January 2020 – Best Case Reviews.

The Irishman Review

Martin Scorsese’s Final Word on the Gangster Film

Martin Scorsese (The Departed, The Wolf of Wall Street) is easily one of the best directors of all time. It’s a miracle he has only won the Academy Award for directing only one time, as his worst film could generally be considered better than the average director’s best film. While he has worked with Robert De Niro (Taxi Driver, Raging Bull), Joe Pesci (Goodfellas, Raging Bull), and Harvey Keitel (Mean Streets, Taxi Driver) several times before, he has never worked with Al Pacino (The Godfather, Dog Day Afternoon) … until now. In what could be considered his final word on the gangster film, Scorsese brings all four of these legendary actors together in his adaptation of I Heard You Paint Houses, by true crime author Charles Brandt (Donnie Brasco: Unfinished Business, The Right to Remain Silent). Steve Zaillian (Gangs of New York, Moneyball) adapted Brandt’s book for the big screen (and the small screen, as it is a Netflix Original Film).

Frank Sheeran (Robert De Niro) and Russell Buffalo (Joe Pesci) in ‘The Irishman’ (photo: Netflix)

In The Irishman we follow Robert De Niro’s character, Frank Sheeran, throughout his life as he swims through the underworld of America’s Mafia. Most of the film is told in the past tense, as Frank recounts his life and his possible involvement in the disappearance of Jimmy Hoffa, played by Pacino. Very much like Goodfellas, this story is a rags to riches sort of tale. Frank starts out as a union truck driver who ultimately works his way through the various ranks within the union. The film is set against the backdrop of the rise of Jimmy Hoffa and the Teamsters Union.

Bill Buffalino (Ray Romano), Jimmy Hoffa (Al Pacino), and Frank Sheeran (Robert De Niro) in ‘The Irishman’ (photo: Netflix)

The Irishman is a technical achievement due to the fantastic de-aging effects for the various actors, specifically Robert De Niro and Joe Pesci’s characters. Not only that, but it is easily one of Scorsese’s best works. While the film is just under three and a half hours, it is a very concise story, with little to no wasted screen-time. Although I did find something online which breaks up the film into four distinct episodes, similar to how Netflix split up Quentin Tarantino’s The Hateful Eight into four episodes. Watching it this way did feel a little easier, as I know it is tough to find almost four free hours in a day to sit down and watch a movie. Eventually I do want to sit down and watch the movie in its entirety.

The Return of the Copacabana Club in ‘The Irishman’ (photo: Netflix)

The acting in the film is absolutely phenomenal. While Robert De Niro didn’t get nominated, both Joe Pesci and Al Pacino have been nominated for an Academy Award for their portrayals of their characters, Russell Buffalino and Jimmy Hoffa, respectively. Even though De Niro didn’t get nominated (it is a bloated Best Actor race this year) he plays his part to perfection. He plays a sort of tough guy who will go to extreme lengths to protect his family, but the emotion that he shows is palpable even though he never sheds a tear. It’s truly a wonderful performance.

Aged Frank Sheeran (Robert De Niro) in ‘The Irishman’ (photo: Netflix)

As for Pesci, it is one of his most understated roles I have ever seen him perform. He isn’t the loose cannon, as so many of his other Scorsese-film characters are. On the contrary, he is in complete control of his emotions throughout the entire film, and when he needs to express any emotion, he has somebody do the dirty work for him. Pacino, on the other hand, portrays Hoffa as an absolute stark raving mad lunatic. He is extremely uneven, as anything can set him off, which makes him more like Pesci’s usual roles in Scorsese films. I will neither confirm nor deny what that says about Hoffa’s chances of making it to the end of the film.

Russell Buffalino (Joe Pesci) in ‘The Irishman’ (photo: Netflix)

Tongue-in-cheek humor aside, the film is excellently shot and edited. Rodrigo Prieto (The Wolf of Wall Street,Babel), who has worked with Scorsese since The Wolf of Wall Street, was the director of photography, and his shots work to further the story. On various occasions throughout the film, the camera works to tell the story more effectively than the dialogue. Not only that, but the shots are absolutely gorgeous and pristine. The film was shot half digitally, and half on Arri film cameras.

