Tag: Rated R

‘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!

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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

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

1917 Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Midsommar Review

Ari Aster Proves He is Not a One-Hit Wonder With Midsommar

Ari Aster’s follow-up to Hereditary may be one of the greatest folk-horror films of all time. It also is one of the most deeply unsettling and disturbing films I have ever watched. Aster’s sophomore effort shows an amazing amount of thought, innovation, and sheer talent. The film opens up with our main character, Dani, played by Florence Pugh (The Commuter, Lady Macbeth) making several phone calls, including one with her friend discussing her disintegrating relationship with her boyfriend, Christian, played by Jack Reynor (Free Fire, On the Basis of Sex). Meanwhile, Christian is similarly talking to his group of guys about their relationship, as well as a potential trip to Sweden. On the verge of an inevitable breakup, Dani suffers an unimaginable tragedy, in a scene that I can only describe as one of the most empathetic scenes I have ever seen in a movie, which forces the precarious relationship to persevere.

In an attempt to maintain the relationship, Christian invites Dani to the Sweden trip, against the wishes of Christian’s friends, Josh, played by William Jackson Harper (Patterson, The Good Place), and Mark, played by Will Poulter (We’re the Millers, Detroit). Christian, Josh, and Mark are all anthropology majors and the purpose of the trip to Sweden is to observe the commune their foreign classmate Pelle, played by Vilhelm Blomgren (The Days the Flowers Bloom, Min papa Marianne), grew up in. As soon as they arrive the group of friends quickly ingest psilocybin, aka hallucinogenic, mushrooms after meeting Pelle’s brother Ingemar, played by Hampus Hallberg (The Inspector and the Sea, Flykten till framtiden). From here on out the film is as if the audience ingested the same mushrooms as the protagonists. Concurrently their observations of the communes’ inhabitants, known as the Harga, become more and more unnerving. 

Just like his first film, Hereditary, the less you know, the better experience you will have with Midsommar. I will be very clear that this movie is not for the faint of heart. It may not have as many jump scares as your average horror film, but it makes up for that with an ever-constant feeling of dread which gets more and more intense as the film carries on. The imagery in this film still hasn’t quite left my mind, and while it is definitely visually creative and, dare I say, artistically beautiful, it is also some of the most grotesque imagery I have ever seen. 

The biggest draw to the film was the fact that Aster deliberately wanted to create a horror movie that exists in all-natural daylight. The film embraces the natural phenomenon called the midnight sun, which occurs during the summer solstice in polar regions. Due to this phenomenon, the sun is essentially always out, eliminating the common nighttime tropes in the majority of horror films. No, this film has all of its’ scares, and there are many, out in the beautiful, sun-filled countryside. The film also dives into the paganistic origins of the summer solstice, with the anthropological students digging deeper and deeper into the communes’ twisted set of beliefs, which are all the more terrifying because they originate from real life.

The films’ cinematography is astonishing, to say the least. Pawel Pogorzelski (Hereditary, Tragedy Girls) returned to collaborate with Aster once again, bringing his daylight horror film to life. Unlike most horror films, there is never any ominous weather, only beautiful, bright colors, provided by the beautiful landscape of Budapest, Hungary. The cinematography, combined with unique special effects, serves to create the visual equivalent of being on a hallucinogenic trip, as many of the characters are on. A very creative camera move early on in the film signifies the moment when the group of friends/lovers leave the proverbial Kansas and enter the horrific land of Oz. There were plenty of long takes which also help to create the sinister tension which broils beneath the surface through the entirety of the film. For critics of Pogorzelski’s work on Hereditarybeing too dark to see what’s going on, trust me when I say it is a non-issue in Midsommar.

Another artistic decision by Aster is the unique musical choices he and his composers create. For Midsommar Aster chose to work with Bobby Krlic, who also goes by the cryptic name, The Haxan Cloak. One of the first compositions early on in the film uses so many strings on multiple levels that combine with the imagery we are being shown to create the aforementioned empathetic scene. The amount of sorrow I felt with the main character was so intense I was fighting back sobs myself. This scene sets the tone for the entire film and to be honest I would go see it again purely for that scene. Luckily there are many other fantastic scenes filled with Krlic’s masterful score, which has immense depth. As in most folk horror films, there are ritualistic chants, which Aster and Krlic also created for the film. The oddly joyous, celebratory compositions can be heard at times when the most amount of horror is slowly unfolding on the screen. 

