Alex Ledebuhr

The Last of Us – Episode 1: “When You’re Lost in the Darkness”

When you’re lost in the darkness look for the light

The Last of Us Official Trailer HBO

When it was announced that Naughty Dog’s The Last of Us was going to be adapted for the silver screen, fans of the game were simultaneously overjoyed and worried. There is a long-standing “curse of the video game adaptation” where fans have been let down over and over again by adaptations of their favorite video games. Luckily for us fans, that unease can be laid to rest, as Neil Druckmann (Uncharted 4: A Thief’s End, The Last of Us: Part I & II) and Craig Mazin (Chernobyl, The Hangover Part II & III) have delivered in every possible way. The Last of Us follows Joel, a black-market smuggler living in the Boston QZ (quarantine zone) and Ellie, a young girl with a shocking secret, through a post-apocalyptic America that has been overrun by a Cordyceps outbreak. Cordyceps, a real fungus that infects ant populations, has somehow transmitted to human beings decimating the entire world, and those who are left live in an dystopic world void of all humanity.

There were several elements of the game, all equally important, that were key in bringing this story to life in a multi-episode format. The Last of Us is a sprawling narrative, which unfolds throughout several different locations and seasons across America, is easily one of the best video game stories ever written. In order to bring that to life, the writing, aesthetic, sound design, and performances all had to be on point. Rest assured, all of them hit the mark, if not exceeded it. Druckmann and Mazin have beautifully adapted this story which encompasses everything from tragedy and horror to comedy and poignancy. While certain story elements have been added or altered, so far, the show has followed the game’s storyline closely, which is crucial when dealing with such a revered work of art. It is clear that Mazin is a fan of the game and Druckmann has put his whole faith into their combined effort to bring the game to life.

The aesthetic of The Last of Us is so good because of its’ delicate balance between the destruction of the old world and the oddly beautiful way that nature has retaken its’ claim over the landscape. One of the most impressive shots of the first episode comes near the very end when we see the characters move forward into the desolate wasteland as lightning strikes, revealing two skyscrapers that have collapsed into one another, which the VFX team brought to life. Ksenia Sereda (Chernobyl: Abyss, Beanpole), the cinematographer and the art department, led by Nicolas Lepage (300, Jonathan Strange and Mr Norrell) have brought this world to life, and I am so excited to watch the show to see how they bring more of the game to life. There were so many times I looked at my wife and excitedly said, “That shot was in the game!”. While she is probably sick of it, it’s undoubtedly one of the best visual adaptations I have ever watched.

No matter how good any film or series looks, without sound it is worthless. Luckily the sound design has also been adapted gracefully from the game, which boasted some of the greatest dialogue, action sequences, and creature FX in recent memory. Chris Terhune (The Batman, Prey) has seamlessly integrated some of the more memorable SFX from the game into this adaptation. Having experienced the gameplay experience through countless replays of the game(s), I am truly looking forward to some of the SFX that will undoubtedly surface, including the sound design of the Clickers, a version of the Infected that hunt by sound and make blood-curdling clicking sounds and other things that go bump in the night that I’d rather not spoil.

*Pedro Pascal and Bella Ramsey in a promotional image for ‘The Last of Us’ (photo: HBO)*

While I understand the viewpoint of critics who don’t love film scores, I heartily disagree with them. The Last of Us game had an outstanding score from Gustavo Santaolalla (Babel, Biutiful). It was gritty, raw, and features easily the best main theme of any video game I have ever played. It was a gift that he was able to recreate his score for the series as well. The combination of acoustics and synths in his score compliment the scenes so beautifully, whether it is a moment of utter tragedy, beauty, or horror. Paired with the stunning cinematography and sound design, Santaolalla’s score brings to life one of the most important parts of the game(s).

Last (of Us), but not least are the performances. The thing that most people really latched onto with the game were the incredible voice performances level-set by Troy Baker (Uncharted series, Batman: Arkham Knight), Ashley Johnson (The Avengers, Fast Food Nation), & Jeffrey Pierce (Call of Duty: WWII, Bosch). I could go on and on, as all of the performances from the game were outstanding, but it is a true testament to the casting director, Victoria Thomas (Once Upon a Time in Hollywood, Django Unchained) that she was able to carefully select the cast of the series to portray some of the most enduring characters in video game history.