Angelo Bruno’s (Harvey Keitel) Restaurant in ‘The Irishman’ (photo: Netflix)

Thelma Schoonmaker (Raging Bull, The Departed) has edited every Scorsese film since Raging Bull in 1980, which she consequently won an Oscar for. Similarly to the cinematography, her editing style ingeniously conveys information to the audience that dialogue simply could not achieve. At one point Russel Buffalino tells Frank that a character said something disrespectful to him and that it crossed a line. Instead of showing Frank respond verbally, the very next shot is a god’s eye view of a bed with a bevy of uniquely and neatly arranged firearms. The implication is very clear. This guy is about to get whacked. Schoonmaker has made a career by working with Scorsese, and it is one of the reasons the majority of his films are so well received. It makes sense, as she has won three Academy Awards during her standing collaboration with Martin Scorsese.

Russell Buffalino (Joe Pesci) and Frank Sheeran (Robert De Niro) and wives in ‘The Irishman’ (photo: Netflix)

Similarly to other Scorsese gangster films, the music in the film is a rag tag combination of popular songs that fit the mood of the scene, with a little score added in to make the film unique. Robbie Robertson (The Wolf of Wall Street, The Color of Money) works in the music department as well as composing the repeating themes throughout the film. The score is a bluesy harmonica mainly playing throughout the various montage sequences, which usually foreshadows a killing or dark action of some kind. The other main theme is “In the Still of the Night,” by The Five Saints, which plays throughout the film in various degrees as well.

One of many smoke breaks in ‘The Irishman’ at Howard Johnson’s Ice Cream Restaurant (photo: Netflix)

Overall, I believe The Irishman is an extraordinarily good film. I’ve seen it on plenty of top ten lists, but I’m not sure I would put it on mine, as the gangster film is kind of overdone at this point, and a little unnecessary in my opinion. It’s essentially the same story as Goodfellas and Casino. That being said, it is a technical achievement and one of Scorsese’s most well-done films, although the ending is a little weird, in this author’s humble opinion. Either way I recommend it to fans of gangster films and Scorsese fans in general. You won’t be disappointed… just make sure you have the time to watch it!

How to watch ‘The Irishman’ as a mini-series (Photo: Twitter user @dunerfors

MPAA Rating: Rated R for pervasive language and strong violence
Runtime: 209 Minutes
Producers: Tribeca Productions, Sikelia Productions, and Winkler Films
Distributed by: Netflix

The Outsider: Episode 2 – “Roanoke”

The Second Episode of the Two Part Premiere of HBO’s ‘The Outsider’

It is clear why the show had a two-episode premiere. While “Fish in a Barrel” raises the stakes for all the characters, “Roanoke” brings them all crashing down. The biggest and most important development is by far the slow deterioration of the Peterson family. Their youngest son becomes victim to a truly heinous crime, but further tragedy befalls the rest of the Peterson family, setting in motion an unstoppable chain of events. Ralph begins to question whether or not his very public arrest of Terry was a good idea, while Terry’s defense assures him the case will be thrown out at his arraignment, given the circumstances of the evidence placing him out of town on the day of Peterson’s murder. Meanwhile, the supernatural aspects of the show take form as the Maitlands’ youngest daughter, Jessa, played by Scarlett Blum (Reprisal, The Walking Dead), begins talking to an “imaginary man” in the Maitlands’ home.

Ralph Anderson (Ben Mendelsohn) and Jeannie Anderson (Mare Winningham) in ‘*The Outsider*‘ (photo: HBO)

If the first episode of the show was a volley, the second episode is a spike. Brilliantly written and directed, the episode introduces some new characters, while peeling back some of the layers of the main characters. Ralph secretly visits Terry in jail to further question him, creating one of the best one on one scenes yet. The scene in question showcases Mendelsohn and Bateman’s acting chops are prominently displayed in arguably the most emotional scene we have seen yet in the series. The music and cinematography remain consistent, although it will be interesting to see what happens in the next episode, “Dark Uncle,” as there will be a shift in almost all of the major creative roles. Essentially the only consistency will be the score, which will still be composed by Bensi and Jurriaans.

Terry Maitland (Jason Bateman) and Ralph Anderson (Ben Mendelsohn) in ‘*The Outsider*‘ (photo: HBO)

What I am excited for most is the introduction of Holly Gibney, who will be played by Harriet star Cynthia Erivo (Bad Times at the El Royale, Widows). Her character also featured in both the novel and tv Mr. Mercedes series, and is one of King’s best written characters. Her uniquely idiosyncratic personality makes for a very awkward individual with a keen, investigative mind. Where she lacks in her social skills, she most definitely makes up for in her Sherlockian brilliant mind. It will be interesting to see how she interacts with Ralph Anderson, a self-identified skeptic of the supernatural.

