Drama – Best Case Reviews.

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

‘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

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

Uncut Gems Review

Experience the Safdie Brother’s Latest Underworld Odyssey Featuring Adam Sandler in New York’s Diamond District

The Safdie Brothers (Good Time, Heaven Knows What) have directed a near-perfect crime drama/comedy which has resulted in an outstanding performance from Adam Sandler (The Meyerowitz Stories, Punch-Drunk Love), loads of breakout roles by newcomers like Kevin Garnett, The Weeknd, Keith Williams Richards, and Tommy Kominik to name a few, and a guaranteed two hours of being on the edge of your seat. The film revolves around an eccentric Jewish jeweler in New York’s diamond district with a serious gambling addiction named Howard Ratner, played by Adam Sandler. While owing money all over town, including his brother-in-law Arno, played by Eric Bogosian (Talk Radio, Under Siege 2: Dark Territory), Howard struggles throughout the film to keep the various loan sharks at bay in order to make one giant score with a rare (and questionably legal) Ethiopian black opal. Howard is also dealing with a failing marriage, his children don’t seem to care for him except his eldest son, and he is having an affair with a far younger woman who works at his shop. When he finally comes into possession of the afore-mentioned black opal it seems his monetary problems are over, until he is talked into letting Kevin Garnett, who plays himself, borrow the rare and valuable stone for good luck as he faces the Philadelphia 76ers in the 2012 NBA Eastern Conference semi-finals. The film is a non-stop thrill ride filled with relentless suspense as Howard delves deeper and deeper into an abyss of greed and depravity in order to emerge victorious… and alive.

The film is beautifully shot by Darius Khondji (Se7en, The Ninth Gate) with a gritty and realistic look. The graininess to the film and digital shots (Khondji shot on both) is fantastic and creates a seamless look throughout the film. While I noticed a few shots seemed to be slightly out of focus, overall, I think the film looks gorgeous compared to some of the unbelievably oversaturated “popular” films of the twenty-tens. It gives the film an 80’s feel to it, as if it were taking place in another decade. If you’ve seen Good Time then you’ll be prepared for the cinematography of Uncut Gems, which includes plenty of extensive zooms, long lenses, and tracking shots. The trailer does a good job of rounding out a lot of the different shot types that are achieved throughout the film.

Daniel Lopatin (Good Time, The Bling Ring), aka Oneohtrix Point Never (no, I’m not making that up), composed the music for the film. While it arguably works wonders to create an exhaustingly stress-ridden film, it is very similar to his score for Good Time. Contrary to how it sounds, this is a compliment as both scores complement the style and substance the Safdie Brothers are going for. Both films work on many levels to make the audience feel as anxiously claustrophobic and trapped as their protagonists. The score of Uncut Gems is an interesting blend of synths and jazzy sounds, which creates a unique feel to the film and the story. The score is as unconventional as the Safdie Brothers’ themselves.

The performances in the film are outstanding. The hype for Adam Sandler is well-deserved, as he gives thepowerhouse performance of his career. It’s a shame he wasn’t nominated at the Golden Globes, but I’ll hold out hope for his chances at the Oscars. The newcomers all did a fantastic job as well. Kevin Garnett and the Weeknd play over-exaggerated versions of themselves, while the two real standouts have to be Arno’s henchmen Phil and Nico, played by Keith Williams Richards and Tommy Kominik. The sheer intensity of both their characters have Howard and the audience constantly reevaluating the stakes and the levity of the situation Howard is in. Another standout was Idina Menzel (Frozen I & II, Rent) who plays Elsa in the Frozen franchise. In Uncut Gems she plays Howard’s estranged wife, who constantly seems to be apologizing on Howard’s behalf, while simultaneously berating Howard’s constant and numerous failings. Her acting is made stronger by the lack of words she has for some of Howard’s ridiculous situations/actions, which is conveyed through her subtle facial expressions. She is clearly used to his many fuck ups and it’s obvious she has had enough of his shit. LaKeith Stanfield (Get Out, Knives Out) plays the accurately named Demany, who works for/with Howard by bringing customers to the store and selling stolen watches on the side. He absolutely crushes it in this role as an unlikeable foil to Howard’s struggle to get the black opal to auction. The film is rounded out by the main antagonist of the film, Arno, played by Eric Bogosian and Gooey, Howard’s father-in-law, played by the excellent Judd Hirsch (Ordinary People, Independence Day).