The show stars Pedro Pascal (The Mandalorian, Game of Thrones) and Bella Ramsey (Game of Thrones, Hilda) as the main protagonists Joel & Ellie. Rounding out the cast are Nico Parker (Dumbo, Reminiscence) as Joel’s daughter Sarah, Gabriel Luna (Terminator: Dark Fate, Agents of S.H.I.E.L.D.) as Joel’s rambunctious brother Tommy, Anna Torv (Mindhunters, Fringe) as Joel’s smuggling partner in the fallen world, and Merle Dandridge (Half-Life 2, The Last of Us) who reprises her role of Marlene, leader of the revolutionary Fireflies from the game. All of the cast brought their A-game to bring these fantastic characters to life. One of the shining moments from episode 1 is Joel and Sarah’s beautiful father-daughter relationship, which I can relate to as a (fairly) new father. Their relationship made the utter collapse of the world into disarray that much more poignant and tragic.

In addition to everything I have touched on, the show also boasts a brilliantly done opening titles sequence, which HBO is now known for, as well as some other really cool moments for fans of the game. Whether it was completely new additions, like the 1968 prologue, which sets the tone for the show, or subversions of sequences fans of the game expected to see play out, The Last of Us is a brilliant adaptation for longtime fans and newcomers alike. I expect great things from the rest of this series based on how strong the first episode was. All this talk of The Last of Us has really made me hungry for another replay of the games, so I think I will go ahead and excuse myself to go replay The Last of Us: Part I.

‘The Last of Us’ – “When You’re Lost in the Darkness” Review by Alex Ledebuhr

MPAA Rating: Rated TV-MA for sex & nudity, violence & gore, profanity, alcohol, drugs & smoking, and Violence & Gore, Profanity, Alcohol, Drugs & Smoking and frightening & intense scenes
Runtime: 1h 21m
Produced by: HBO & Naughty Dog

‘Tenet’ Review

It’s about time! A non-spoiler dissection of Christopher Nolan’s epic global spy-thriller ‘Tenet’

Tenet Review by Alex Ledebuhr

It’s been too long since we’ve last spoken, erm, I mean written. I’ve missed you dearly and, presumptuous as it may sound, I think you’ve missed me too. That’s not to say my writing is that incredibly important to your lives, but I’m sure it is fair to say for most of you it has been terribly long since you’ve seen the inside of a movie theater. That is a complete tragedy. The Covid-19 pandemic has taken so much from us in 2020. Not to say movies rank above the loss of human life, because they pale in comparison, but I know for me movies were a perfect escape from everyday life. That outlet has been taken from us, and that hurts. But alas, we must trudge forward, one day at a time, and figure out our place in this new normal.

Before I begin my review, I think it’s important to catch you, my trusted readers, up on my life. My last review was in February of this year. I was going to school full time and I got a little overwhelmed with my workload as it was my last semester and then Covid struck. I attended remotely throughout the rest of the semester. Looking back I should have used that time to write more reviews, I was just severely disheartened that theaters weren’t open. I felt lost. Well, I was definitely found after I graduated from school (in May) and proposed to my girlfriend of almost three years (in June). We had a joyous, lovely, and contained zoom wedding with a small number of in-person guests (in October… 10-10-2020 to be exact… aren’t you jealous of that date). We have since moved into a new home together and are so excited to start/continue our lives together. Needless to say, we just cleared out our office and plugged in the old Mac-aroni ™ and I have been dying to tell you all about Tenet, so in the words of Heath Ledger’s Joker, “Here we… go.”

BTS: Christopher Nolan discussing the upcoming scene with John David Washington for ‘Tenet’ (photo: Warner Bros.)

Christopher Nolan is by far one of the most unique directors of this generation, let alone all-time. The only argument against him from a movie-goer I have heard is that his movies are “confusing.” The only argument against him from film makers is in regards to his sound mix, which I will address later. While I don’t fully disagree with either of those sentiments, I think the man is truly a genius when it comes to film, in regard to his complex plots, narrative structures, and yes, his sound design. He knows the rules, and better yet, he knows how to break them… in absolutely glorious fashion. While Tenet is both confusing and “noisy” (more on that later), it’s a groundbreaking film, with some of the most captivating concepts, stunts, and cinematography I have ever seen. In addition, the composition by Ludwig Göransson (Black Panther, Creed) and the acting performances were pretty phenomenal as well.

Explosion at the Kiev Opera House in ‘Tenet’ (photo: Warner Bros.)

