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Category: Drama

  • The Karate Kid (1984)

    The Karate Kid (1984)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.5.6″ _module_preset=”default” custom_margin=”||||false|false”][et_pb_fullwidth_header title=”Special Review” subhead=”This review was requested by Discord user BodaciousCNO. If you’d like to join the server, click the button below.” text_orientation=”center” button_one_text=”Visit Discord” button_one_url=”https://discord.gg/sKBSX7u” background_overlay_color=”#8300E9″ _builder_version=”4.9.2″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” hover_enabled=”0″ title_level=”h2″ sticky_enabled=”0″][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_column type=”2_3″ _builder_version=”4.6.5″ _module_preset=”default”][et_pb_text _builder_version=”4.9.2″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    At age seventeen, screenwriter Robert Mark Kamen was assaulted by bullies, so he started studying martial arts to defend himself. His first teacher tried training him to use martial arts for violence and revenge, so Kamen switched teachers. His second teacher was a Japanese man who didn’t speak English but was a practitioner of Chōjun Miyagi. Years later, his mentor Frank Price introduced him to producer Jerry Weintraub, whose credits included Nashville, Oh, God! and Diner. Weintraub had optioned an article about a single mother’s kid who earned a black belt to defend himself against bullies. Kamen decided to combine elements of his own life and the article into a screenplay that Weintraub would produce. They hired John G. Avildsen, who had earned an Oscar for Best Director for the 1976 classic Rocky. After a roughly three-month shoot, The Karate Kid was released in June of 1984.

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    Synopsis

    Daniel LaRusso (Ralph Macchio) and his mother Lucille (Randee Heller) have just moved from Newark to Los Angeles. He befriends high school cheerleader Ali Mills (Elisabeth Shue), much to the ire of her ex-boyfriend Johnny Lawrence (William Zapka). Over time, Johnny and his gang, the Cobra Kais, continue to bully Daniel, so he decides to practice karate. During one beating, Daniel is saved by Mr. Miyagi (Noriyuki “Pat” Morita), who works as a handyman at his apartment. Daniel asks Miyagi to train him, but he instead takes him to the Cobra Kai dojo to resolve the conflict. The sensei, John Kreese (Martin Kove), turns them down but agrees to a deal so Daniel will be left alone. Miyagi will train Daniel for an upcoming karate tournament so he can fight the Cobra Kai on equal terms. With so little time, Miyagi’s gonna have to whip Daniel into shape.

     

    Review

    From how I summarized the plot, The Karate Kid comes off as somewhat cliche and something we’ve all heard before. Of course, there’s the fact that it’s from the director of Rocky, which shares a very similar plot. However, its predictability is more so a product of how there have been so many similar films made since then. What helps is that this film works not only as an underdog story but also as a coming-of-age story. Daniel goes through the sort of issues many teens do: bullying, rejection, feeling isolated and alone, and acting out. Ralph Macchio plays the part like an actual teenager, not so much that he’s annoying but enough that’s he likable. However, Pat Morita steals the show as the wise yet eccentric Mr. Miyagi, who has great chemistry with Macchio. Despite not having many lines, he has some of the most quotable lines.

    Martin Kove does a great job as the villainous John Kreese, relishing every moment he gets to intimidate people. William Zapka works as the prototypical bully, but even he cowers beneath Martin Kove and has moments of fear. Though she isn’t given much to do, Elisabeth Shue is a fine love interest and has good chemistry with Macchio. Additionally, there are some great appearances from notable character actors like Larry Drake, Frances Bay, and Larry B. Scott. The soundtrack has some memorable tunes, including “Cruel Summer”, “Moment of the Truth”, and the iconic “You’re The Best.” Speaking of, Bill Conti’s score helps accentuate the mood, whether it’s the calmer training scenes or the intense championship. For over 30 years, this film has remained a classic of 80s cinema, and it more than deserves that status. Overall, The Karate Kid is one of the ultimate feel-good movies

     

    Buy The Karate Kid from Amazon: https://amzn.to/3vNla8C

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  • 12 Angry Men (1957)

    12 Angry Men (1957)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]Writer Reginald Rose wrote a screenplay based on his experiences serving jury duty that explored the drama that ensued. Rose was writing for the dramatic anthology series Studio One when his screenplay was sold to them for adaptation. In 1954, the screenplay was adapted for the show’s seventh season directed by Franklin J. Schaffner and starring Robert Cummings. The teleplay was a success, earning three Emmy awards for Best Writer (Rose), Best Director (Schaffner), and Best Actor (Cummings). Following its success, the screenplay was adapted to film, with Rose writing the script and co-producing with star Henry Fonda. They hired Sidney Lumet to direct what became his first feature film due to his work on television. With a low budget of roughly $337,000 and a relatively small cast, Lumet set out to direct this film adaptation. In 1957, Lumet’s adaptation of 12 Angry Men was released to theaters.

