Multireview Mania: The Irishman on Netflix/Knives Out/Marriage Story on Netflix/A Beautiful Day In The Neighborhood/Marriage Story on Netflix/ Parasite aka the best of the rest I've been busy !:
- The Irishman (Netflix Exclusive)
Director : Martin Scorsese
Cast Headliners : Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Harvey Keitel, Bobby Cannavale, others
Original Release Date : November 27th, 2019 ( Netflix Access )
A great return to form for the master mobster flick maker Scorsese. Very much like his other classics but especially Goodfellas and Casino in a generational time jumping tale like The Godfather. It's very , very lonnnng and slow but the directing and acting is powerful. Especially by Pacino as Jimmy Hoffa and De Niro / Pesci in their roles ...with some effective if at times uncanny CGI de-aging.. Some brutal kills in parts and to me new Kennedy history . One must know what they're getting into but the slow burn worth it....8.76 out of 10
- Knives Out
Director : Rian Johnson
Cast Headliners : Daniel Craig , Lakeith Stanfield, Ana De Armas , Jamie Lee Curtis, Don Johnson, Michael Shannon, Chris Evans, Others
Original Release Date : November 27th, 2019
Director Rian Johnson is back in his mystery element ...a twisting turning narrative packed with foreshadowing , call backs, and meta references although less politically bold than some have claimed. The plot and it's unreliable narration is the highlight here with Johnson's close style being a perfect match even more than Star Wars .... the swampy manor as much a character as anyone. Of course on those characters amazing performances abound especially in Evans, Curtis, Johnson, and zsjannon with decent kudos to Armas. Craig gives a bit of a cheesily hammy southern accented role but it works .... at times a slow burn of its own but all comes together in the end . .. 8. 7 out of 10
Marriage Story (Netflix Exclusive)
Director: Noah Bambauch
Cast Headliners : Adam Driver , Scarlet Johansson , Laura Dern, Alan Aida , Ray Liotta
Original Release Date : December 6th, 2019
A bit overly sappy a bit overly melancholic in moments . However this tale of a marriage falling apart and the divorce thereafter slowly but surely gets even better and dramatic .. Incredibly amazing performance by Adam Driver who proves to be as inspiring , or broken, are ever through drama and fatherly moments . Kudos to Johansson as well with her own heartbreaking angle ... Dern , Aida, and Liotta bring contrasting kindness and legal spitfire through some intense court scenes. However one scene between Driver / Johansson makes it all worth it . 8.9 out of 10
A Beautiful Day In The Neighborhood
Director : Marielle Heller
Cast Headliners: Tom Hanks , Matthew Rhys, Chris Cooper, Susan Kelechi Watson, etc
Original Release Date : November 22, 2019
Seen : December 2019
This one is only in part about the Mr.Rogers himself . Tom Hanks is really solid in the role when he does show up. However it's more about Rhys as the reporter's drama in his own life with Watson as his wife and Cooper as his father . However all of the above pale in comparison to Hanks' Fred with some bizarre moments happening in the script. There's some heartwarming bits, toylike visuals and piano music but they're surrounded by a film of mixed results. 7.8 out of 10
Parasite
Director : Boong Joon-Ho
Cast Headliners: Song Kang-ho
Sun-kyun
Cho Yeo-jeong
Choi Woo-shik
Park So-dam
Original Release Date: May 2019 (Korea) , October 2019 (USA)
Seen : December 2019
While not in English the whole cast gives quality performances especially Kang-ho. Where this film excels is its darkly comedic twisting plot ....filled with masterful conning , twisty turns and close calls . There's some suspensions of disbelief needed and perhaps appreciation for nuances of Korean culture but it's dark surprises, and laughs, are worth it to anyone. 8.6 out of 10
Monday, December 23, 2019
Wednesday, November 27, 2019
Frozen 2 Review
Frozen II
Directors: Chris Buck and Jennifer Lee
Cast Headliners: Idina Menzel, Kirsten Bell, Josh Gad, Jonathan Groff, wacky elements
Original Release Date: November 22nd, 2019
If 2013's Frozen was a typical Walt Disney Animation Studios main film with some really nice flourishes then Frozen II is a typical Disney sequel with some flourishes of its own. However it's rare that these get released on something more than direct to video at a theatrical level. The effort of the film is felt giving a colorful, emotional, attempted epic story once again however for everything it does well again it falls short in areas the first did. But maybe one can “let its flaws go”.
Knowledge of the first film is key to the events of this one with it taking place after the changed situation of that. In the lush oranges of a fall autumn the kingdom of Arrendelle has it new ruling generation in the friendly reunion of sisters kind-hearted Anna(Kirsten Bell) and ice-gifted Elsa(Idina Menzel) along with Anna's simple goofy boyfriend Kristoff(Jonathan Groff) along with reindeer Sven and living snowman Olaf(Josh Gad).
Their sing-song-y idyllic lives are interrupted by a legacy from their past as seen in flashbacks from their parents Agnarr(Alfred Molina) and Iduna(Evan Rachel Wood). Legends speak of mysterious river of memories in the Enchanted Forest where things such as the wild out of alighnment elements, rock giants, the Northulda people led by Yelena(Martha Plimpton) and a group of knights led by Lietunanent Matthias(Sterling K Brown).
It's a movie that ends up with some mixed delivery but some things must be praised. The CGI animated visuals are incredible with Disney itself even surpassing the best of Pixar to levels of realism perhaps never seen before especially in the backgrounds. The natural scenery is breathtaking and people / critters are so smooth even if it trends towards the “cute”. Some impressive use of scale makes things feel fresh or darker when needed. Solid kudos again to directors Christopher Buck and Jennifer Lee as they return.
Of course the music is a key part of the experience. The orchestral score by returners Robert and Kristan Anderson Lopez is lush with some new usage of things like guitars, drums, and even retro-70s keyboards to give it a nuanced experimental feeling. On the songs well...it's some mixed bag. Great in effort and composition to perhaps new heights but their usage is not the best. They're more of them but they seem to pop up at times odd intervals without the emotional context or fall into the trope of “explain everything”. They have more layers and emotional but lack the right punch at times or aren't as catchily iconic as “Let It Go”. Some exceptions apply however in both epic and even self-aware humor. The Olaf number seems oddly familiar however.
