and the confused comments from my friends as we exited the theatre, The Odyssey felt a bit inaccessible for being such a “global phenomenon.” Yes, it is a tale as old as time. And yes, maybe it is on us moviegoers to study up on the topic before taking what felt like a 3-hour, long-anticipated test. But shouldn’t a film of this scale and size be able to acclimate all viewers to the world and lore around which such a story revolves?

Now, on the casting— Matt Damon was simply epic. Anne Hathaway, evidently, was another force in this movie— she delivered a well-rounded performance that embraced the cold reservation of the queen all while showcasing an emotional fragileness carried by a devoted wife and mother. The rest of the cast, however, did not feel seamless. For starters, Holland, widely known and loved for his sweet, innocently goofy nature, seemed to contradict the heavy transition from vulnerable youth to dutiful maturity that his character undergoes. Yes, Telemachus is supposed to be a kid “finding his way,” if we were to put it in coming-of-age terms. But Holland’s immutable softness forecasted the character as a little lost and oblivious in a world of such stature and intensity. Zendaya was just there, I must say, popping in looking like a concerned, BCE Chani to say hey every now and then. But boy did the press make it seem like she was going to be the one driving that boat— she was a synergy device, which is smart in its own way.

Overall on the casting note, I think there is something to be said about the effectiveness and value of wrangling in a cast of all-stars— but there is also something very inhibiting about this choice too. At some point, it became difficult to really buy into the characters and their narratives, when the public identity of each celebrity was so insanely strong. An overly star-studded group began to feel like a Troy-themed Met Gala, leaving me hungry for some new faces… but don’t tell Circe I said that.

Everything outside of the actual 3-hour screening of The Odyssey was magnificent and the highlight of this film-turned-full-blown cultural moment. The extreme dedication that went into transforming events in this movie into real-life experiences— from the 60-foot-tall puppet to a longship in coastal waters— was what allowed this story to live up to its epicness. A commitment to creating something meaningful, instead of just telling a story deemed meaningful… was… in itself… meaningful.

Through an audience-facing lens, this film’s historic symbolism as the first feature to be fully shot in IMAX with 70 mm cameras (not sure you’ve heard that before), was what truly made this movie epic. In a world of proliferating streaming platforms and an oversaturated digital content space, art with targeted theatrical and cinematic appeal has gotten a little lost at sea. In other words, it’s been hard, even for me, to feel motivated to go to the movie theatres to watch a film I know will get released on Netflix in a few weeks. Or 123 movies if you are feeling criminal. The Odyssey, however, established itself as a cultural movie-going movement, where audiences of all kinds were lured in by the effort and technology that went into shooting such a film, and more specifically, creating a visually-impeccable viewing experience.

For that reason, I think The Odyssey has done what all great movies do, but through a different avenue— changing the way we see the world and how we connect with it. For many films, this revelation is fueled by groundbreaking narratives, never-seen-before storylines that leave us questioning what we know. And of course, The Odyssey had an element of this with its prestige, adventure-packed story. But the creation, the backdrop of the film is what impacted me the most, creating a tidal wave of enhanced appreciation for cinematic technology, production, and movie-going. Did I walk out with my mind blown? Not quite— in fact, my ears were what were blown out, but I’m not sure who’s ready for the conversation regarding sound mixing. What I did walk out feeling, though, was fulfillment and community as I fled the theatre with every person that contributed to a sold-out screening in a time where these seats are rapidly disintegrating behind personal screens. The nonstop talk about The Odyssey was not miraculous because the film proved it to be true— it was miraculous because it was simply nonstop talk, and that doesn’t happen too much anymore. Though anything Nolan touches seems destined for this kind of attention.

I think a making-of documentary could be the real Odyssey.

If you made it to this point, you are definitely geared up to embark on the journey— if you can find a screening in IMAX any time soon. And if you watch it in standard digital, I promise to not report you.

Marty Supreme Review

Marty Supreme Christmas Day. This relentlessly marketed slogan rung in my ears from the moment that the lights began to dim (cue Nicole Kidman voice) and persisted through an opening scene of sperm flooding the screen that suggested Marty Supreme was not your average movie. Oh yeah, we were going to have a ball.