Jeannie Anderson (Mare Winningham) and Ralph Anderson (Ben Mendelsohn) in ‘*The Outsider*‘ (photo: HBO)

The two-part premiere does a fantastic job of setting up the rest of the series, which will air every Sunday night at 6 PM PST. The Outsider is a supernatural murder mystery, written by Stephen King and published by Scribner on May 22^nd, 2018.

Rating: TV-MA (Mature Audiences Only) for Adult Content, Adult Language, Nudity, and Violence
Running Time: 60 Minutes
Produced by: HBO

The Outsider: Episode 1 – “Fish in a Barrel”

Stephen King’s ‘The Outsider’ Begins With the Discovery of a Grisly Crime-scene

The Outsider Official Trailer

So I would like to try and review more than just movies, and I believe HBO’s The Outsider, which is one of Stephen King’s (The Shining, It) most recent novels, is a great place to start. The first thing I want to note is how well adapted this series is already turning out to be. Aside from a few characters’ names being altered, the show is almost a shot for shot recreation of the book. I’m sure that is partially due to Stephen King being getting a screenwriter credit, according to IMDb. He shares this duty with Richard Price (The Night Of, The Wire) who has a good relationship with HBO, working on many of their most acclaimed projects. Together they have written an impeccable show based on a despicably horrifying novel.

Ralph Anderson (Ben Mendelsohn) and Terry Maitland (Jason Bateman) in ‘*The Outsider*‘ (photo: HBO)

In The Outsider, Detective Ralph Anderson, played by Ben Mendelsohn (Rogue One: A Star Wars Story, Captain Marvel), investigates a grisly crime scene. A local 10 year old boy, Frankie Peterson, is found mutilated and violated in the woods, and all the physical evidence leads to one person: local baseball coach, Terry Maitland, played by Jason Bateman (Arrested Development, Ozark). The only problem is that there is also physical evidence which shows Terry was over 60 miles away on the day and time that Frankie was horrendously murdered. Ralph Anderson, with the help of DA Bill Samuels, played by Michael Esper (Ozark, Ben is Back) hopes to convict Terry with this terrible crime. Meanwhile Terry’s wife Marcy (or Glory?? They’ve called her both, so it may be a nickname), played by Julianne Nicholson (I, Tonya, Black Mass), and the family lawyer, Howie Gold, played by Bill Camp (The Night Of, Joker), hope to clear Terry’s name.

Terry Maitland (Jason Bateman) and Marcy Maitland (Julianne Nicholson) in ‘*TheOutsider*‘ (photo: HBO)

For the sake of entertainment, I’ll leave it at that, but the story gets crazier and crazier, and all of that has been played out on screen. The opening scene of the show sets the bar for the absolutely gorgeous cinematography we are going to get over the 10 episode limited series. Set to Mozart’s hauntingly beautiful “Piano Concerto No. 23: II. Adagio,” it builds up the suspense, slowly revealing the indescribably grotesque crime scene. As for the score of the series, it is dark and sinister, composed by Danny Bensi and Saunder Jurriaans (Boy Erased, Enemy).

Frankie Peterson’s shoe in ‘*The Outsider*‘ (photo: HBO)

Jason Bateman is an executive producer in addition to starring, as well as directing the first two episodes. “Fish in a Barrel” really demonstrates Bateman’s excellent direction. Every second feels necessary, with nary a wasted second. Jack Bender (Under the Dome, Mr. Mercedes) is the other primary executive producer, who clearly has plenty of time playing in Stephen King’s demented sandbox, and he is also going to EP for the upcoming mini-series for Stephen King’s latest novel, The Institute. I am loving the direction this show is going and the introductory episode does a great job at setting the tone for the series going forward.

Rating: TV-MA (Mature Audiences Only) for Adult Content, Adult Language, Graphic Violence, and Nudity
Running Time: 61 Minutes
Produced by: HBO

2019 Top Ten Films

Favorite Movies of 2019

Here is my top ten list of 2019. It was extremely difficult to narrow down my 10 favorite movies of the year. While I don’t necessarily think they are the best films of the year, they are the movies that I personally enjoyed the most. It was hard enough to choose them all, so I won’t order them from worst to best. Instead, I will list them in the order that I saw them.