On Olaf, he's a stand-out character again in new if even more ridiculous ways that may trend towards a comedic overload. The script is full of a lot of heart and laugh worthy moments mostly from him but at times the sisters, Kristoff, or Sven. Bell's Anna seems to have slightly regressed as a character but has her depth and charming moments although not as quite where the first one was. This actually leads to Groff's Kristoff having some more stuff with her in his established relationship and proposal goals. Menzel's Elsa has an amazing singing voice of course but so too again has some decent character growth with extra emotion this time although once again it seems she goes away from the main plot for long stretches. Newcomers like Brown's soldier or the Northuldrans offer little more than exposition in the tapestry with one wanting some more of their various new cultures explained.
What it succeeds in audio-visuals it unfortunately finds itself confused in narrative. There's very rare moments of excitement and drama but really the plot is so frustratingly simple in comparison to the past. There's not really a true antagonist or challenges to overcome. There's moments almost like these but they're glossed over quickly like many things. Questions are raised that are never really answered and somehow even with a bigger scope things feel smaller. One wishes some more time was spent on certain revelations or the meaning of the non-ice elements but nothing ever does.
However that's since it is a Disney movie and those at times are not so much about the “plot”. The best of their like however do have some substance and here everything just scratches at the surface. It's another slice of family weather-related fun but try to keep the bar of the first at home. 7.6 out of 10
Directors: Chris Buck and Jennifer Lee
Cast Headliners: Idina Menzel, Kirsten Bell, Josh Gad, Jonathan Groff, wacky elements
Original Release Date: November 22nd, 2019
If 2013's Frozen was a typical Walt Disney Animation Studios main film with some really nice flourishes then Frozen II is a typical Disney sequel with some flourishes of its own. However it's rare that these get released on something more than direct to video at a theatrical level. The effort of the film is felt giving a colorful, emotional, attempted epic story once again however for everything it does well again it falls short in areas the first did. But maybe one can “let its flaws go”.
Knowledge of the first film is key to the events of this one with it taking place after the changed situation of that. In the lush oranges of a fall autumn the kingdom of Arrendelle has it new ruling generation in the friendly reunion of sisters kind-hearted Anna(Kirsten Bell) and ice-gifted Elsa(Idina Menzel) along with Anna's simple goofy boyfriend Kristoff(Jonathan Groff) along with reindeer Sven and living snowman Olaf(Josh Gad).
Their sing-song-y idyllic lives are interrupted by a legacy from their past as seen in flashbacks from their parents Agnarr(Alfred Molina) and Iduna(Evan Rachel Wood). Legends speak of mysterious river of memories in the Enchanted Forest where things such as the wild out of alighnment elements, rock giants, the Northulda people led by Yelena(Martha Plimpton) and a group of knights led by Lietunanent Matthias(Sterling K Brown).
It's a movie that ends up with some mixed delivery but some things must be praised. The CGI animated visuals are incredible with Disney itself even surpassing the best of Pixar to levels of realism perhaps never seen before especially in the backgrounds. The natural scenery is breathtaking and people / critters are so smooth even if it trends towards the “cute”. Some impressive use of scale makes things feel fresh or darker when needed. Solid kudos again to directors Christopher Buck and Jennifer Lee as they return.
Of course the music is a key part of the experience. The orchestral score by returners Robert and Kristan Anderson Lopez is lush with some new usage of things like guitars, drums, and even retro-70s keyboards to give it a nuanced experimental feeling. On the songs well...it's some mixed bag. Great in effort and composition to perhaps new heights but their usage is not the best. They're more of them but they seem to pop up at times odd intervals without the emotional context or fall into the trope of “explain everything”. They have more layers and emotional but lack the right punch at times or aren't as catchily iconic as “Let It Go”. Some exceptions apply however in both epic and even self-aware humor. The Olaf number seems oddly familiar however.
On Olaf, he's a stand-out character again in new if even more ridiculous ways that may trend towards a comedic overload. The script is full of a lot of heart and laugh worthy moments mostly from him but at times the sisters, Kristoff, or Sven. Bell's Anna seems to have slightly regressed as a character but has her depth and charming moments although not as quite where the first one was. This actually leads to Groff's Kristoff having some more stuff with her in his established relationship and proposal goals. Menzel's Elsa has an amazing singing voice of course but so too again has some decent character growth with extra emotion this time although once again it seems she goes away from the main plot for long stretches. Newcomers like Brown's soldier or the Northuldrans offer little more than exposition in the tapestry with one wanting some more of their various new cultures explained.
What it succeeds in audio-visuals it unfortunately finds itself confused in narrative. There's very rare moments of excitement and drama but really the plot is so frustratingly simple in comparison to the past. There's not really a true antagonist or challenges to overcome. There's moments almost like these but they're glossed over quickly like many things. Questions are raised that are never really answered and somehow even with a bigger scope things feel smaller. One wishes some more time was spent on certain revelations or the meaning of the non-ice elements but nothing ever does.
However that's since it is a Disney movie and those at times are not so much about the “plot”. The best of their like however do have some substance and here everything just scratches at the surface. It's another slice of family weather-related fun but try to keep the bar of the first at home. 7.6 out of 10
Saturday, November 23, 2019
Doctor Sleep Review
Doctor Sleep
Director: Mike Flanagan
Cast Headliners: Ewan McGregor, Kyliegh Curran,Rebecca Ferguson, Cliff Curtis, many minds and ghosts
Original Release Date: November 8th, 2019
Stanley Kubrick's adaptation of Stephen King's The Shining is one of the most iconic films of all time. Author's note that it was a firsthand watch in full in the past few weeks but it holds up incredibly, amazingly well. How can anyone possibly follow it up and why. Well Stephen King himself stepped up to the plate with a 2013 novel Doctor Sleep. Now it's become a film but is it really The Shining 2 . It's a mix of very much being one, too much at being one, and it's own frontier.