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    Synopsis

    An 18-year-old Hispanic man (John Savoca) is on trial for first-degree murder, having supposedly stabbed his father to death. After being read the details and shown the evidence, the jury is sent off to determine a verdict. The verdict must be unanimous, meaning all twelve members must decide on whether the defendant is guilty or not guilty. Initially, all the jurors vote ‘guilty’ except for Juror #8 (Henry Fonda), who’s unsure if the defendant committed the murder. Over the course of the next few hours, the jurors go back and forth questioning the evidence and their votes. Tensions rise as the men argue with each other, compounded by the sweltering heat while confined in a single space. As time goes by, the vote sways towards ‘not guilty, much to the chagrin of some of the other jurors. Soon, the men will examine not only the case but on themselves.

     

    Review

    Although not a financial success at the time, 12 Angry Men has gone done in history as classic American cinema. This film absolutely deserves its status given how powerful the material is and the themes that are explored. First off, every member of the principal cast, namely the twelve jurors, each give an amazing and career-defining performance. Henry Fonda gives a very grounded and sympathetic performance as the outlier and the one who sets everything in motion. Lee J. Cobb also shines as the polar opposite of Fonda, determined to see the defendant get the chair. Watching him getting more and more frustrated while Fonda remains calm and collected is worth the price of admission alone. The rest of the cast, featuring Jack Warden, E. G. Marshall, Martin Balsam, and Jack Klugman amongst others also shine. There isn’t a single cast member who gives a subpar performance.

    What also makes the film stand out is the direction from Sidney Lumet, who became a celebrated filmmaker later on. He keeps the action moving given it’s set primarily in one location with plenty of tracking shots and wide angles. Its single setting also helps make you feel like you’re right there with them as the heat gets to them. With a roughly 90-minute runtime, the film moves at a solid pace and never feels bogged down by unnecessary padding. The film explores plenty of issues that are still relevant, such as prejudice, bias, and coming together despite different backgrounds. The fact that none of the characters are given names also adds to the realism, like they could be anyone. It’s one of the most well-made, well-acted, and well-written American dramas of all-time that everyone should see at least once. Overall, 12 Angry Men is a classic of American cinema.

     

    Buy 12 Angry Men from Amazon: https://amzn.to/40uRleY.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Midnight Cowboy (1969)

    Midnight Cowboy (1969)

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    With the advent of television and the decline in theater patronage in the 1950s, studios desperately tried to succeed. In addition to introducing new gimmicks like CinemaScope, stereo sound, and 3-D, there was a flood of giant spectacle films. While they had some success with movies like The Sound of Music and West Side Story, things quickly died out. This gave way to smaller, riskier films like Bonnie & Clyde, The Wild Bunch, and The Graduate becoming surprise hits. These successes led to a period commonly known as the New Hollywood Movement, where fresh young directors had creative freedom. Many films of this period focused on more taboo subjects that challenged what was considered acceptable in society. One filmmaker who emerged during this time was John Schlesinger, who was looking for something risky to tackle. So in 1969, Schlesinger brought us Midnight Cowboy based on the James Leo Herlihy novel.

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    Synopsis

    Texan boy Joe Buck (Jon Voight) decides to leave his dishwashing job to become a hustler in New York City. Upon arriving, however, he doesn’t find much luck, though he does manage to hook up with middle-aged Cass (Sylvia Miles). Things change for Buck when he meets Enrico Salvatore “Ratso” Rizzo (Dustin Hoffman), a con artist with a limp. Unfortunately, Joe’s luck gets worse when Rizzo cons him out of $20, tricking him into meeting a gay religious fanatic. On top of that, Joe gets locked out of his hotel room and loses his things, leaving him with nothing. He eventually runs into Rizzo, who offers to let him stay at his apartment and act as his manager. As the two develop their friendship, Joe’s luck starts getting better, though Rizzo’s health starts declining, eventually ending up bedridden. It’s a story of two unlikely friends struggling in an unforgiving world.

     

    Review

    Since its initial release, Midnight Cowboy has been heralded as a cinematic masterpiece, and it deserves that status. First off, Schlesinger’s direction is phenomenal, taking full advantage of the grime and grit of late 1960s New York City. Also, Voight and Hoffman give some of the best performances of their careers, playing off each other really well. It’s also interesting seeing the character dynamic change from Rizzo providing for Buck to Buck providing for Rizzo. Further adding to his character growth, we get flashbacks to Joe Buck’s past, which help give insight to his character. They give you just enough information so you can understand it without taking away from the overall experience. There are some secondary cast members who stand out, including Miles, Brenda Vaccaro, Bob Balaban, and Jennifer Salt from Sisters. It’s a wonderfully acted film, highlighted by two fantastic lead performances from Jon Voight and Dustin Hoffman.