This movie was excellent for many reasons. Yes, its flashy plot points were exhilarating- although I'm not sure such a word could accurately encapsulate the feeling of watching our peach-loving twink get smacked in the ass by a ping pong paddle hours into the movie. But Marty Supreme, in all its extremity and "craziness" actually appeared to stand in for a theme I believe is under-discussed in many creative portrayals today- that ambition has no value without humility.

After leaving the theatre, I had to take a moment to process everything I had just seen. Deadly casualties after your casual bathtub collapse, Gwenneth and Timmy doing it in the park, something of a dog sidequest that seemed to infect a majority of the movie, gunshots- because what's a ping pong movie without that? And although these scenes effectively provided a shock factor actual action movies have been striving to achieve shitty sequel after shitty sequel, the absurdity of such events revealed something deeper and more meaningful than what met the eye.

The chaos seemed to emulate Marty's limits- the lengths he was willing to go in order to invest in his dream and see it through to reality. Similarly, these shocking moments illustrated just how severe the consequences of his unchecked ambition were- how devastating losses arose from his inability to sit with the mere idea of loss. And this is a major reason why I think Marty Supreme is a valuable watch. Not only does it warn us, young adults and dreamers alike, the importance of maintaining moral boundaries amidst a personal pursuit of greatness, but it also demystifies the glamour of "success" and questions what "success" even means. From the emotional performance we received at the very end, a classic ode to Timothee's tears that always seem to arrive at the end of movies, we can certainly see an evolution in how Marty interprets and achieves "success."

Because I'm sure not all of you are willing to steal necklaces and abandon loved ones to fulfill your ego and accomplish your wildest, most deeply-held goals, Marty does it for us for a few reasons. One, to actualize the relentlessness and aggression involved in climbing to ideal status, whatever that may mean for a person. Two, to portray this ego pursuit as an extreme manifestation of our own individual choices and sacrifices made in dream-chasing- connecting our ambitious flame with a burning house to visualize potential for damage and cautious fire-play alike. Three, to give us a window into a post-war America, specifically the youth that rooted themselves in the American Dream and the rebirth of patriotic spirit and destiny-creation. Four, to give us one crazy-ass movie to gawk at with our father- yes, I watched it with my father- by our side. Five, well, I could keep going for as long as it took for Marty to return to his abandoned lover, but we all don't want that.

Overall, one could describe Marty Supreme as a creative and wildly entertaining story about some hustler dude with a dream and no limits. And this is in fact, true. But I see it as a lot more- a statement on ego protection, grappling with failure, self identity versus that of the public eye, the practice versus feeling of love, self investment and consequential deprivation, and dare I say... the meaning of life itself.

And plus, you'll really want to learn how to play ping pong after... or get a perm after seeing Odessa's luscious locks.

Frankenstein GDT Movie & Story Review

12/25/25

ABSOLUTELY BRILLIANT MOVIE. I have so many thoughts. First of all, I loved the reflection of the traditional 3-tiered structure of present in Shelly’s novel….. it made the story feel cohesive and allowed for the dual-perspective that makes the story of Frankenstein so nuanced/special (minus an emphasis on the Captain’s perspective…. which was my least favorite part of the book anyways lol). I thought the brother was a nice touch, simply because it was a way to bring Elizabeth (the real star of the show) into the picture. I see the whole movie, and story of Frankenstein for that matter, as a statement on the meaning of life itself- and how it may deviate far from the implications of our creation.

The fact that the Creature’s synthetic rebirth perpetuates cycles of loneliness contrasted with strong feelings of curiosity, love, and kindness reveals just how human “it” actually is- and challenges the entire notion of what it means to be alive. The creature represents the better, more pure version of Victor- who he is when stripped of his ego and relentless hunger for innovation. Elizabeth’s affectionate bond with the Creature, to me, confirmed this idea- she falls in love with his vulnerability and infancy, opposite of Frankenstein’s flashy ambition. She is a source of psychological challenge in this movie for Victor…. she embodies religious conformity (heavy on the science VS church theme!), represents insatiable desire, and finds love for his very creation he came to despise.