Some (seldom little!) usage of the old theme song takes audiences back to the 80s where a young Danny Torrance is being raised in Florida by his mother Wendy after the horrific events of the Overlook. They're played by Roger Dale Floyd and Alex Essoe rather than their originals... part of several old characters who show up again who never quite match the original but at least go for an attempt at looking like them such as a dcent Shelly Duvall or a slightly mediocre Jack Nicholson. This includes Danny being haunted by ghostly visions whether the evil old woman (what a 2019 of those) or the helpful Halloran(Carl Lumbly). He learns to master his mental powers a little more which is more what this film is about than horror.
In present day in multiple jumps of time Danny is now a drunken loser of an adult(Ewan McGregor) who is still haunted but by much more realistic demons. He finds himself on the east coast befriending Billy Freeman(Cliff Curtis) in a small town. Elsewhere a young girl named Abra Stone(Kyliegh Curran) makes contact with him with her own telekinetic powers. They attract the attention of a murderous cult of energy-vampires the True Knot led by Rose the Hat(Rebecca Ferguson). Various adventures, deaths, close calls, and magical revelations occur in the saga of shining-mind versus shining-mind.
That's an important thing to know of this film as mentioned. It's definitely spooky with some jump scares and an overall dark ambiance (thank director Mike Flanagan for that as the influence of The Haunting Of Hill House is felt in mood and ghostly reveals). However it truly dives deeper into the lore of these mind powers. There's some fascinating sequences of mental astro projection almost like Doctor Strange or Inception or something as these gifted individuals compete with each other. Some pulse pounding and or creepy music by the Newton Brothers aids this fantastical atmosphere. There's even such contrast features as a gun fight but it ends up working.
The new cast is decent if nothing mind-blowing like the original. McGregor's adult “Dan” is of course hard to compare to the child version but that lets him be something new. He's a bit typical but carries his tortured addicted mental state with his capacity for heroism with some slight humor at times. Curran's Abra makes for a great pair with him and she has some solid young potential. Curtis's Billy has some generic kindness and this appears through most the other family / neighbor characters like other King works.
Ferguson's Rose is the most solid of all with a bit of an ancient Celtic accent hinting at her true origin. Her vampire partners, henchmen, and lovers have this unique Cajun-esque odd sensibiility to them that makes them distinct. Her number two and lover Crow Daddy(Zahn McClarnon) and newcomer Snakebate Andi(Emily Alyn Lind) makes some particular fierce impact.
All of this could be a movie on its own and it really is a loose connection to the original. However of course they try to include some connections to the Overlook Hotel (as there was in the original novel). This time elements of the Doctor Sleep novel , the Shining novel's alternate ending, ad the mini-series remake are all mixed into having an excuse to go back to that snowy mountain. This part of the film is what truly is like “shining 2” and it's interesting to see other characters react to it. Some impressive efforts are made to re-create certain sets and visuals although some of this has shaky CGI. The lore doesn't quite make sense and some truly questionable choices happen in the climax but it manages to be both silly and deliver on what viewers of the first film would want to see for a sense of closure.
It's a long movie, almost too much at times, with some room possibly having been gotten from cutting down on some character development. There's a few mistakes made but the emotion, scares, and atmosphere do a decent job of bringing back the legend. It's an epic mind saga when it does it right. 8 out of 10
Director: Mike Flanagan
Cast Headliners: Ewan McGregor, Kyliegh Curran,Rebecca Ferguson, Cliff Curtis, many minds and ghosts
Original Release Date: November 8th, 2019
Stanley Kubrick's adaptation of Stephen King's The Shining is one of the most iconic films of all time. Author's note that it was a firsthand watch in full in the past few weeks but it holds up incredibly, amazingly well. How can anyone possibly follow it up and why. Well Stephen King himself stepped up to the plate with a 2013 novel Doctor Sleep. Now it's become a film but is it really The Shining 2 . It's a mix of very much being one, too much at being one, and it's own frontier.
Some (seldom little!) usage of the old theme song takes audiences back to the 80s where a young Danny Torrance is being raised in Florida by his mother Wendy after the horrific events of the Overlook. They're played by Roger Dale Floyd and Alex Essoe rather than their originals... part of several old characters who show up again who never quite match the original but at least go for an attempt at looking like them such as a dcent Shelly Duvall or a slightly mediocre Jack Nicholson. This includes Danny being haunted by ghostly visions whether the evil old woman (what a 2019 of those) or the helpful Halloran(Carl Lumbly). He learns to master his mental powers a little more which is more what this film is about than horror.
In present day in multiple jumps of time Danny is now a drunken loser of an adult(Ewan McGregor) who is still haunted but by much more realistic demons. He finds himself on the east coast befriending Billy Freeman(Cliff Curtis) in a small town. Elsewhere a young girl named Abra Stone(Kyliegh Curran) makes contact with him with her own telekinetic powers. They attract the attention of a murderous cult of energy-vampires the True Knot led by Rose the Hat(Rebecca Ferguson). Various adventures, deaths, close calls, and magical revelations occur in the saga of shining-mind versus shining-mind.
That's an important thing to know of this film as mentioned. It's definitely spooky with some jump scares and an overall dark ambiance (thank director Mike Flanagan for that as the influence of The Haunting Of Hill House is felt in mood and ghostly reveals). However it truly dives deeper into the lore of these mind powers. There's some fascinating sequences of mental astro projection almost like Doctor Strange or Inception or something as these gifted individuals compete with each other. Some pulse pounding and or creepy music by the Newton Brothers aids this fantastical atmosphere. There's even such contrast features as a gun fight but it ends up working.
The new cast is decent if nothing mind-blowing like the original. McGregor's adult “Dan” is of course hard to compare to the child version but that lets him be something new. He's a bit typical but carries his tortured addicted mental state with his capacity for heroism with some slight humor at times. Curran's Abra makes for a great pair with him and she has some solid young potential. Curtis's Billy has some generic kindness and this appears through most the other family / neighbor characters like other King works.