Needless to say, Uncut Gems is anxiety personified. The entire film works similarly to Good Time, creating an unending source of stress and anxiety for its’ protagonist as well as for the audience. In both films we follow an unlikeable protagonist who we can’t help but to root for. The Safdie Brothers are interesting filmmakers who seem to have a handle on telling unconventional stories. Combined with their ability to defy audience expectations, it is a film definitely worth seeing. Just make sure you take your blood pressure medication before you see Uncut Gems, because you’re gonna need it!

MPAA Rating: Rated R for pervasive strong language, violence, some sexual content, and brief drug use
Running Time: 135 Minutes
Produced/Distributed By: Elara Pictures, IAC Films, A24

Rocketman Review

Taron Egerton Portrays Captain Fantastic Himself, Elton John

Rocketman is 100% not Bohemian Rhapsody, so let’s just get that out of the way. Now, that’s not to say that Rocketman isn’t as good, it’s just a vastly different experience, which, in this writer’s opinion is a relief. After the ridiculous success of the aforementioned Bohemian Rhapsody, I was nervous Rocketman would be a carbon copy, especially considering Dexter Fletcher (Eddie the Eagle, Sunshine on Leith) infamously stepped in to finish direct BR due to Bryan Singer (X-Men: Days of Future Past, X2: X-Men United) getting fired mid-shoot. Fletcher, having worked with Taron Egerton (Kingsman: The Secret Service, Sing) before on Eddie the Eagle, decided to go in a different direction with his biopic on the life of Elton John.

Rocketman is a more traditional musical, which contains plenty of different Elton-inspired numbers with amazing choreography. While I do think the marketing was a little misleading, because it seemed as if we were in for the same musical biopic that Queen received last year, I quickly caught on and I ultimately didn’t mind the change in tone/style. My hope is, equipped with this knowledge, the next viewer won’t be as shocked and can better enjoy the already wonderful film. The film begins with Taron Egerton’s Elton John entering an AA meeting, and the audience immediately sees how dire things are for him. As he begins to tell his story of rejection, music, betrayal, and addiction we are quickly immersed in the tragic upbringing of John. With a pair of lousy parents, played by Bryce Dallas Howard (Jurassic Worldfilms, The Help) and Steven Mackintosh (Underworld: Evolution, Memphis Belle), Elton relies on his sweet/supportive grandmother Ivy, played by Gemma Jones (Sense and Sensibility, Bridget Jones’s Diary) to consistently champion his piano skills via insisting he get professional piano lessons.

Once Elton meets Bernie Taupin, played magnificently by Jamie Bell (Jumper, Fantastic Four), the film really takes off, as the duo take on the record industry in England. After plenty of minor failures the two begin to succeed in their goal of getting their music heard. In my opinion, this relationship is probably the strongest dynamic in the film. Egerton and Bell have a certain chemistry which mirrors the incredible friendship of the two in real life. Their ability to work together on screen includes joint ventures into the excess of success, with only Bernie able to stay above the water, as John is taken on a journey of addiction and self-destructive behavior. Needless to say, the film is rougher around the edges considering its’ R rating and is not afraid to show the dark side of success and fame.

As a man who struggles with addiction himself, namely alcohol, this film really spoke to me in a number of different ways. I was instantly able to relate with parts of Elton John’s life story as told on the big screen. The screenplay, written by Lee Hall (Billie Elliot, War Horse), does a fantastic job of intercutting musical numbers with plot in interesting and unique ways. The film covers a lot of Elton’s bigger hits like “Your Song,” “Crocodile Rock,” the title song “Rocketman,” and an awesome cover of The Who’s “Pinball Wizard.” This is yet another example of a major Hollywood film advertising the return of pinball, which I completely endorse. While some of the sparks of creation in the film don’t completely match what happened in real life, the songs’ deeper meanings really help to enhance the plot of John’s struggle with acceptance and addiction.