Tenet is Christopher Nolan’s take on the spy genre, of which he is a self-professed super-fan. It’s description on iMDb is as follows: “Armed with only one word, Tenet, and fighting for the survival of the entire world, a Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.” Wow. That’s a mouthful. I hate to be the bearer of bad news, but I won’t really go too much more in depth aside from answering the most frequently asked question in regards to Tenet, “it’s not time travel. Inversion.” That being said, the plot is… hard to handle. It absolutely takes multiple viewings in order to understand the very complex plot (I dared not write this review before seeing it 4 times, thrice in theaters and once at home… shhhhhh). It’s like Inception on crack. However, I noticed upon each viewing, like Inception, the film just kept getting better for me.

The Protagonist (John David Washington) and Kat (Elizabeth Debicki) speed into the future in ‘Tenet’ (photo: Warner Bros.)

First off, I’d like to break down the cinematography and stunts. While I can’t talk about the cinematography without mentioning the Director of Photography, Hoyte Van Hoytema (Interstellar, Dunkirk), I could not talk about the stunts without mentioning John David Washington (BlacKkKlansman, Ballers). This film literally wouldn’t have been able to be made without JDW, who had to film complex fight choreography and stunts, both forwards and backwards. The sheer athleticism it took was absolutely astounding, but then again Washington did play professional football for several years, so I guess he was cut out for the role. Back to the cinematography, which I will be amazed if Hoytema isn’t nominated for an Oscar for his incredible work. In order to make the film, which is easily his most ambitious collaboration with Nolan, he had to literally make adjustments to the IMAX camera so that he could shoot both forwards and backwards. That’s right, there are multiple scenes throughout the film which were shot both forwards and backwards. The scenes in question are truly fascinating and worth the price of admission/blu-ray alone, but the film also has stunning cinematography throughout allowing it to stand on its’ own two legs, time-inversion gimmicks aside.

The Protagonist (John David Washington) and Neil (Robert Pattinson) in the Red/Blue Room in ‘Tenet’ (photo: Warner Bros.)

The amount of collaboration on the direction of the film had to be very precise in order to pull of the various inversion effects, and one of the most important collaborations was with the films’ editor, Jennifer Lame (Marriage Story, Hereditary). Nolan has always been a huge fan of non-linear storytelling, but Tenet provided the additional challenge of forward and inverted fight scenes, which would be a challenge for any editor. In addition, she replaced Nolan’s longtime editor, Lee Smith, who was busy editing the Oscar-winning film, 1917. Lame, who has also worked on several Oscar-winning films, proves to be a multi-talented editor, as she has edited dramas (often with director Noah Baumbach), horror, and now with Tenet, an action/thriller/espionage film. Her editing was essential for keeping the characters grounded emotionally, especially Kat, played by Elizabeth Debicki (Widows, Guardians of the Galaxy Vol. 2).

The Protagonist (John David Washington) and Neil (Robert Pattinson) infiltrate the Freeport in Oslo in ‘Tenet’ (photo: Warner Bros.)

Speaking of Kat, I should mention the other major players in the film, which are the aforementioned Protagonist (which is the only name we are given in the film for the character), played by John David Washington, Neil, played by Robert Pattinson (The Lighthouse, Good Time), and the villainous Sator, played by Kenneth Branagh (Dunkirk, Murder on the Orient Express). All of these actors did an incredible job of keeping the story moving forward (and backward *slaps knee*) through it’s fairly complex portrayal of time manipulation. All four really hold the film together and give memorable performances in a film which constantly one-ups itself technically. It’s hard to say much more without giving anything away, so I will pull myself to another topic, the score.

Kat (Elizabeth Debicki) with some major attitude in ‘Tenet’ (photo: Warner Bros.)

Ludwig Göransson has already won an Oscar for his incredible score in Black Panther (Rest in Power Chadwick), and I don’t know what his competition is this year, but he very well could get nominated for his work on Tenet. What makes this even more incredible is that he had to conduct his many musicians virtually due to social distancing protocols. What makes his soundtrack so cool, and I must emphasize, it is very cool (I’m listening to it right now on repeat), is how in sync with the plot it is. It, along with the plot, utilizes the concept of time-inversion throughout the film, which gives it tons of replayability, both forwards and backwards. The themes for the Protagonist, Neil, Kat, & Sator are all thoroughly unique and blended together subtly which makes for an exciting ride, both visually and sonically. Its’ booming synths and electric guitars keep the heart (and its’ strings) pumping throughout the entire film.