Ferguson's Rose is the most solid of all with a bit of an ancient Celtic accent hinting at her true origin. Her vampire partners, henchmen, and lovers have this unique Cajun-esque odd sensibiility to them that makes them distinct. Her number two and lover Crow Daddy(Zahn McClarnon) and newcomer Snakebate Andi(Emily Alyn Lind) makes some particular fierce impact.
All of this could be a movie on its own and it really is a loose connection to the original. However of course they try to include some connections to the Overlook Hotel (as there was in the original novel). This time elements of the Doctor Sleep novel , the Shining novel's alternate ending, ad the mini-series remake are all mixed into having an excuse to go back to that snowy mountain. This part of the film is what truly is like “shining 2” and it's interesting to see other characters react to it. Some impressive efforts are made to re-create certain sets and visuals although some of this has shaky CGI. The lore doesn't quite make sense and some truly questionable choices happen in the climax but it manages to be both silly and deliver on what viewers of the first film would want to see for a sense of closure.
It's a long movie, almost too much at times, with some room possibly having been gotten from cutting down on some character development. There's a few mistakes made but the emotion, scares, and atmosphere do a decent job of bringing back the legend. It's an epic mind saga when it does it right. 8 out of 10
Friday, November 8, 2019
Terminator: Dark Fate Review
Terminator: Dark Fate
Director:Tim Miller
Cast Headliners: Mackenzie Davis, Natalia Reyes, Gabriel Luna, Linda Hamilton, Arnold Schwarzenegger
Original Release Date: November 1st, 2019
The Terminator film franchise is much like its apocalyptic future in that things were, are, and will be messy. Sequels to the iconic first two films have been extremely mixed bags with each attempting to start its own era of stories only to be swept away. What sets Terminator: Dark Fate, the sixth film overall, apart is that even more of the DNA of those first two films is present. Not only does Arnold Schwarzenegger as a T-800 return again but so does Sarah Connor, Linda Hamilton, herself. James Cameron also helped produce and craft a story that is set in a time-line canon only to the first two films. One might think this is sure to work but only in a mixed way.
A short prologue actually explains this timeline divergence. With some incredible de-aging CGI used to show the 1990s again a young John Connor is killed by another (apparently many ) T-800 in a move very reminiscent of Cameron's choice in Alien 3. This sets the future up for a new and unknown world ahead.
Jumping to 2019 Mexico is the world to which cyborg human-terminator hybrid soldier Grace(Mackenzie Davis) is sent back. Of course naked and afraid she at first only reacts to this strange time with no context or civility. Soon she realizes that her mission is to protect Dani Ramos(Natalia Reyes) from a Rev-9 terminator robot(Gabriel Luna) on their trails. There's some other new characters but none of them really make an impact aside from a moment. Even the new heroes and villains are pretty generic with Reyes being like a younger new Sarah Connor / John Connor fusion with much less of both the charisma and aptitude. Davis' Grace and Luna's Rev-9 have some fierceness to them but like so many in this franchise are generic while being better at action scenes. It's also questionable if it needed to really be “Legion” and “Rev-9's” instead of Skynet again since its the same plots but with the nouns swapped out.
What gives the movie its most authentic charm is the presence of the legacy characters used better than ever. It's so great to have Hamilton back as the older Sarah Connor. She's maybe even tougher than ever with great combat prowess and some funny quips. It's as if she never left and the character arc feels very much true to her past. Schwarzenegger's older “Carl”, who's connections to the past must be seen firsthand, is also really good. Much like Genisys he's able to bring a humorous angle to things although here more robotic and reserved to fit a more accurate dark tone. It all works so well and it's a bit of a shame that they come in late to the picture (Sarah around 1/3 in and Carl for the last 25% respectively). The absolute best stuff is their rivalry with each other which brings both laughs and emotional feels. However it's understood that, like so many soft-reboots these days, these are precious connections whose minimal usage makes feel that much better.
The gritty 80s tone is mostly successfully brought into the modern day. It's helped by the pounding metallic soundtrack, including the iconic theme, by Junkie XL although the synths are interspersed with generic orchestrations. James Cameron's lore touch and some tone is felt although he actually didn't direct it this time. This was done by Deadpool 1's Tim Miller. Through this a slight lower budget CGI cheese is felt but his frenetic style is felt (as if it was Wade Wilson versus foes but in a more grim way). Things tend towards larger than life movements which work with Rev-9's splitting-into-two-halves angle with liquid effects that remind one of T2(why does everything try to be T2....it was a legend of course). Things become a bit better when realistic gritty car chases and gunfights occur since they're more practical. It can be at times rough with the movement but it entertains.
That's what this film is... it's nothing too new but it entertains. Some of the ingredients help bring it up slightly from the muck of its franchise past but what isn't working still isn't working that well. However it acts as a bit of a nice closed loop for the series(with its box office this may be the end forever) and worth it for either big fans or those looking for some silly robotic time-jumping fun. 7.35 out of 10.
Director:Tim Miller
Cast Headliners: Mackenzie Davis, Natalia Reyes, Gabriel Luna, Linda Hamilton, Arnold Schwarzenegger
Original Release Date: November 1st, 2019
The Terminator film franchise is much like its apocalyptic future in that things were, are, and will be messy. Sequels to the iconic first two films have been extremely mixed bags with each attempting to start its own era of stories only to be swept away. What sets Terminator: Dark Fate, the sixth film overall, apart is that even more of the DNA of those first two films is present. Not only does Arnold Schwarzenegger as a T-800 return again but so does Sarah Connor, Linda Hamilton, herself. James Cameron also helped produce and craft a story that is set in a time-line canon only to the first two films. One might think this is sure to work but only in a mixed way.
A short prologue actually explains this timeline divergence. With some incredible de-aging CGI used to show the 1990s again a young John Connor is killed by another (apparently many ) T-800 in a move very reminiscent of Cameron's choice in Alien 3. This sets the future up for a new and unknown world ahead.