However, easily the strongest part of the film is Florence Pugh’s performance. Her character Dani essentially suffers an emotional breakdown throughout the entire film, and Pugh is so convincing that I cried with her at multiple times. Her mixed emotions are so well played as she wills her grief away while she is around others, often seeking out solitude to release her anguish, which is so utterly realistic and all-consuming. After two and a half hours of that (yes, it’s a bit of a long film) I was completely emotionally wiped out. As the film continues, so does her grief, and Christian is more concentrated on studying the Harga to be bothered with it. The film deals a lot with shared emotions/empathy, which in a unique twist is exactly what cinema is for the viewer. The other actors all do a wonderful job in their supporting roles. Harpers’ Josh is the intense scholar with a chip on his shoulder, who serves to help the viewer better understand the Harga. Poulter’s turn as Mark is definitely the comic relief throughout the film. He keeps the film moving after some of the more disturbing moments with his utter American-ness. This unique balance could only be concocted by Ari Aster, as he wrote and directed the film. Blomgren nailed the role of Pelle, our unofficial guide who essentially holds our hands as he takes us through the Harga’s many different rituals.

Aster proves he is a brilliant writer/director worth paying attention to. He completely redefines the genre and opens the door for all sorts of wonderful and nasty horrors. Both of his feature films, especially Midsommar, have been incredibly dense, worthy of multiple viewings. If you are a fan of horror films, it is a must-see. The only requirement is an open mind and a strong stomach. 

MPAA Rating: R for disturbing ritualistic violence and grisly images, strong sexual content, graphic nudity, drug use and language
Running Time: 147 Minutes
Released by B-Reel Films, Square Peg, & 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

Child’s Play Review

Chucky Slays In This Upgraded Reboot Of The Horror Classic

Shocking as it may sound, if you haven’t heard, Child’s Play, the old school horror series about a killer doll named Chucky, got a reboot. Even more surprising is that, for the most part, it is a relevant and noteworthy reboot. From the producers of It (2017), comes a re-imagining of the classic tale about mass-consumerism in a day and age where smart phones have taken over our lives. There a few major differences between this iteration and the original. First, Brad Dourif (Child’s Play Franchise, The Lord of the Rings: The Two Towers), who has voiced Chucky in every single Child’s Play film from Child’s Play (1988) to Cult of Chucky, got replaced by the very talented voice actor, Mark Hamill (Star Wars, Batman: The Animated Series). Chucky also isn’t brought to life via voodoo this time around. He is just an artificially intelligent robot gone awry. The final big difference is the fact that Andy, played by Gabriel Bateman (Lights Out, Benji remake), is a few years older than his counterpart in the original film, and he is joined by a group of kids, which is probably inspired by the massive success of that dynamic in It (2017) and Stranger Things. 

Child’s Play begins with a television ad about the “Buddi Doll” featuring Henry Kaslan, the head of Kaslan Corporation, played by Tim Matheson (Animal House, Hart of Dixie). Kaslan Corporation specializes in smart-home technology like thermostats, vacuums, and speakers, as well as drone technology. The Buddi Doll is introduced as a similar device as Alexa, but in a kid-friendly form that does everything from singing bedtime songs to helping them remember their science book. A disgruntled Kaslan employee, working in a factory in Vietnam, disables one of the Buddi doll’s safety features following his unceremonious firing and all sorts of nasty shenanigans are in store for whoever’s hands the doll ends up in. Fast forward to Andy and his mother, Karen, played by Aubrey Plaza (Parks and Recreation, FX’s Legion). After a sudden move for unknown reasons, Andy is a lonely kid, spending all of his time looking at his phone, while his mom works at the local Zed Mart, the local toy/electronics store.

Andy has trouble staying at home because of her mothers’ jerk boyfriend, Shane, played by David Lewis (Dirk Gently’s Holistic Detective Agency, Man of Steel), so the only friend he has made since the move is nice guy detective Mike Norris, played by Brian Tyree Henry (If Beale Street Could Talk, Spider-Man: Into the Spider-Verse). Noticing her sons’ lack of friends, Karen decides to give Andy a Buddi doll she tactically acquired from work so that he has something of a companion. Sure enough, it is the same safety-featureless doll which was tampered with at the films’ beginning, and this is when the real fun of the film begins. As Chucky learns more and more from Andy and his ragtag group of friends the more violent he becomes. Without spoiling anything, the film definitely earned its’ hard R-rating with its’ horrific situations and intensely gory deaths.