Also I could ramble about the Creature’s story forever. The narration was STUNNING, and I love the way his story shows life from a much simpler eye, highlighting the most human duality there is- love/connection vs hatred/violence (although it isn’t really vs, it is more how these may coexist). The Creature, once an unanimated conglomeration of many dead people, is now unable to die… which I think is a fascinating manifestation of the persistent, eternal nature of the human spirit. This everlasting nature, something that could be packaged and sold as a revolutionary innovation and a quality craved by many, plagues the Creature with loneliness…. which I think is a really cool way to criticize greed and reframe the limit of life as a privilege- how lucky are we to have one marvelous cup to be filled with as much love and life as possible?

While these are all basically the themes in the book and the OG story, I just feel that the movie really pulled them through with stellar writing, narrative progression, and some new embellishments to an already beautiful garment of a story. Chef’s kiss.

Also the score was beautiful omg I’m shook. Like for real listening to it as I write this.

Also let’s talk about them visuals. My eyes have been blessed. Every scene and every shot was perfection, and the costumes/makeup/sets were beyond impressive. Truly a work of art.

Morbid yet so full of life- this movie was an emotional adventure and felt like such a celebration (and equally, criticism) of humanity and the forms it takes. So beautiful. Great job Guillermo.

Thank you for listening to my TED talk. Congratulations if you’ve made it this far.

My Old Ass Movie Review

1/6/25

“My Old Ass.” I became acquainted with this title and all of its strangeness through my mom’s repeated praise for the film. It broke into numerous conversations, prompting rolled eyes and ignorant brush-offs. How good could a movie with this seemingly unserious and straight-up-weird title be? Very good, apparently.

In a movie scene dominated by rising eccentricity and complexity, it is rare that a film, so simple in its concept and plot, comes along and has the ability to move, empower, and ground a range of audiences. While the plot is ignited through a manifestation of teenage rebellion (AKA taking mushrooms), it emerges into a heartwarming and thought-provoking story of self-discovery. Through the fictitious, imaginative concept of main character Elliot conversing with her older self, who appears to be a mushroom-induced hallucination at first, My Old Ass beautifully tells the tale of self versus self, and how oftentimes, fate must be accepted outside of our own hands. As an 18-year-old watching, I felt seen. This movie perfectly mirrored the teenage experience, characterized by desperation for a “right” answer to everyday decisions and stress about how each present moment shapes our future. Likewise, this movie emulates the aged perspective as well, one that reminisces past choices and seeks to protect oneself through unachievable reversal. All in all, My Old Ass not only acknowledges the normalized stresses of the youth and middle-aged but brings these worries to life— demonstrating the strength of the present moment and the unproductivity of wishing on the future and past.

I found everything in this movie to be symbolic. Elliot’s older self, who we never truly recognize as a facet of imagination or a real character in the scope of the movie’s fantasy, represents how many of us wish to see into the future to calm anxieties and inform difficult decisions— a creative spinoff of the fortune-teller trope. Chad, the boy Elliot falls in love with despite her older self’s warnings not to, is a symbol of the spontaneity and catharsis with which we must course through life. The farm Elliot grew up on which is eventually sold, serves as a reminder that home is so much more than a physical place— it is a keepsake of the mind, preserving the memories, growth, and love sheltered there. Every element of the film holds an insightful message, allowing for the film to diversify its themes and broaden the crowd it impacts.

Aside from the content, this movie excels in all other areas. The music is tasteful and consistent with the mood changes throughout. The cinematography and camerawork are beautifully simple, painting a cohesive image for each scene. The writing and acting are especially phenomenal— both possessing a rawness and believability that enhance the story as a projection of life. Everything, and I mean, everything, was so well done.

After all the hype built around My Old Ass, and my responded doubt, I can now say it really is that good. It’s the kind of film that makes you feel all the things, offering life lessons within every scene, and extending its impact into the broader realm of storytelling— reminding us of the power art has to make us feel, think, and learn.

If you haven’t taken this as your sign to go watch My Old Ass by now, I might need to ask Elliot for some of those mushrooms.