Jumping to 2019 Mexico is the world to which cyborg human-terminator hybrid soldier Grace(Mackenzie Davis) is sent back. Of course naked and afraid she at first only reacts to this strange time with no context or civility. Soon she realizes that her mission is to protect Dani Ramos(Natalia Reyes) from a Rev-9 terminator robot(Gabriel Luna) on their trails. There's some other new characters but none of them really make an impact aside from a moment. Even the new heroes and villains are pretty generic with Reyes being like a younger new Sarah Connor / John Connor fusion with much less of both the charisma and aptitude. Davis' Grace and Luna's Rev-9 have some fierceness to them but like so many in this franchise are generic while being better at action scenes. It's also questionable if it needed to really be “Legion” and “Rev-9's” instead of Skynet again since its the same plots but with the nouns swapped out.
What gives the movie its most authentic charm is the presence of the legacy characters used better than ever. It's so great to have Hamilton back as the older Sarah Connor. She's maybe even tougher than ever with great combat prowess and some funny quips. It's as if she never left and the character arc feels very much true to her past. Schwarzenegger's older “Carl”, who's connections to the past must be seen firsthand, is also really good. Much like Genisys he's able to bring a humorous angle to things although here more robotic and reserved to fit a more accurate dark tone. It all works so well and it's a bit of a shame that they come in late to the picture (Sarah around 1/3 in and Carl for the last 25% respectively). The absolute best stuff is their rivalry with each other which brings both laughs and emotional feels. However it's understood that, like so many soft-reboots these days, these are precious connections whose minimal usage makes feel that much better.
The gritty 80s tone is mostly successfully brought into the modern day. It's helped by the pounding metallic soundtrack, including the iconic theme, by Junkie XL although the synths are interspersed with generic orchestrations. James Cameron's lore touch and some tone is felt although he actually didn't direct it this time. This was done by Deadpool 1's Tim Miller. Through this a slight lower budget CGI cheese is felt but his frenetic style is felt (as if it was Wade Wilson versus foes but in a more grim way). Things tend towards larger than life movements which work with Rev-9's splitting-into-two-halves angle with liquid effects that remind one of T2(why does everything try to be T2....it was a legend of course). Things become a bit better when realistic gritty car chases and gunfights occur since they're more practical. It can be at times rough with the movement but it entertains.
That's what this film is... it's nothing too new but it entertains. Some of the ingredients help bring it up slightly from the muck of its franchise past but what isn't working still isn't working that well. However it acts as a bit of a nice closed loop for the series(with its box office this may be the end forever) and worth it for either big fans or those looking for some silly robotic time-jumping fun. 7.35 out of 10.
Wednesday, October 30, 2019
The Lighthouse Review
The Lighthouse
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)
With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman) but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness. Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere. 8.6 out of 10
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)
With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman) but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness. Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere. 8.6 out of 10
Tuesday, October 22, 2019
Zombieland: Double Tap Review
Zombieland: Double Tap
Director: Ruben Fleischer
Cast Headliners: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigal Breslin, Zoey Deutch, Rosario Dawson
Original Release Date: October 18th, 2019
It can be difficult to create any kind of comedy sequel much less a zombie themed one and especially after over a decade has passed. 2009's Zombieland was a quirky unique thing that existed before a decade of zombies revival and the likes of such things as The Walking Dead and Z-Nation on television. Zombieland (2): Double Tap attempts to be a worthy sequel but has some ups and dows. However as with then there's definitely aspects which set it apart. For better(for the fans) or for worse it brings more of that same silly oddness to the present film scene even if it's nothing too deep.
Somehow after a decade the oddball family of nervous tip/rules-making Columbus(Jesse Eisenberg), ridiculously skilled and powerful Tallahassee(Woody Harrelson), straight to the point realist Wichita(Emma Stone), and her sister in the now young adult Little Rock(Abigail Breslin) are still roaming the post-apocalyptic zombie-afflicted world without a home. Some humorously inane rules declaring voiceovers scenes right out of the 2009 film give some context for the different types of zombies who seemed to have learned such as slow-moving “homers” or intelligent “einsteins”. A new threat eventually arises in the self-healing “T-1800”(think Terminator in one of the film's fun pop culture allusions) complicates their situation further.
Events transpire to where this family does find a home in Washington D.C but for different reasons Little Rock and Wichita split off from the men when it comes to their relationships. They must brave the ever more dangerous wilderness to find them as well deal with potential new survivors as well. Of course things don't go easily and of course too are there many quips and bloody kills along the way.
The film succeeds best at being a funny comedy than anything else. What's decently commendable is how the old cast is able to slip right back into their old characters for the most part. This is particularly true of Eisenberg, Harrelson, and Stone. Columbus weaves between geeky incompetence and a newfound confidence with kills and women. Tallahassee's Twinkie obsession is swapped out for cheesy love of Elvis, big weaponry/equipment, and a supposed Native American heritage. Witchita goes for a slightly more dramatic bent as she deals with her boyfriend and sister but has some fun dry comebacks especially to the new situations they find. With so much time passed Little Rock is a little more rebellious than before and feels detached from her family but she has her occasional quips. The humor packs a lot of heart but it's nothing that wasn't done too much the first time however that's not a bad thing.
Some of these new situations show what the movie surprisingly becomes in part: a zombie-romantic comedy. Nearly everyone gets a new potential love interest to deal with that complicates things. Columbus has to contend with the most stereo-typically dumb blonde ever in Madison(Zoey Deutch). Her extremely stark peppy contrast to the dark world around her leads to some great laughs (especially with Tallahassee and Wichita) however in time the joke gets stupidly played out. There's also the mysteriously suave fellow Elvis fan Nevada(Rosario Dawson) and hippie Berkeley(Avan Jogia) who ultimately don't do much more than drive the plot forward along other random strangers.