1. Avengers: Endgame — The Russo Brothers

This was, without argue, the biggest event film of all time. It’s literally the highest grossing film in the world, and the money has absolutely no impact on whether or not it is on this list. I will never forget my experience seeing this opening weekend. Seeing Captain America pick up Mjiolnir after it had been teased since Avengers: Age of Ultron was one of many moments where the entire theater was cheering. We laughed together, we cheered together, and we cried together. It was a moment 10 years and 22 films in the making and it was easily one of the greatest movie moments of 2019.

2. Once Upon a Time… in Hollywood — Quentin Tarantino

Quentin Tarantino (Pulp Fiction, Reservoir Dogs) movies are event films in their own right. The director is so quirky and unique that each one of his movies is a love letter to cinema, and his 9^th film was the biggest love letter of them all. He, along with his cinematographer, Robert Richardson (The Aviator, Shutter Island), who he has worked with since the Kill Bill films, re-created the early 70’s Hollywood, with one of his most daring films yet. It was maybe his funniest film he has ever made, following a has-been actor and his loyal stuntman, played by two of the best in the game: Leonardo DiCaprio (The Revenant, Inception) & Brad Pitt (Inglourious Basterds, Moneyball). It was the dynamic duo we didn’t know we needed, and it has been a smashing success on the awards circuits.

3. The Lighthouse — Robert Eggers

As a sound designer, I try to pay as much attention to the sound design in each movie, so that I can learn the tricks of the trade. The Lighthouse had some of the craziest sound design I have ever heard. The awful sound of the horn that the lighthouse made in the film was so intense it made me feel like I was going insane, like the two wonderful actors on the screen. I’m mighty surprised that neither Willem Dafoe (The Florida Project, Platoon) or Robert Pattinson (Good Time, The Lost City of Z) are getting accolades for their amazing performances, but their acting talents will be here for years to come, so I am sure there will be more amazing performances from each of them. The other thing about this movie is the ingenious formatting: black and white 35mm film, orthochromatic aesthetic evoking 19th-century photography, and a nearly square 1.19:1 aspect ratio, which further increases the sense of claustrophobia we feel with these characters.

4. Jojo Rabbit — Taika Waititi

After Thor: Ragnarok, I was a little nervous about Taika Waititi (What We Do in the Shadows, Thor: Ragnarok) films. The biggest complaint with the third Thor film was that they absolutely beat the jokes to death. Luckily, Taika reigned it in, for the most part, for Jojo. It’s a satirical film about hate, which is so relevant in today’s world, with an outstanding introductory performance by Roman Griffin Davis, who played the titular character. The film is much deeper than the trailer’s let on, but it somehow manages to balance on the tightrope between comedy and drama. Considering the subject material, that was an incredible feat.

5. Ford v Ferrari — James Mangold

This is another film that is successful mainly due to the charisma between it’s two main characters. Christian Bale (Vice, The Big Short) and Matt Damon (The Martian, Good Will Hunting) played off each other great in this action-packed sports dramedy. It was way funnier than I expected it to be, which was good, because when the film wasn’t being funny, it was in your face “hard knocks of life” family drama. Bale and Damon do a terrific job, in an excellently directed film by James Mangold (Logan, 3:10 to Yuma).

6. Parasite — Bong Joon Ho

Possibly the best film of the year, Parasite is an example of what Americans are missing out on with film from other countries. It is a story about capitalism, which is the only thing I will say about it because the film is so much better going in knowing next to nothing. Bong Joon Ho (Snowpiercer, The Host) is an excellent film maker with an extremely creative mind. He has written as many films as he has directed, which is a pretty amazing feat. Do yourself a favor and see this film.

7. Star Wars: Episode IX – The Rise of Skywalker — J.J. Abrams

This is up there with Endgame for being a great example of experience over technical achievement. I grew up watching Star Wars and I was in my formative years when the prequel trilogy came out, so I am in a unique position where I actually love every Star Wars movie. This film was no different. The experience during opening weekend was up there with Avengers: Endgame. There were laughs, cheers, and tears, and in my opinion the film makers did the best they could. For me, the nostalgia was amazing, however it is probably the most divisive film of 2019.

8. Uncut Gems — The Safdie Brothers

If you would have told me that Adam Sandler (Happy Gilmore, Grown Ups) put in the performance of the lifetime a year ago, I would have told you to go spit. Afterall, this is the man who admitted on talk shows that he has lost his edge and takes movies to go on vacations with his friends and family. That being said, he has put in the performance of a lifetime. The saga of Howard Ratner, a sleazy New Yorker jeweler, is a story 10 years in the making, and the Safdie Brothers (Good Time, Heaven Knows What) have proven that feet on the ground, improvisational film making is still an amazing way to tell a story.