The Child’s Play series has always relied on a combination of horror and comedy and the reboot, directed by Lars Klevberg (Polaroid), applies the same formula. Oddly enough in these films, there are times when we are almost rooting for Chucky, as an audience filled with a sense of blood-lust, and this film is no different. There are plenty of outrageous laugh out loud moments as well as truly horrific and violent moments which got groans and gasps from the mostly full theater I watched it in. Klevberg does a fine job of directing the actors during these tonal shifts from a debut screenplay written by Tyler Burton Smith. It’s really an interesting take on the Child’s Play story due to the fact that the majority of the technology in the film mirrors our current state of affairs. I could easily imagine this film as a twisted Black Mirror episode. 

The child actors do a pretty good job, especially Gabriel Bateman, who seemed to convey so many different emotions of a kid who feels trapped and unhappy in a situation beyond his control. The other kids are pretty one-dimensional, but they serve their purpose well, as there wasn’t enough time to completely build their characters. Aubrey Plaza does a very good job of playing Andy’s mother, even though its’ her first time playing a mom. She conveys the necessary concern for her son, the reckless abandon of a recently single mom, and the unbelievable blind eye to the psychopathic doll living in her house. Mark Hamill does a fantastic job with Chucky’s voice, unsurprisingly. Hamill boasts a very large body of work as a voice actor, most famously voicing the Joker in Batman: The Animated Series and the Arkham Asylum video games. I would say his Chucky voice slightly resembles his Joker voice, but he does an incredibly good job with the small emotional subtleties which Chucky requires. Just like in the original film, Chucky seems to have two modes: good guy doll and evil psychopath. Hamill is incredible as he can switch from one mode to the other in an instant. Decades of voice acting experience made him the obvious choice to portray Chucky in this reboot.

Another reason I enjoyed this film is the shoestring budget which seems to be accompanying some of the greatest horror films these days like Don’t Breatheand any film produced by Jason Blum, who lives and breathes on small budgets. The reason I like a film with a small budget is that the filmmakers have to get creative and in the case of Child’s Play, it forces the filmmakers to use practical effects, which in this modern era of films is a breath of fresh air. It reminds me of the good old days of practical effects produced by Stan Winston (Terminator, Predator) and his protégé Rob Bottin (John Carpenter’s The Thing, Total Recall) whose creature effects redefined what could practically be done on a film set. The majority of the doll effects in Child’s Play are practical, with a tiny bit of CGI used when practical effects were simply impractical. Hats off to special effects coordinator Barry Hebein (X2: X-Men United, Trick r’ Treat) and his team for pulling off the cool robotics seen in the film.

Finally, the best horror films have great scores and Bear McCreary (The Walking Dead, Godzilla: King of the Monsters) creates an incredibly creepy score for this film. McCreary is having an excellent year as he also composed the wonderful score for the blockbuster Godzilla: King of the Monsters. It’s really a pleasure to listen to his work as each of his scores is so unique and different. His score for Child’s Play bears an overall theme, which is used in the Buddi song which Kaslan Corp uses as a marketing tool in the film. It is essentially retooled throughout the film as well, bearing many different toy instruments at its’ core. Everything from a kazoo to a child’s xylophone are used to create a very unique and creepy score, which plays on the fact that this is a film about a killer doll. The music changes from heartwarming to chilling in an instant, which plays well with the multiple tonal shifts throughout the film. Recently released on vinyl at Waxwork Records, I highly encourage fellow wax heads to check it out!

As far as reboots go, I was not disappointed with Child’s Play. It seems their clever marketing campaign, which feature Chucky humorously killing off different characters from the Toy Story franchise (seriously, checkout the crazy poster designs they came up with), has paid off as the film is heading for a $20+ million weekend. Considering the films’ small budget, this could be a good indicator that a potential sequel could happen. If you have kids, definitely take them to see Toy Story 4 instead of this, but if you’re a fan of horror films and can stand a bit of gore, I would give this movie a chance. After seeing this movie, I’m not going to lie, I’m slightly scared of going to sleep with my Amazon Echo device in the house. Hopefully it hasn’t gained the same malicious self-awareness that Mark Hamill’s Chucky did.

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, 3rdRock 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