Like the first film(as has been implied many things are just a parallel) some great even more bit cameo roles show up. Trailers have hinted at Bill Murray's appearance as Bill Murray himself again so be sure to stick around after the credits for that one even if it's pointless. Some rival zombie slayers in Albuquerque(Luke Wilson) and Flagstaff(Thomas Middleditch) surreal-ly resemble Tallahassee and Columbus respectively in their dress and mannerisms. Each gives such a great little comedic performance but unfortunately it's very late into the act and they fall by the way-side of the plot. Keep on the look out for some funny verbal smack-talk battles of the year however. These remind what makes the Zombieland films so unique in their meta-ness and usage of pop-culture like famous objects and tongue-in-cheek self awareness. One wishes more zombie media took this route when possible but maybe it works more since its a comedy.
Director Ruben Fleischer returns as well from the original. The movie manages to capture that same mix of darkness and slight comic-book color unreality. Some of the CGI effects are even more suspect compared to modern blockbusters but it gets the job done. The rules and “zombie kill of the year” cutaways are some of the best shots since it gives an excuse to glimpse far off lands such as an icy city and Italy. There's actually not that much overall action in the movie but when it does appear it's some bloody silly fun and stakes when they do appear. David Sardy's score isn't anything to write home about but a couple of pop / rock songs are used very well. It's all what it should be.
That's the film in essence in that it's exactly what one would expect and not much more. Viewers willing to embrace these characters again or for the first time will definitely have some laughs and bloody “ooh” moments. The new elements mix things up just a bit even if it far never reaches the originals. Still the heartwarming is heartwarming and it's not a bad way to spend a spooky autumn afternoon, again. 7.4 out of 10
Director: Ruben Fleischer
Cast Headliners: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigal Breslin, Zoey Deutch, Rosario Dawson
Original Release Date: October 18th, 2019
It can be difficult to create any kind of comedy sequel much less a zombie themed one and especially after over a decade has passed. 2009's Zombieland was a quirky unique thing that existed before a decade of zombies revival and the likes of such things as The Walking Dead and Z-Nation on television. Zombieland (2): Double Tap attempts to be a worthy sequel but has some ups and dows. However as with then there's definitely aspects which set it apart. For better(for the fans) or for worse it brings more of that same silly oddness to the present film scene even if it's nothing too deep.
Somehow after a decade the oddball family of nervous tip/rules-making Columbus(Jesse Eisenberg), ridiculously skilled and powerful Tallahassee(Woody Harrelson), straight to the point realist Wichita(Emma Stone), and her sister in the now young adult Little Rock(Abigail Breslin) are still roaming the post-apocalyptic zombie-afflicted world without a home. Some humorously inane rules declaring voiceovers scenes right out of the 2009 film give some context for the different types of zombies who seemed to have learned such as slow-moving “homers” or intelligent “einsteins”. A new threat eventually arises in the self-healing “T-1800”(think Terminator in one of the film's fun pop culture allusions) complicates their situation further.
Events transpire to where this family does find a home in Washington D.C but for different reasons Little Rock and Wichita split off from the men when it comes to their relationships. They must brave the ever more dangerous wilderness to find them as well deal with potential new survivors as well. Of course things don't go easily and of course too are there many quips and bloody kills along the way.
The film succeeds best at being a funny comedy than anything else. What's decently commendable is how the old cast is able to slip right back into their old characters for the most part. This is particularly true of Eisenberg, Harrelson, and Stone. Columbus weaves between geeky incompetence and a newfound confidence with kills and women. Tallahassee's Twinkie obsession is swapped out for cheesy love of Elvis, big weaponry/equipment, and a supposed Native American heritage. Witchita goes for a slightly more dramatic bent as she deals with her boyfriend and sister but has some fun dry comebacks especially to the new situations they find. With so much time passed Little Rock is a little more rebellious than before and feels detached from her family but she has her occasional quips. The humor packs a lot of heart but it's nothing that wasn't done too much the first time however that's not a bad thing.
Some of these new situations show what the movie surprisingly becomes in part: a zombie-romantic comedy. Nearly everyone gets a new potential love interest to deal with that complicates things. Columbus has to contend with the most stereo-typically dumb blonde ever in Madison(Zoey Deutch). Her extremely stark peppy contrast to the dark world around her leads to some great laughs (especially with Tallahassee and Wichita) however in time the joke gets stupidly played out. There's also the mysteriously suave fellow Elvis fan Nevada(Rosario Dawson) and hippie Berkeley(Avan Jogia) who ultimately don't do much more than drive the plot forward along other random strangers.
Like the first film(as has been implied many things are just a parallel) some great even more bit cameo roles show up. Trailers have hinted at Bill Murray's appearance as Bill Murray himself again so be sure to stick around after the credits for that one even if it's pointless. Some rival zombie slayers in Albuquerque(Luke Wilson) and Flagstaff(Thomas Middleditch) surreal-ly resemble Tallahassee and Columbus respectively in their dress and mannerisms. Each gives such a great little comedic performance but unfortunately it's very late into the act and they fall by the way-side of the plot. Keep on the look out for some funny verbal smack-talk battles of the year however. These remind what makes the Zombieland films so unique in their meta-ness and usage of pop-culture like famous objects and tongue-in-cheek self awareness. One wishes more zombie media took this route when possible but maybe it works more since its a comedy.
Director Ruben Fleischer returns as well from the original. The movie manages to capture that same mix of darkness and slight comic-book color unreality. Some of the CGI effects are even more suspect compared to modern blockbusters but it gets the job done. The rules and “zombie kill of the year” cutaways are some of the best shots since it gives an excuse to glimpse far off lands such as an icy city and Italy. There's actually not that much overall action in the movie but when it does appear it's some bloody silly fun and stakes when they do appear. David Sardy's score isn't anything to write home about but a couple of pop / rock songs are used very well. It's all what it should be.