Actor turned director Dexter Fletcher proves that he is a director worth watching, as Rocketman is an incredibly fun film that is guaranteed to have you singing along with the songs in your head (or out loud, which my girlfriend probably didn’t appreciate or enjoy). This is compounded with Taron Egerton’s incredible performance as Elton John. Honestly, it’s hard not to compare his performance with Rami Malek’s portrayal of Freddie Mercury in Bohemian Rhapsody, which he won an Oscar for. Egerton’s Oscar-worthy performance completely embodies the appearance and mannerisms of Elton John. However, his performance couldn’t have been as good as it was if not for the costume and makeup/prosthetics teams. Julian Day (Rush, Robin Hood 2018), who was also the costume designer for Bohemian Rhapsody, recreates some of Elton’s most iconic outfits, as the singer is partly known for his choice of extremely flamboyant/fabulous outfits. I’d be surprised if his name isn’t in the running for an Oscar in nine months as well.

The supporting actors do a terrific job as well, with newcomer Matthew Illesley portraying the youngest version of Elton John, back when his name was Reggie. He gets a chance to perform a few musical numbers and he does a fantastic job of encapsulating the younger version of Elton. Howard crushes it as the world’s worst mom… seriously, this woman is truly horrid. Richard Madden (Game of Thrones, Bodyguard) portrays Elton’s manager John Reid, who ironically was played by Aidan Gillen (Game of Thrones, The Dark Knight Rises) in Bohemian Rhapsody. Madden’s performance is hauntingly sociopathic, as he successfully lures Elton into the familiar traps of fame and fortune. Last, but not least, Tate Donovan (Hercules, Swordfish) puts in a super groovy performance as Doug Weston, the owner of the Troubadour in L.A., where Elton becomes popular in the United States.

All in all, Rocketman is a fun and somewhat historically-accurate retelling of the music industry’s all-time best singer/songwriter duo. While its’ strengths clearly lie in the all-star casting, its’ marketing could have been better, in my opinion, if only to avoid the initial style/genre confusion I experienced. Having topped the charts for several decades, the film, produced by Elton himself, comes out during his Farewell Tour, as he intends to spend more time with his husband and kids. If you’re a fan of Elton John and/or musicals, I highly recommend this film, as it captures the spirit of the man, the myth, the legend: Elton John.

MPAA Rating: R for language throughout, some drug use and sexual content.
Running Time: 121 Minutes
Released by Marv Films and Paramount Pictures

Late Night Review

Emma Thompson Shines in Mindy Kaling’s Screenwriting Debut

I can honestly say, at one point, I absolutely could not stand Mindy Kaling (The Office, Inside Out). All I knew her from for the longest time was her role of Kelly Kapoor on The Office, and I felt like Ryan most of the time: exasperated. It wasn’t until I started watching The Mindy Project with my girlfriend that I realized how wonderfully talented she is. After a recent re-watch of The Office, she easily has become one of my favorite characters on the show, and anyone who has seen it (c’mon, slap yourself if you haven’t watched it yet) knows those are some pretty strong words considering the strength of the cast. Mindy brings her raw, untapped wit to Late Night which is a brilliant film about a woman who is being pushed out of her late-night show in a male-dominated field.

The woman in question is Katherine Newbury, played dourly by Emma Thompson (Sense and Sensibility, Saving Mr. Banks), and at the beginning of the film her head writer Brad, played by Denis O’Hare (American Horror Story, This is Us) tells her she needs to hire a woman on the writing staff. Enter Molly Patel, a perky woman who is absolutely head over heels in love with Katherine and her show. After beating out a nepotism hire, she gets the job and realizes she is in for more than she bargained for when she meets the male-dominated writing staff, led by Tom, played by Reid Scott (Veep, Venom), the head monologue writer. Almost immediately after the oft joked about “diversity hire” of Molly, Katherine is told by her boss, played delightfully cruelly by Amy Ryan (The Office, Beautiful Boy), that Katherine has until the end of the season before she has to give up the show. Katherine realizes after a discussion with her maligned husband Walter, played by John Lithgow (Cliffhanger, 3^rdRock from the Sun), that her show needs an injection of fun.

The writers room has a vast array of different personalities, including the sex icon Charlie, played by Hugh Dancy (Hannibal, The Path), the veteran Burditt, played by Max Casella (The Marvelous Mrs. Maisel, Jackie), the flamboyant Reynolds, played by comedian John Early (Wet Hot American Summer: Ten Years Later, The Disaster Artist), and the loveable goofball Mancuso, played by Paul Walter Hauser (I, Tonya, BlacKKKlansman). The writers must figure out a way to make the show relevant again, all while Katherine seemingly doesn’t want to change. Molly, meanwhile, is thrilled to just be a part of the team, as she idolizes the show and Katherine herself, although her experience proves the old adage, “don’t meet your heroes.” As the writers struggle to come together as a team and accept Molly at the same time, Katherine is dealing with a serious moment of regret which could cost her everything. Late Night is an absolutely hilarious example of a witty and relevant film taking chances left and right and succeeding every single time.