Ludwig Göransson in his socially distanced studio (photo: New York Times)

Lastly, I’d like to take a moment to address the sound design of the film, as it is what I went to school for. On my first viewing I was so utterly overwhelmed by everything I was seeing, I figured the sound design would be overshadowed by the visual aspect of the film. Two minutes into the film I was proven wrong during the epic opening introduction at the Kiev Opera House. I don’t think I have ever heard gunshots presented the way I heard in that moment. It’s a true shame that most won’t get a chance to see it on the big screen, because the sound design really has the ability to stop your aforementioned heart from pumping, especially in Dolby. While I understand the complaints of some regarding the inaudible dialogue, upon multiple viewings it’s clear that most of the information we are losing to bombastic gunshots and inverse explosions are simply exposition that is being explained visually anyways. To be certain I was able to watch the film with subtitles during my latest viewing, thus confirming my theory that not much is lost in translation. Again, I think Christopher Nolan is a genius and creative in most aspects of the craft of filmmaking, especially sound design.

Christopher Nolan, John David Washington, and Clemence Posey work on a scene for ‘Tenet’ (photo: Warner Bros.)

Well, I’ve written as much as I dare to on Tenet (for now), but I do urge you to check it out in a theater if you have the opportunity and feel safe enough to do so. Christopher Nolan movies, and in this case Tenet especially, deserve/need to be seen on the big screen. It’s an audio-visual experience like no other, and while I haven’t seen it in IMAX (and sadly probably won’t get the opportunity), I personally think that Dolby is the best way to see any movie. It’s fantastic to be back in the writer’s chair and in the spirit of Tenet’s inversion I plan to write reviews on each of Christopher Nolan’s films, working backwards of course, so expect a review for his thrilling war-epic Dunkirk next, in which I will break down a little thing called Shepard tones.

MPAA Rating: Rated PG-13 for intense sequences of violence and action, some suggestive references and brief strong language
Runtime: 150 Minutes
Produced by: Warner Bros. & Syncopy

‘Good Will Hunting’ Review

Matt Damon and Ben Affleck Wrote and Star in This Timeless Classic with the Late, Great Robin Williams. Original Link Below the Trailer. HUGE SHOUTOUT TO TFD SUPPLIES FOR FEATURING MY REVIEWS ON THEIR SITE!

https://www.tfdsupplies.com/blogs/educator-panel/good-will-hunting-movie-review

Good Will Hunting tells the story of troubled genius savant Will Hunting, played by Matt Damon (The Departed, The Martian). Will is a convicted felon who is a janitor at MIT through his Parole Officer and he also happens to be able to solve incredibly complex math equations that mathematics professionals can’t even solve. When he gets arrested for brawling with his buddies Chuckie, played by Ben Affleck (Argo, The Town), Morgan, played by Casey Affleck (Manchester by the Sea, Out of the Furnace), and Billy, played by Cole Hauser (Dazed and Confused, Pitch Black), he is undoubtedly going to jail, with little to no chance of avoiding prison time.

Will (Matt Damon) solving a difficult equation in the hallways of MIT in ‘Good Will Hunting’ (photo: Miramax)

Enter MIT professor Gerald Lambeau, played by Stellan Skarsgård (The Girl with the Dragon Tattoo, Chernobyl), who gives Will a chance at freedom under two conditions. Will must collaborate with Lambeau, working on various mathematical equations, as well as attend therapy sessions. After Will mocks each and every therapist Lambeau throws at him, causing them to subsequently quit, Lambeau decides to turn to his estranged college roommate, Sean Maguire, played by Robin Williams (Good Morning Vietnam, Jumanji) in a last-ditch effort. Sean proves to be a worthy adversary for Will’s stubborn, tough exterior, while Will also explores a very new experience of dating Minnie Driver’s (Grosse Point Blank, Sleepers) character, Skylar.

Will (Matt Damon) and Sean (Robin Williams) *in ‘Good Will Hunting’ (photo: Miramax)*

The performances in the film are startlingly brilliant and realistic. Damon, the Affleck brothers, and Hauser play gritty blue-collar workers with a penchant for violence and foul language, with Damon being nominated for an Oscar for his excellent work in the Best Actor in a Leading Role category. Robin Williams deservingly won the Oscar for Best Supporting Actor with his fierce, yet tender performance as Sean Maguire. Minnie Driver was also rightfully nominated for her riveting performance in the Best Actress in a Supporting Role category. While Skarsgård wasn’t nominated, his work is extraordinary and truly displays his ability to walk the line between sympathetic and downright unlikeable. All of the characters are well rounded and unique, which adds to the charm of the film.