That's the film in essence in that it's exactly what one would expect and not much more. Viewers willing to embrace these characters again or for the first time will definitely have some laughs and bloody “ooh” moments. The new elements mix things up just a bit even if it far never reaches the originals. Still the heartwarming is heartwarming and it's not a bad way to spend a spooky autumn afternoon, again. 7.4 out of 10
Saturday, October 5, 2019
Joker Review
Joker
Director: Todd Phillips
Cast Headliners: Joaquin Phoenix, Robert De Niro, Frances Conroy, Brett Cullen
Original Release Date: October 4th, 2019
The thing this Joker film wants us to know is that, as the great George Costanza once said we're living in a society. DC Comics have had a history that's longer and more tumultuous than many. They have attempted at a longer plan but have also started to focus more on sub-worlds of characters ignoring that plan yet sometimes not ignoring that plan. Batman and Joker have shown up in this world but that's not this Joker. This is something wholly removed from the DCEU entirely and that's for its best. It's an attempt to take a gritty, grounded look at how someone could become the Joker, a Joker, his own Joker in a dark dramatic tale not concerned that much with the future ahead or whatever other multiversal copies may exist of him. It's viscerally its own thing.
The film is set in an indeterminate retro past that is said to be the 1980s but this is of course in Gotham City where everything seems to be eternally stuck in a grey gothic take on the roaring 20s(this time with some meets 60s or 70s). Arthur Fleck(Joaquin Phoenix) is our future Joker who at first doesn't really remind one of the future menace at all. He's a loser who works as a roadside clown(ah) who is frequently beaten up and mocked by strangers and his co-workers including Randall(Glenn Fleshler) and Gary(Leigh Gill). He lives with his bed-ridden elderly mother Penny(Frances Conroy) as he depressingly comes home to empty mailboxes and attempts at joke writing. He attempts to be a stand-up comedian writing and telling jokes but unfortunately his mental conditions cause him to both not understand societal norms nor curb his frequent bursts of inappropriate laughter. Lurking below poor Arthur's exterior is a ticking time bomb of powerful, yet at times even justified, villainy.
It was with great excitement that Joaquin Phoenix's casting as the eventual Clown Prince Of Crime Joker was received and luckily he delivers incredibly. He's the soaring standout of the film from an acting perspective. Absolutely, incredibly amazing in his transformation for the role. It's not a surprise for those who know of his larger repertoire that he immerses himself to an intense degree. With his unkempt hair and sickly so-skinny-he-might-break physical state its something that reminds of someone who may very well the Joker even if his skin isn't whitened yet. Every movement, often every look, every facial movement carries an unstable insanity with it that manages to terrorize when it needs to yet even cause sympathies when it needs to too. One will be impressed by the accuracy, they'll feel on the edge of their seat in the face of darkness, and yes they'll even at rare times laugh and cheer. It's a bit of a letdown that his true colorful costumed, mentally snapped beyond the point of no return green-haired and face pointed form isn't in much of the film at all. However once it is there Phoenix is so effective at that side as well for what this take on the Joker from his pathetic abused context. The sulking of sorrow becomes the dance of dark victory. It's a transformation to be remembered.
The rest of the cast is pretty good as well with no one ever reaching the heights of the titular star although a strong script is present in most things. Conroy's role as Arthur's mother has some exposition and emotion in her similar frail poor state. The co-workers tend to be bit token punching bags for exposition much like police officers(Shea Wigham and Bill Camp) who get involved in violence Arthur finds himself apart of that starts the villainous downfall. Other parts of the relatively small cast include a love interest of a neighbor Sophie(Zazzie Beetz), a clerk Carl(Brian Tyree Henry), and an assistant Gene(Marc Maron ever likeable and witty with sadly just two or three lines) to someone important all have their important moments in the pre-Joker's life but are just momentary exposition chess pieces in the coming evil checkmate.
That important player who has that assistant is talk show host Murray(Robert De Niro). He gives one of the film's other great performances in his kind-hearted show business self right out of something like Ed Sullivan. He's a bit cheesy but it's in an archetypical way that leads to some powerful lines both inspirational and accusatory to Arthur who's dream it is to be on this inspiration's show. The film actually has frequent Martin Scorese co-producer Emma Tillinger Koskoff involved so De Niro's presence and delivery make it feel even more like a gritty crime drama than a larger than life comic book movie. The influence of the equation's antihero progenitor's Taxi Driver and The King Of Comedy is definitely felt.
However while the movie may have its differences for its Joker and relatively smaller stakes plot there's definite Batman vibes going on. The setting of Gotham is as sinister and moody as ever with more daytime than usual which may reflect the metaphor of what's occurring. A very young child Bruce Wayne, the future Batman, shows up although Dante Pereira-Olson understandably doesn't say a word at all (he'll get his chance someday). It's his father Thomas Wayne(Brett Cullen) who does the most talking whether it be class rhetoric as he runs for mayor or threats as he makes an enemy out of Arthur. He's an effectively threatening white collar take if a bit hammingly stereotypical in his own way. One might get tired seeing the inevitable outcome of his family's outing to theaters and alley's but it shows the ties to the classic world this film has even if the setup will not result in a movie sequel.
The visual splendor is handled quite well by director Todd Phillips. Almost as its main actor star he's completely unrecognizable from his silly comedy or war satire film past. Fantastic direction and cinematography exists in locations big and small. Everything has a depressing, surreal dark tone to it. Blood and gore is seldom appearing but shockingly R-rated when it does which may remind of the director's dark comedic leanings. An incredible music score by Hildur Gubnadottir aids much to proceedings that helps to create this atmosphere whether somber or psychotic along with some period fitting jazz / rock pieces the rare times they do show up. The stakes never really give a chance for these artists to draw their brushes in elaborate strokes but for the scale it is it's nigh-beautifully done.