    It’s interesting that the film was originally given an “X” rating, but was reduced to an “R” after the fact. While nothing in the film is necessarily shocking by today’s standards, it’s easy to see why it was considered controversial. The fact that it was pushing boundaries goes to show how it helped usher in the New Hollywood movement. Admittedly, there are a few moments that are somewhat disturbing, namely during the flashbacks and when Rizzo’s slowly dying. If there are any complaints to be had, I’d say that the film moves at a somewhat slow pace. There are moments where the film meanders a bit, but you’re still engaged thanks to the great performances. It’s definitely a film that’s worth watching for its historical significance, but some modern audiences will most likely get bored. Overall, Midnight Cowboy is a fantastically bleak film spearheaded by two amazing lead performances.

     

    Buy Midnight Cowboy from The Criterion Collection: https://bit.ly/3hv6zXY

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  • Little Women (2019)

    Little Women (2019)

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    In 1868, Louisa May Alcott’s semi-autobiographical novel Little Women was published and was considered a critical and commercial hit. Since its publication, the book has been adapted for the stage and screen, having seven film adaptations as of currently. The first was a silent film released in 1917, which has been lost as with most films of the time. After a 1918 silent version, the first sound adaptation was made in 1933 starring Katherine Hepburn and Joan Bennett. This was followed by the first color adaptation in 1949, which featured then relatively unknown Elizabeth Taylor and Janet Leigh. 45 years later, another adaptation was made, this one starring Winona Ryder, Samantha Mathis, Kirsten Dunst, and Claire Danes. There was also a 2018 adaptation that mostly flew under the radar before actress/director Greta Gerwig stepped in. So, her adaptation of Little Women was finally released in 2019.

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    Synopsis

    Taking place between 1861 and 1868, the film follows four women from their childhoods to their adult years. There’s Josephine aka Jo (Saoirse Ronan), Margaret aka Meg (Emma Watson), Amy (Florence Pugh), and Elizabeth aka Beth (Eliza Scanlen). Each has their talents: Jo writes, Amy paints and draws, Beth plays piano, and Meg cares for the family. They live with their mother Marmee (Laura Dern) who does her best while their father (Bob Odenkirk) is at war. The film goes back and forth between their childhoods and the present, where Jo is working on a novel. They have their disputes, they find love, they develop their talents further, and they get into mischief during their upbringing. Eventually, things change for them, including getting married, one of them falling ill, wanting to abandon their dreams, etc. Despite all the obstacles, these sisters remain close to each other and stay strong.

     

    Review

    At the time of writing this, I have not read the book or seen any of the previous adaptations. That said, while it’s not my go-to type of film, Little Women is still enjoyable enough for its target audience. The performances are solid, the four main actresses feeling like a close-knit group that has grown up together. Saoirse Ronan, Emma Watson, and Florence Pugh (Midsommar) are at the heart of the film and deliver the strongest performances. The supporting cast, including Scanlen, Dern, Timothée Chalamet, Chris Cooper, and Meryl Streep also stand out even with limited screentime. Directing-wise, Greta Gerwig manages to capture the look and feel of the mid 19th century while adding some contemporary references. The gorgeous set design, elaborate costumes, and Alexandre Desplat’s score further help to cement the film’s historical setting. From a visual and acting standpoint, Little Women mostly succeeds at that.

    However, my biggest issue with the film is that there isn’t much of a central plot to speak of. Little Women feels more like a collection of scenes that are strung together rather than having a cohesive narrative. The film jumps back and forth between the present and seven years prior, but it often feels jumbled and disjointed. Because of this, it can be difficult to follow along with and discern when everything is supposed to be happening. Also, the film has a strong feminist message, which I’m all for, but it felt somewhat on the nose here. Much of the dialogue is either trying to hammer in its feminist angle or criticize anyone who criticizes someone’s work. Some of it may be from the book or invented by Gerwig, but it still hindered my enjoyment slightly. Overall, Little Women, though disjointed and preachy, is still an enjoyably heartwarming film.

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  • Marriage Story (2019)

    Marriage Story (2019)

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    New York-based filmmaker Noah Baumbach has been working since the mid-1990s, debuting with 1995’s Kicking and Screaming. In 1997, he wrote and directed Mr. Jealousy followed by Highball, which he later disowned due to some production issues. Additionally, Baumbach worked alongside filmmaker Wes Anderson as a co-writer on Life Aquatic of Steve Zissou and Fantastic Mr. Fox. His 2005 film The Squid and the Whale earned Baumbach his first Academy Award nomination for Best Original Screenplay. Interestingly enough, Baumbach also co-wrote 2012’s Madagascar 3: Europe’s Most Wanted, the same year he directed Frances Ha. During post-production on 2017’s The Meyerowitz Stories, Baumbach decided that his next project would focus on divorce and its effects. After doing much research, including interviewing divorce lawyers, judges, and mediators, his next film was released to Netflix in 2019. That film was the family drama, Marriage Story.