Will (Matt Damon), Chuckie (Ben Affleck), and the boys *in ‘Good Will Hunting’ (photo: Miramax)*

Good Will Hunting is directed by Gus Van Sant (My Own Private Idaho, Milk) and was written by Matt Damon and Ben Affleck, who both won the Oscar for Best Screenplay Written Directly for the Screen in 1998. It is very much an example of arthouse cinema, while also having a deep lesson embedded within it. The main way of showing this is through the very different approaches of Lambeau and Sean. Lambeau views Will as a smarter version of himself, while Sean views Will as a troubled version of himself. Both role models, or “teachers,” have good intentions, however Lambeau’s intentions are beleaguered by being somewhat self-serving, if not an obvious attempt to live vicariously through Will’s extraordinary intellect.

Skylar (Minnie Driver) and Will (Matt Damon) on a date *in ‘Good Will Hunting’ (photo: Miramax)*

The most teachable moment from the film comes after Lambeau and Sean have a fiery disagreement concerning Will near the end of the film. It is a symbolic battle for Will’s life and wellbeing which showcases Lambeau’s shortcomings as well as Sean’s protectiveness over Will’s wellbeing. Afterwards, Sean tells Will, “Do what’s in your heart, son. You’ll be fine.” As teachers and educators it is important not to judge a book by its cover. Trouble students are often troubled for a reason, and we find that to be the case with Will, who survived multiple abusive foster parents, creating the rigidly defensive exterior we see in the beginning of the film.

Sean (Robin Williams) and Lambeau (Stellan Skarsgård) *in ‘Good Will Hunting’ (photo: Miramax)*

There is one other line that really resonated with me, which was spoken by Lambeau’s grad student assistant, Tom. He rebukes Will by saying, “Most people never get to see how brilliant they can be. They don’t find teachers that believe in them. They get convinced they’re stupid.” Tom is immediately sent off to make coffee by Lambeau after he delivers this line, showing how little he has become since Will was introduced to the pair’s lives. Although it was said to make Will feel ashamed and more appreciative towards Lambeau, the line undoubtedly holds its own merit. Films like Good Will Hunting contain good and bad examples of how to teach or educate, and Tom’s line showcases a common flaw of tired, overworked educators. This theme is most obvious with Lambeau and his partialness towards brilliant minds at the detriment to his other students.

MPAA Rating: Rated R for strong language, including some sex-related dialogue
Runtime: 126 Minutes
Produced & Distributed by: Miramax

‘Sister Act 2: Back in the Habit’ (TFD Supplies) Review

My first TFD Supplies movie review! I’m beyond grateful for the opportunity. Please visit the original link below the trailer embed!

https://www.tfdsupplies.com/blogs/educator-panel/sister-act-2-movie-review

The first Sister Act succeeded on the combined humor of Whoopi Goldberg’s (Ghost, The Color Purple) fish out of water comedy and the villain turned ally of Maggie Smith’s (Harry Potter and the Deathly Hallows: Part 2, The Best Exotic Marigold Hotel) deftly named Mother Superior. The first film ended on a high note with Sister Mary Clarence, AKA Deloris Van Cartier (Whoopi Goldberg’s character), surviving her killer mobster ex-boyfriend, bringing St. Paul’s Catholic Church back to prominence, and successfully repairing the church’s defunct choir. During the credits it is revealed that Deloris becomes a successful Vegas performer and everyone lives happily ever after.

Deloris aka Sister Mary Clarence (Whoopi Goldberg) in ‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)

Back in the Habit picks up soon after Deloris becomes a successful Las Vegas headliner. Sisters Mary Patrick, played by Kathy Najimy (King of the Hill, Hocus Pocus), Mary Lazarus, played by Mary Wickes (White Christmas,The Hunchback of Notre Dame), and Mary Robert, played by Wendy Makkena (State of Play, A Beautiful Day in the Neighborhood), travel to Las Vegas to seek out Deloris’s help. The local school which the nuns teach at in San Francisco, St. Francis Academy, is in dire straits; without a miracle the school is going to close. Mother Superior believes that Dolores could help reform the inner-city school’s rowdy music class… by reviving her former guise as Sister Mary Clarence.

