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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

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

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