This story came from the mind of Mindy Kaling, and it is pretty apparent that she is set to take over Hollywood if she continues this stream of success. Her characterizations are so poignant and wonderful that I instantly felt a draw to the characters. I felt like I could relate with each and every character on multiple levels. These characterizations are brought to life by the amazing actors, who each serve their purpose, but also by the wonderful direction of Nisha Ganatra (Chutney Popcorn, You Me Her). The film is a nonstop rollercoaster with tons of laughs with all sorts of combinations of different types of humor, whether it is slapstick, witty, or even bathroom humor, this film just keeps busting guts throughout its’ entire runtime of one hour and forty-two minutes.

As for Emma Thompson… WOW. Mindy Kaling wrote this film with Emma Thompson specifically in mind, and after seeing the film I totally understand why. She absolutely nailed the role of Katherine Newbury in a way that couldn’t be done by anyone else. Katherine is a cold, arrogant woman, who refuses to change (as many protagonists often do), yet underneath all her armor, she is a human being, with loads of emotional baggage and fragility which we rarely see her express. This is what makes her such an amazing character. In a day and age where women are finally breaking through the glass ceiling, Katherine Newbury is the epitome of the hard work that led up to this cultural awakening. She is a tough and gritty woman who once knew how to connect with her audience, and slowly over time this same toughness and grit has turned her against the world in many ways. As a character there are so many layers to peel back and Emma Thompson allows the viewer to experience life from her point of view, which in a single word is lonely. I’d be surprised if she isn’t one of the frontrunners for an Oscar at this moment, because her performance alone made it a good movie. Adding in everyone else’s performance made it a fantastic movie.

I wanted to address the acting performances of the supporting writing team. I have been a fan of Hugh Dancy since his breakout role of Will Graham on the hit show Hannibal. It was nice to see his depth as an actor. Reid Scott blew me away at how naturally funny he was. Denis O’Hare proves yet again that he can provide more than most of his twisted characters on American Horror Story suggest. Paul Walter Hauser’s performance definitely didn’t hurt his chances of winning the envious role of Richard Jewell in Clint Eastwood’s The Ballad of Richard Jewell with this role. Max Cassela brings the male side of the old school way of doing business to life in this film and shows that even the tough-hearted can change. John Early provides another hilarious performance. Last but not least, Ike Barinholtz (Blockers, Neighbors), who worked with Kaling on The Mindy Project turns in a strong performance as the dim-witted stand-up comedian Daniel Tennant, who is clearly a caricature of Dane Cook, oh how the mighty have fallen.

Lesley Barber (Manchester by the Sea, Nappily Ever After) wrote the score for Late Night, and like her previous work suggests, she is able to hit both the light and serious notes. Her theme for Katherine Newbury’s show (every late-night talk show host has a theme) reminds me of Damien Chazelle’s scores for Whiplash and La La Land, with plenty of percussion and strings. The film isn’t entirely light though, as it deals with some intense subject matter involving Molly’s deceased father, which may have stemmed from real life (Kaling’s mom died from cancer in real life). Barber approaches these more emotionally driven scenes with a lovely piano theme tied with a beautiful guitar melody. As a movie score aficionado, I am excited to dive into Lesley Barber’s body of work after discovering her with Late Night.

Late Night’s key players are all women, and it clearly shows that these women all have something to say. I was incredibly blessed to have heard that message. I urge everyone to go see this movie, because it bears an important message that diversity is important and better yet, the unique perspective it can provide is rewarding in more ways than one. I know this first hand, as I am dating a talented, driven, beautiful, Indian woman myself and the amount of perspective I have gained from our relationship, I am forever grateful for. I am on the edge of my seat for more to come from Mindy Kaling, and I am equally excited to see what Lilly Singh brings to the table, as she has recently become the first Indian woman to host a late-night show. On that note, as Katherine Newbury would say, I thank you for your time.

– For Karuna