HIT ME HARD AND SOFT Short Album Review

9/9/24

Every now and then, a musical form will have the ability to emulate grace and grit, hitting its audience lightly and equally with a sense of pain. In Billie Eilish’s most recent album, “HIT ME HARD AND SOFT,” she accomplishes exactly what her title suggests— the unique sensation that is a wide spectrum of impact on the human soul and mind. Billie’s album encompasses a variety of styles, ranging from mournful ballads about failed second chances (WILDFLOWER) to hopeful, upbeat tunes about the eternality of strong friendships and relationships (BIRDS OF A FEATHER). The diversity of topics and ways in which she approaches the musical properties of each song creates for a rollercoaster of emotions— the kind we wait hours in line for just to experience exhilarating unexpectancy. While Billie might be known by some as the goth girl who sings about death as seen in her album, “When We All Fall Asleep Where Do We Go,” this album highlights her complexity as an artist and human— showing us a new side of her characterized by mindfulness, hope, and aspiration.

“Big Eyes” Review

9/4/23

When I was six years old, I remember drifting through the village fair, most probably focused on finding a radically sugary treat to enjoy. I remember stopping by a small stand, containing racks and racks of adorable stuffed animals that I would later call “big eyes,” inspired by their unproportionally large eyes. Among this army of stuffed toys, realistically labeled as Beanie Boos, I decided to choose the cutest puppy, with goldish-brown fur and large, joyous eyes. I named him Lucky, and he would later receive a hand-knit red hat that could make him fly.

Lucky is where this all started. After Lucky it was Mint (1), and after Mint it was Blackberry (2). I collected these toys throughout elementary school until I single-handedly produced an army. I would create seasonal choirs with my Big Eyes, lining them up in crowded groups as I’d run behind my door, and sing to develop the innocent illusion that these stuffed toys were singing. Not to mention the hand-crafted flyers I would create for their performances. My mom and dad would attend and give the Big Eyes a round of applause. Truly, I believe my imagination was the center of praise.

I created unique, diverse personalities among each I would collect. Hats that could make one fly, parent-child relationships, superpowers, the list of creatively driven characteristics goes on. My brother and I would laugh with wondrous wide eyes as we conversed through our stuffed animals and created different plots to this warm and adorably immature game of our infancy. I vividly remember the “pool parties” that were always violently interrupted by a tsunami from the pool. My brother must have gotten a hold of that storyline.

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Like any other children’s toy, it's easy to forget that they too have a dense collection of history, for we are familiar with its history in our personal lives. Beanie Boos originate from an early design called a Beanie Baby, produced in 1993. Created by Ty Warner, these stuffed animals eventually evolved into Beanie Boos during 2009. Close to its release, it established an influential presence among stores such as Claire’s and Justice, generating outstanding success. Heart shaped tags containing creative thematic names, vibrant varieties of colorful eyes, and a diverse collection of creatures were crucial to the success of Beanie Boos. Not to mention the affordability of five dollars a piece.

The process of creating the modern Beanie Boo involved many alterations and sacrifices. Once they were redesigned to have sparkly eyes, the ones with solid eyes were discontinued. While sparkles may seem more intriguing, there is something sacred about the opaqueness of the 2009 eyes. The solid, smooth color and finish. But like everything else, evolution is inevitable and the old versions of what we used to be eventually become disguised behind updates like sparkly eyes.

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My obsession persisted for a remarkable amount of time, but eventually began to fade. The five seasonal beanie boos I would pick to line my bed dropped to one, and like any maturing child, my interests transformed. My dad continued to buy them for me on special occasions, and I was often met with guilt for my dwindling interest. Sometimes I wonder if it was his emotionally-driven denial. Refusal to the fact that I am changing, and the things I loved before no longer receive the same affection. But I would deny it too. I would smile at the Big Eye and hold on tight.

Because like anything, opaque eyes are naturally replaced with sparkly ones. And that is ok.

I’ll give Big Eyes 5 stars.

1) One of my first Beanie Boos, a zebra with accents of green fur and light green eyes.
2) Another early beanie boo, a round and large orca whale with blue eyes. My dad had found this Beanie Boo on the way home from work. I was ecstatic to receive it that night.