The unruly class led by Rita Watson (Lauryn Hill) in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

Sister Mary Clarence underestimates the disrespectful class filled with loud, raucous high schoolers who have no intention of learning. Led by Rita Watson, played by multi Grammy award winning singer Lauryn Hill (The Miseducation of Lauryn Hill, The Fugees’ The Score), the class does their best to undermine Sister Mary Clarence. While Sister Mary Clarence squares off against the unruly class the suspicious school board, led by Mr. Crisp, played by James Coburn (The Great Escape, The Magnificent Seven), suspect “Sister Mary Clarence” isn’t who she purports to be. Will Sister Mary Clarence be able to tame the wild class? Will the school board find out Sister Mary Clarence’s secret identity?

Sister Mary Patrick (Kathy Najimy), Deloris aka Sister Mary Clarence (Whoopi Goldberg), and Sister Mary Robert (Wendy Makkena) in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

The brilliance of Sister Act 2 is the simplicity of the story. It’s a classic teacher vs. student story, filled with entertaining and well-choreographed musical segments. Both teacher and class eventually learn something new about one another, ultimately bringing them together. Unbelievably, the film is directed by classic action star Bill Duke (Predator, Commando), who has 60 other directing credits! Despite the film having a low metascore on IMDb, it is a classic 90’s film, which are without a doubt formulaic in the way they are written, directed, shot, and edited. The thing is… the formula works. It is a great example of 90’s humor and culture as well as having a heartwarming story of coming together to becomes something greater.

Deloris aka Sister Mary Clarence (Whoopi Goldberg) takes the class on a field trip in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

Whoopi Goldberg does a fantastic job of slowly breaking through to the stubborn students. Conversely, she also learns to open her heart to hard cases like Rita. Like the first film, she transforms a ragtag group of off-key, self-conscious kids into a confident, unified choir. Her character is based, in part, on a real nun, Mother Dolores Hart, and there is also contention that the character was based on Delois Blakely, who sued Disney and Sony Pictures. While it is a stretch, I believe the film is a great demonstration of a teacher going up against the odds to break through and help the proverbial unruly, disobedient classroom. The film’s musical numbers add heart, soul, and tons of emotion as the students slowly begin to believe in themselves and climactically compete in the All-State Choir Championship.

MPAA Rating: Rated PG for some mild language
Runtime: 107 Minutes
Produced by: Touchstone Pictures
Distributed by: Buena Vista Pictures

‘The Outsider’ — Episode 4: “Que Viene el Coco”

Holly Continues to Uncover the Mystery Between the Similar Child Murders

‘The Outsider’ Episode 3 — “Dark Uncle” closing scene (video: HBO)

Finally some of the mystery begins to unravel in this chilling episode of The Outsider. After Jack’s spooky encounter with “The Outsider” at the barn, he begins acting very odd, disappearing and doing random tasks literally to try to save his own neck. Holly begins connecting Terry to other similar cases in Dayton and New York. While investigating in Dayton Holly met a security guard named Andy Katcavage, played by Derek Cecil (House of Cards, Recount). He becomes a larger asset in this episode as Holly continues to connect the dots, all the while reporting back to Ralph, Howie and the gang.

Holly (Cynthia Erivo) thinking at the hotel bar in ‘The Outsider’ (photo: HBO)

This episode is one of the creepiest thus far. I don’t know if anything can top the horror of Frankie Peterson’s crime scene, but this ep gave it a run for its money! One of my friends even described the episode as “devilish,” as it touches on some folk lore relating to the title of the episode. Without giving anything away, there is some disturbing imagery late in the episode as Holly digs deeper and deeper. Concurrently Glory begins to face more and more fallout from Terry’s death. Her kids have been “asked to leave” the school they attended, and Glory has an incredibly hard time trying to find a legitimate home schooler without any ulterior motives. The tragedy of her husband’s death is increased by the fact that people are hurling threats, in person, at both her and her children. While Howie and Ralph continue to stick up for her, her situation is clearly spiraling quickly.

Ralph (Ben Mendelsohn) poring through security footage in ‘The Outsider’ (photo: HBO)

Again, one of the things I liked most about the episode is seeing how Holly works. Cynthia Erivo does such a great job at maintaining all of these little, weird personal quarks that make Holly who she is. Her investigative mind is further opened up as she opens up more to Andy, who actually happens to be an ex-police detective, which I admit is extremely convenient as far as plot devices go. That being said, Andy is a genuinely nice character and Cecil brings a subtle, polite softness to the character.