9. Marriage Story — Noah Baumbach

Noah Baumbach (The Squid and the Whale, The Meyerowitz Stories) is such a humanist director. He tells human stories, with human characters, set in the human universe. Marriage Story is such an intense film about something most people are too afraid to admit: the end of a relationship, and in this case, a marriage. Scarlett Johansson (Her,Lost in Translation) and Adam Driver (Paterson, The Report) deliver impactful realistic performances, surrounded by a truly great supporting cast. It’s a must-see film streaming on Netflix as we speak.

10. 1917 — Sam Mendes

Even though it’s release window barely makes it a 2019 film, it is indeed, technically a 2019 film. The saying, “save the best for last” comes to mind when I think of this film. It’s a technological feat: a WWI story filmed to look like it is one continuous shot. It’s successful, it’s a great (and potentially triggering) film for veterans to see, which gives us a glimpse of the intense traumas soldiers go through in a tour of duty. It’s also Sam Mendes’s (Skyfall, Road to Perdition) first screenplay, which should excite any fan of his. It was a great way to end the year and the decade.

After looking at my top movies, I realized I need to branch out more and see more films by women & people of color, so that is definitely one of my goals for 2020! As 2019 came to a close, I felt a little lost. I’m graduating film school next semester, and I don’t necessarily have a concrete plan, but I am learning to follow my instincts and passions and see where they take me. I think we can get more than just an experience out of film, but if we can’t have a little fun along the way, I don’t really see the point of the journey. Good luck to everyone on their journey into the new decade, I hope it’s as fun and productive as mine is already starting to be.

Honorable Mentions

Blinded by the Light — Gurinder Chadha
Midsommar — Ari Aster
Knives Out — Rian Johnson
Joker — Todd Phillips
Rocketman — Dexter Fletcher

1917 Review

Sam Mendes’ One Take Wonder Takes Us to The Gritty Trenches of WWI

Without a doubt, 1917 is the technological feat of 2019. There, I said it. The film is extraordinarily good, which should be no surprise since it comes from the mind of Sam Mendes (Road to Perdition, Skyfall), who in my opinion only has one not so great film: Spectre. It is also a movie that should be seen in the theater. I know I said that Uncut Gems was probably the most stressed I have been in a movie theater ever, but 1917 gives that experience a run for its money. We, the audience, are with these two British soldiers, played by Dean-Charles Chapman (Game of Thrones, The King) and George MacKay (Captain Fantastic, 11.22.63) on a suicide mission to save 1,600 lives through one of the most dangerous battlegrounds in human history. The experience, to say the least, is intense.

Lance Corporal Schofield (George MacKay) and Lance Corporal Blake (Dean-Charles Chapman) in ‘1917’ (photo: Universal Pictures)

Lance Corporal Blake (played by Chapman) is a British soldier in WWI, and he is tasked with a mission, which he unwittingly pulls his buddy, Lance Corporal Schofield (played by MacKay), into as well. The mission: go behind enemy lines to call off an attack because of a trap laid by the German army. The kicker: one of the men in the company that is set to attack is Blake’s brother. If you are unfamiliar with WWI and the grave fighting situation, then I will give you a small history lesson. Trench warfare was a no-holds-barred stalemate resulting in the loss of a reported 12 million lives. Essentially one side would attack and gain some ground, then the other side would attack and gain the ground back, and this literally went on for almost 4 years. It was a nasty situation and it is depicted exceedingly well in 1917.

General Erinmore (Colin Firth) in ‘1917’ (photo: Universal Pictures)

The first thing that needs to be talked about is Roger Deakins’s (Blade Runner 2049, No Country for Old Men) excellent cinematography. The film is shot and edited to appear as one continuously flowing shot. This was achieved with clever storyboarding & editing as well as a bunch of long takes. The daytime shots are gritty and recall what a color version of Stanley Kubrick’s Paths of Glory would look like, while the nighttime and interior trench shots use shadows and complete darkness to add to the suspense and intensity of the film. I will be truly awestruck if Roger Deakins doesn’t win another Academy Award this year. Like its predecessor Birdman or (The Unexpected Virtue of Ignorance), which was also shot and edited to appear as one long take, 1917 is utterly unique and bold. Emmanuel Lubezki won the Academy Award in 2015 for his groundbreaking work on Birdman and I believe Deakins is a shoe in this year.