Much of the film is this slow, depressing burn but there's even times, rare times, where the excitement meeting insanity with what music and shots used reminded of the masterpiece Christopher Nolan Batman trilogy. It definitely doesn't surpass those leagues but it's the closest thing to remind of them since then which is good. The film however is best at being its own first to the world thing among the homages. It's the sad, chilling tale if at times straightforward portrayal of what was found in the classic piece of media this takes the most from in Batman: The Killing Joke “one bad day”. It's a bad day to be remembered an commended. The fall down and the rise up of an evil legend. 8.73 out of 10
Director: Todd Phillips
Cast Headliners: Joaquin Phoenix, Robert De Niro, Frances Conroy, Brett Cullen
Original Release Date: October 4th, 2019
The thing this Joker film wants us to know is that, as the great George Costanza once said we're living in a society. DC Comics have had a history that's longer and more tumultuous than many. They have attempted at a longer plan but have also started to focus more on sub-worlds of characters ignoring that plan yet sometimes not ignoring that plan. Batman and Joker have shown up in this world but that's not this Joker. This is something wholly removed from the DCEU entirely and that's for its best. It's an attempt to take a gritty, grounded look at how someone could become the Joker, a Joker, his own Joker in a dark dramatic tale not concerned that much with the future ahead or whatever other multiversal copies may exist of him. It's viscerally its own thing.
The film is set in an indeterminate retro past that is said to be the 1980s but this is of course in Gotham City where everything seems to be eternally stuck in a grey gothic take on the roaring 20s(this time with some meets 60s or 70s). Arthur Fleck(Joaquin Phoenix) is our future Joker who at first doesn't really remind one of the future menace at all. He's a loser who works as a roadside clown(ah) who is frequently beaten up and mocked by strangers and his co-workers including Randall(Glenn Fleshler) and Gary(Leigh Gill). He lives with his bed-ridden elderly mother Penny(Frances Conroy) as he depressingly comes home to empty mailboxes and attempts at joke writing. He attempts to be a stand-up comedian writing and telling jokes but unfortunately his mental conditions cause him to both not understand societal norms nor curb his frequent bursts of inappropriate laughter. Lurking below poor Arthur's exterior is a ticking time bomb of powerful, yet at times even justified, villainy.
It was with great excitement that Joaquin Phoenix's casting as the eventual Clown Prince Of Crime Joker was received and luckily he delivers incredibly. He's the soaring standout of the film from an acting perspective. Absolutely, incredibly amazing in his transformation for the role. It's not a surprise for those who know of his larger repertoire that he immerses himself to an intense degree. With his unkempt hair and sickly so-skinny-he-might-break physical state its something that reminds of someone who may very well the Joker even if his skin isn't whitened yet. Every movement, often every look, every facial movement carries an unstable insanity with it that manages to terrorize when it needs to yet even cause sympathies when it needs to too. One will be impressed by the accuracy, they'll feel on the edge of their seat in the face of darkness, and yes they'll even at rare times laugh and cheer. It's a bit of a letdown that his true colorful costumed, mentally snapped beyond the point of no return green-haired and face pointed form isn't in much of the film at all. However once it is there Phoenix is so effective at that side as well for what this take on the Joker from his pathetic abused context. The sulking of sorrow becomes the dance of dark victory. It's a transformation to be remembered.
The rest of the cast is pretty good as well with no one ever reaching the heights of the titular star although a strong script is present in most things. Conroy's role as Arthur's mother has some exposition and emotion in her similar frail poor state. The co-workers tend to be bit token punching bags for exposition much like police officers(Shea Wigham and Bill Camp) who get involved in violence Arthur finds himself apart of that starts the villainous downfall. Other parts of the relatively small cast include a love interest of a neighbor Sophie(Zazzie Beetz), a clerk Carl(Brian Tyree Henry), and an assistant Gene(Marc Maron ever likeable and witty with sadly just two or three lines) to someone important all have their important moments in the pre-Joker's life but are just momentary exposition chess pieces in the coming evil checkmate.
That important player who has that assistant is talk show host Murray(Robert De Niro). He gives one of the film's other great performances in his kind-hearted show business self right out of something like Ed Sullivan. He's a bit cheesy but it's in an archetypical way that leads to some powerful lines both inspirational and accusatory to Arthur who's dream it is to be on this inspiration's show. The film actually has frequent Martin Scorese co-producer Emma Tillinger Koskoff involved so De Niro's presence and delivery make it feel even more like a gritty crime drama than a larger than life comic book movie. The influence of the equation's antihero progenitor's Taxi Driver and The King Of Comedy is definitely felt.
However while the movie may have its differences for its Joker and relatively smaller stakes plot there's definite Batman vibes going on. The setting of Gotham is as sinister and moody as ever with more daytime than usual which may reflect the metaphor of what's occurring. A very young child Bruce Wayne, the future Batman, shows up although Dante Pereira-Olson understandably doesn't say a word at all (he'll get his chance someday). It's his father Thomas Wayne(Brett Cullen) who does the most talking whether it be class rhetoric as he runs for mayor or threats as he makes an enemy out of Arthur. He's an effectively threatening white collar take if a bit hammingly stereotypical in his own way. One might get tired seeing the inevitable outcome of his family's outing to theaters and alley's but it shows the ties to the classic world this film has even if the setup will not result in a movie sequel.
The visual splendor is handled quite well by director Todd Phillips. Almost as its main actor star he's completely unrecognizable from his silly comedy or war satire film past. Fantastic direction and cinematography exists in locations big and small. Everything has a depressing, surreal dark tone to it. Blood and gore is seldom appearing but shockingly R-rated when it does which may remind of the director's dark comedic leanings. An incredible music score by Hildur Gubnadottir aids much to proceedings that helps to create this atmosphere whether somber or psychotic along with some period fitting jazz / rock pieces the rare times they do show up. The stakes never really give a chance for these artists to draw their brushes in elaborate strokes but for the scale it is it's nigh-beautifully done.
Much of the film is this slow, depressing burn but there's even times, rare times, where the excitement meeting insanity with what music and shots used reminded of the masterpiece Christopher Nolan Batman trilogy. It definitely doesn't surpass those leagues but it's the closest thing to remind of them since then which is good. The film however is best at being its own first to the world thing among the homages. It's the sad, chilling tale if at times straightforward portrayal of what was found in the classic piece of media this takes the most from in Batman: The Killing Joke “one bad day”. It's a bad day to be remembered an commended. The fall down and the rise up of an evil legend. 8.73 out of 10
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