Jack Hoskins (Marc Menchaca) and Detective Tamika Collins (Hettienne Park) in ‘The Outsider’ (photo: HBO)

This episode does a great job of finally inserting some of King’s classic supernatural characteristics, which causes some conflict between Holly and Ralph, as he is a skeptic. I think this episode is one of the best looks we will get into our villain’s mind, seeing how truly evil and depraved he really is. The groundwork for Jack’s role in the story really starts to be laid out quite succinctly. “Que Viene el Coco,” yet again, elevates the shows to new (or lower if you’d like) heights keeping the audience thirsty for more. Luckily the next episode is titled “Tear-Drinker,” so I think we’ll have plenty to drink, but I doubt we’ll like what we taste. Until next time, have a wonderful evening, and do make sure to check those windows are closed and the doors are locked.

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

‘The Outsider’ — Episode 3: “Dark Uncle”

Terry Maitland’s Death Causes Glory to Spiral and Ralph to Question his Judgement

Terry Maitland’s Death in ‘The Outsider’ (video: HBO)

In “Dark Uncle,” we witness the fallout of Terry Maitland’s assassination. While Ralph is put on Administrative Leave and ordered to go to trauma therapy, Marcy, who will further be known as Glory (don’t get me started on this one), deals with the fallout tenfold. Not only has she lost her husband, who she believed to be innocent, but now she and her children begin to suffer as threats pile up against the Maitland family. Ralph, feeling terrible about Terry’s last words, “I didn’t do it, Ralph. I didn’t do it,” continues to investigate Frankie Peterson’s murder and Terry’s possible involvement. In desperation he turns to Howie and his research assistant Alec Pelley, played by Jeremy Bobb (Russian Doll, The Kitchen) to get to the bottom of the deepening mystery, who connect him (finally!) with Holly Gibney. Concurrently, Jack continues to prove himself to be somewhat of a jerk, and also has a chance encounter of eerie proportions at the barn crime scene.

The GBI (Georgia Bureau of Investigation), led by Yunis Sablo (Yul Vasquez) investigates the barn in ‘The Outsider’ (photo: HBO)

Honestly, the show just keeps getting better. I remember reading The Outsider a few years ago, and I remember thinking that Stephen King has gotten extremely good at mystery novels, and the adaptation is a testament to his writing. The mystery element to the show is fantastic, keeping the audience guessing each episode. The supernatural elements of the show are slowly creeping into the light of day, creating an excellent combination of mystery, thriller, and horror. As The Outsider slowly unfolds, I am continuously reminded of season 1 of True Detective. The cinematography, editing, and chilling score really help elevate the show to fantastic heights.

Alec Pelley (Jeremy Bobb) introduces Ralph (Ben Mendelsohn) to Holly Gibney (Cynthia Erivo) in ‘The Outsider’ (photo: HBO)

In “Dark Uncle” Ralph and Glory have another confrontation and Mare Winningham finally gets some time to shine as the mediator between the two. The interactions between Ralph and Glory are just wonderful to watch. Julianne Nicholson does a fantastic job of playing the emotionally drained Glory. She is unrelentingly and unapologetically antagonistic, rightfully so, towards Ralph. Ultimately, Mare Winningham’s Jeannie has to play middle-woman between the two in order to get the answers Ralph needs for his investigation. The stand-out actor of the episode was Cynthia Erivo as Holly Gibney. Her portrayal was utterly intense and true to character. Holly is a troubled woman, who has a keen investigative mind, but also has severely crippling social anxiety/skills. Her performance leaves nothing to be desired, as she nails it on every front. I’m excited to see what her character brings to the table as the series unfolds.

Unknown person’s bloody hand in ‘The Outsider’ (photo: HBO)

The show is on track to be a great addition to HBO’s already stacked wheelhouse. Jason Bateman and the producers have done a fantastic job in adapting one of Stephen King’s scariest novels of all time. Even having read the book it’s exciting to watch the series unfold. It’s a testament to HBO for knowing what stories to tell and which cast and crew members to combine together in order to create the best possible product. I really can’t recommend this show enough, but make sure the kids are asleep, because this tale is way too scary for them.

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

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