Lance Corporal Schofield (George MacKay) in ‘1917’ *(photo: Universal Pictures)*

The direction in the film is absolutely phenomenal. It’s no fluke that Sam Mendes won the Golden Globe for Best Director, because with a film of this scale the direction had to be on point, otherwise it just wouldn’t have worked. The number of extras, set designs, special effects, etc. is daunting, and without Mendes’s precise direction the film couldn’t have achieved its unique flowing cinematography. From the beginning of the film it feels like these two soldiers are walking a tightrope and throughout the film it’s as if that tightrope is getting thinner and increasing in elevation. He wrote the film with Krysty Wilson-Cairns (Last Night in Soho, Penny Dreadful) and the film is inspired by Mendes’s grandfather’s (Alfred H. Mendes) experiences in WWI.

British soldiers taking cover in a WWI trench in ‘1917’ *(photo: Universal Pictures)*

The score is composed by Thomas Newman (Skyfall, American Beauty), cousin of Randy Newman, who scored Marriage Story this year. Thomas Newman has been nominated for a whopping 14 Oscars! Do I think he will win this year? No. The simple reason why is that Hildur Guðnadóttir, who scored Todd Phillips’ Joker, has way too much steam going into the Oscars. I think it’s a foregone conclusion that she will take home the Oscar for Best Score this year. However, that doesn’t take anything away from Newman’s extremely emotional score. I’ve always gone back and forth on whether it is the actor’s physical actions or the musical score which creates the emotional pull of a film. I think the answer, at least in 1917’s case, is simple: it’s a combination of the two. There are several moments in this film where the lack of score creates the same palpable emotions that the score itself creates. That’s part of the required genius of a musical composer, knowing when to allow the film to just be. Thomas Newman is an extremely talented composer. His awards are no fluke, and the musical score for 1917 is the proof in the pudding.

Colonel MacKenzie (Benedict Cumberbatch) in ‘1917’ *(photo: Universal Pictures)*

Enough can’t be said about Chapman and MacKay’s performances. Although it is unlikely they will get too many acting nominations, as the race is extremely tight, they clearly have talent. Their performances make the entire film feel as if the stakes are real. The violence is extremely realistic and the obstacles they must overcome are astronomical and horrifying. Having been in the military myself I related with the ball-busting camaraderie they both had with one another. One second they can be joking about masturbation and the very next they are deadly serious, covering each other’s backs with a trained precision. I’m sure many veterans will be able to relate with this movie… more on that later. There were several big-name actors playing small supporting characters, including Colin Firth (The King’s Speech, A Single Man), Andrew Scott (BBC’s Sherlock, Spectre), Benedict Cumberbatch (Avengers: Endgame, The Imitation Game), and Mark Strong (Kingsman: The Secret Service, Kick-Ass). The real emphasis is on Lance Corporals Blake and Schofield and their bond as soldiers and friends, but without such good supporting characters/actors the film easily could have lost its footing early on.

1917 is truly an experience to be had in the theater. Not only is the cinematography fantastic, but the sound design is made to be heard in a theater, where a bullet can come from any direction. I would issue a warning to veterans with combat experience as this film is an extremely good example of why soldiers come home with PTSD. It is very intimately shot and the sound effects all feel very close quarters, as if we are right there with Blake and Schofield. I unknowingly sat next to a Vietnam veteran during the film and afterwards we talked a bit, but when he told me he served in Vietnam I asked him if he was okay, because the film is very intense. He thanked me and also told me a story which was very inspiring and emotional, which made me think as veterans it’s our duty to look out for one another… and go to the VA for goodness sake! Don’t wait until tomorrow, go today, they are there to help, even if it can be a flawed system at times. Okay, back to the review. Imagine the intensity and reality of Steven Spielberg’s Saving Private Ryan of WWII and you will reach a good comparison for the portrayal of WWI in 1917. It is easily one of, if not the best, films of the year, and it’s one of the best war films I have ever seen. Do yourself a favor and see this one before it leaves theaters!

MPAA Rating: Rated R for violence, some disturbing images, and language
Running Time: 119 Minutes
Produced By: Amblin Partners, DreamWorks, Neal Street Productions, New Republic Pictures

Star Wars: Episode IX – The Rise of Skywalker Review

The Skywalker Saga Comes to a Thrilling End

How do you end a decades long saga beloved by millions and millions of people? Do you honor the past like The Force Awakens did when it started off this new trilogy or do you try something new like Rian Johnson (Knives Out, Looper) did with The Last Jedi? Ultimately, J.J. Abrams (Star Wars: Episode VII – The Force Awakens, Super 8) decided that nostalgia is more important than going in a new direction. At this point, I believe that Star Wars films are event blockbusters, very similar to films from the Marvel Cinematic Universe. For me, the reason I like Star Wars movies is because I absolutely loved the original trilogy and I even love the prequel trilogy (I hope that didn’t instantly burn my reputation). This being said the nostalgia in the film was easily one of my favorite parts of the experience.

I absolutely loved every second of it, especially seeing it during opening weekend. The crowd had an energetic vibe and there were plenty of cheers and eye-wateringly awesome moments if you’re a major fan of the franchise. I really enjoyed the story too! As displayed by the second trailer that was released, Emperor Palpatine, played by Ian McDiarmid (Star Wars Episodes I, II, III, V, V), returns to wreak havoc and retake control of the galaxy. Self-declared Supreme Leader Kylo Ren, played by Adam Driver (Marriage Story, The Report), attempts to take control of the galaxy as well in his ever-persistent journey to become the most powerful person in the galaxy. Rey, Finn, and Poe, played by Daisy Ridley (Star Wars: Episode VIII – The Last Jedi, Murder on the Orient Express), John Boyega (Star Wars: Episode VIII – The Last Jedi, Pacific Rim: Uprising), and Oscar Isaac (Star Wars: Episode VIII – The Last Jedi, Ex Machina), race against the clock to try to protect the galaxy as the battle between good and evil, light and dark, is waged one last time.

The movie moves along at a (force) lightning pace. This didn’t bother me in the slightest because I grew up watching the original trilogy with my Dad and I saw all of the prequel movies in theaters… not to mention the amount of times I have watched them all at home. However, I guess for some it could be considered too fast paced, so it will be advantageous going in with that knowledge. The characters finally felt comfortable to me. Rey is continuing her training to become a Jedi, Finn and Poe aren’t exclaiming and hugging every single time they see each other, and Kylo Ren is determined and has dropped the whiny tantrum act. The stakes in the film are palpable and, in my opinion, honor the Skywalker Saga as a whole, not to mention this new trilogy. This film also brings back Lando Calrissian (Star Wars: Episode V – The Empire Strikes Back, Brian’s Song) and I can’t emphasize enough how chilling Ian McDiarmid’s portrayal of The Emperor is. Seriously, if you have young children it may not be the best film as there is some truly frightening imagery as my cousin learned the hard way (again, I apologize for not writing this sooner). The film is easily the darkest of the new trilogy, although I think Revenge of the Sith has to take the cake for the darkest film in the entire franchise; why the younglings, Anakin??!!

Needless to say it is up to each and every person to come up with an opinion for this film because it is extremely divisive. At the end of the day as an auteur you can’t please everybody, and J.J. Abrams clearly put his heart, soul, and extensive knowledge/passion of Star Wars into this film. He co-wrote the film with Chris Terrio (Argo, Justice League) as well as taking on directing duties. The film was another movie that was actually shot on film like so many other fantastic films this year. As I’ve said, there is something magical about movies that are actually shot on film. The film was shot by Dan Mindel (Star Wars: Episode VII – The Force Awakens, Star Trek Into Darkness) and contains plenty of classic J.J. lens flare along with some truly breathtaking imagery. Seriously, the desert scenes are amazing, filled with heat shimmer that make the film that much grittier. Luckily our main characters visit plenty of planets this time around, which offers up all sorts of beautiful and unique kinds of scenery. I’m sure the film will garner a few technical Oscar nominations too as the sound design and VFX are stunning to say the least. Again, it is a Star Wars film, so these qualities are almost a no-brainer.

The movie was edited by Maryann Brandon (Star Wars: Episode VII – The Force Awakens, Super 8) and Stefan Grube (10 Cloverfield Lane, Tully). While the action sequences were all edited very well, I didn’t feel like anything really stuck out as being exemplary or ground-breaking. The film was edited very much like The Force Awakens and The Last Jedi, however, they did have an extraordinary task of making everything feel cohesive as there is quite a bit going on. John Williams (Star Wars, Indiana Jones) returned one last time to score the final Skywalker film and he claims this film will be his last Star Wars film, which is bittersweet. On one hand, all of his Star Wars themes are memorable and unique, whether it was the main theme, which is arguably the most iconic movie composition of all time, or it his extraordinarily composed/performed “Duel of the Fates” in The Phantom Menace. On the other hand, it is always good to leave on a high note, and his score for The Rise of Skywalker is definitely a high note. Whether it be “Rey’s Theme” or the classic “Imperial March,” John finds a way to mix old with new in unique and memorable ways.

In summary the experience of The Rise of Skywalker is what you make of it. Unfortunately characters like Rose, played by Kelly Marie Tran (Star Wars: Episode VIII – The Last Jedi, Sorry for Your Loss), and Maz Kanata, played by Lupita Nyong’o (Star Wars: Episode VII – The Force Awakens, Us), don’t get much screen time, which is another reason the film is being criticized, especially the absence of Rose. In a bulky script, I don’t see how their roles could have been increased, but alas, such is life. There are plenty of truly epic moments that any Star Wars fan should enjoy and if anything it is an extremely fun movie to experience in a theater. Be wary of bringing small children as the film is extremely dark and could be scary for them, and as always, may the Force be with You!

MPAA Rating: Rated PG-13 for sci-fi violence and action
Running Time: 142 Minutes
Produced By: Walt Disney Pictures, Lucasfilm, and Bad Robot

Marriage Story Review

Adam Driver and Scarlett Johannsen Both Give Powerhouse Performances in Noah Baumbach’s Marriage Story

Marriage Story is an inside view of the tragedy of divorce and how it affects all the parties involved. Written and directed by Noah Baumbach (The Squid and the Whale, The Meyerowitz Stories) and inspired by his real-life divorce, Marriage Story does a great job of realistically portraying the subtle and not-so-subtle awfulness of splitting up from a person you have pledged your life to. Things could have gone smoother, but they also have a son, Henry, which exponentially complicates things.

Adam Driver (Star Wars: The Rise of Skywalker, BlacKKKlansman) plays Charlie, who is going through a divorce with his wife Nicole, played by Scarlett Johannsen (Avengers: Endgame, Under the Skin). The film picks up with the couple in New York, where Charlie directs a theater company which Nicole stars in. Nicole gets an opportunity to go home to LA with their son Henry, played by Azhy Robertson (Juliet, Naked, The Americans), when she gets a role in a television pilot. The major complication is that both Charlie and Nicole want to equally be involved in Henry’s life, which only gets more complicated when lawyers get involved. These lawyers are played by Laura Dern (Jurassic Park, Big Little Lies), Ray Liotta (Goodfellas, Narc), and Alan Alda (M.A.S.H., The Aviator). The film shows the sacrifices parents must make so their children can remain as unaffected by divorce as possible, which having had no direct experience with divorce seems incredibly difficult.

Marriage Story is one of the many films that were actually shot on film this year. There is something about film that is exceedingly more captivating than the much easier digital platform. I mentioned graininess in my review for Uncut Gemsand the same applies to Marriage Story. It was beautifully shot by Robbie Ryan (The Favourite, American Honey) and superbly edited by Jennifer Lame (Hereditary, Manchester by the Sea) who is set to work with Christopher Nolan on his upcoming blockbuster Tenet. The way the film is shot and edited conveys the tragedy of divorce without having to needlessly explain it with exposition. There is a scene that involves a gate that is layered with metaphor and it’s one of, if not the most beautiful scene in the film.

As for the writing of the film, Noah Baumbach’s witty script keeps the story going the entire time. We respectively see the point of view of Charlie and Nicole and their struggle to get through the divorce. The dialogue is written extremely well and is very entertaining, slowly helping us get to know these characters. While the supporting characters like Dern, Liotta, and Alda hold their own, Adam Driver and Scarlett Johannsen’s astronomical performances accurately portray the heartache of divorce.

Randy Newman (Toy Story, Maverick) composed the music for Marriage Story, which is delightfully upbeat, yet incredibly melancholic revealing the troubling predicament both characters are in. Newman uses a simple piano melody throughout the film, layered with strings to add to the drama/intensity of the events taking place. The horns and flutes add to the whimsical nature of the film keeping it both lighthearted and incredibly moving. It is the perfect complement to an endearing story.

Marriage Story is easily one of the best films of the year, expertly achieved on every level. I highly recommend it to a mature audience as the language, understandably so, is extremely foul at times, not to mention the subject matter is intense to say the least. Plenty of lessons can be taken away from Marriage Story, a film which explores the vast emotional spectrum of the human condition.

MPAA Rating: Rated R for language throughout and sexual references
Running Time: 137 Minutes
Produced By: Heyday Films & Netflix