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    Synopsis

    Charlie Barber (Adam Driver) is a successful theater director in New York married to former teen actress Nicole (Scarlett Johansson). Unfortunately, the two of them are going through a divorce, and it’s taking a toll on their lives. Nicole gets a job on a TV series in LA, so she takes their son Henry (Azhy Robertson) with her. Despite them agreeing to not hire lawyers, Nicole hires family lawyer Nora Fanshaw (Laura Dern) to represent her. Charlie flies to LA to visit but is served divorce papers, so he consults with lawyer Jay Marotta (Ray Liotta). He decides not to hire Jay because of his brash nature, but he still needs a lawyer according to Nora. He eventually hires the more empathetic Bert Spitz (Alan Alda), but things soon spiral out of control when arguing custody. No matter what, these events will change their lives forever.

     

    Review

    Going into this, I knew almost nothing about the filmmaker, though after seeing this, I want to see more. Given who’s making it, Marriage Story is an honest and real depiction of what it’s like going through a divorce. The performances, especially from Driver and Johansson, are some of the best I’ve seen in quite some time. When Driver and Johansson are screaming and arguing with each other over their marriage, it feels so real and authentic. Plus, the film never fully sides with one over the other, showing them at their best and worst moments equally. Also, Azhy Robertson gives a great child performance as a kid who’s unfortunately caught in the middle. Dern, Liotta, and Alda all contribute great performances, as well as Julie Hagerty, Merritt Wever, and Wallace Shawn. This is definitely one of the best-acted films in 2019.

    Directing-wise, Baumbach’s direction is somewhat simplistic, but it adds to the realism and authenticity of the subject matter. While the film shifts in tone throughout, bouncing between dry humor and hard-hitting drama, it never feels disjointed. Rather, it flows naturally and feels like the tonal shifts are more consistent versus the tonal whiplash in Jojo Rabbit. Going back to the simplistic filmmaking, Randy Newman’s score goes well with the film, feeling somber but not overwhelming. While I believe most people have enjoyed this film, it seems like much of the praise is on the performances. I feel that most people are probably put off by the subject matter, which is a fair assessment. However, I welcome films that challenge audiences and tackle the more difficult subject matter since life can be difficult. Overall, Marriage Story is a well-acted and well-written take on something all too real.

     

    Buy Marriage Story from Amazon: https://amzn.to/4i14anP.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Marriage Story (2019)

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  • 1917 (2019)

    1917 (2019)

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    For roughly the past twenty years, Sam Mendes has remained one of the most successful filmmakers still working today. Mendes made his cinematic debut with 1999’s American Beauty, which took home five Oscars, including Best Director and Best Picture. His follow-up, 2002’s Road to Perdition, received similar commercial and critical success and was Paul Newman’s last live-action performance. After establishing Neal Street Productions in 2003, Mendes’ 2005 film Jarhead released to mixed reviews and a disappointing box office. His 2008 film Revolutionary Road, which reunited Leonardo DiCaprio, Kate Winslet, and Kathy Bates, received universal acclaim from critics. 2009’s Away We Go gained similar acclaim but did poorly financially, though he eventually worked on the James Bond franchise. First, he made 2012’s Skyfall, coinciding with Bond’s 50th anniversary, then he made 2015’s Spectre, leading to his next film. Four years later, 2019 saw the release of his WWI film, 1917.

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    Synopsis

    In April 1917, during WWI, British soldiers Blake (Dean-Charles Chapman) and Schofield (George MacKay) are given a special assignment. General Erinmore (Colin Firth) informs them of a plan by the Germans to lure the 2nd Battalion into a trap. The two must travel behind enemy lines to deliver a message to the 2nd Battalion to call off their attack. Schofield has his reservations about the mission, but Blake is motivated because one of the 2nd Battalion is his brother. As they trek through no man’s land, they get to know each other while keeping a watchful eye for danger. Along the way, they encounter a downed German pilot, a bombed-out village, and a convoy of fellow soldiers. Unfortunately, one of the soldiers is killed, leaving the other to continue the mission with time running out. Will the soldier get the message on time, or will the 2nd Battalion fall?

     

    Review

    1917 is not only an achievement in filmmaking, but it also works as an engaging and intense war film. This was made to seem like it was shot in one take, which, for a war film, is not easy. There are moments where you can tell where a cut was probably added, but it’s still nothing short of impressive. This style of filmmaking makes it feel as if you’re right there with the two soldiers along their journey. With cinematographer Roger Deakins at the helm, there are some amazing wide shots and fluid camera movements utilized throughout. Even when things are getting chaotic and action-packed, the camera is pulled back enough to show the full scope. Thomas Newman’s sweeping score goes right along with the cinematography, and the sound design, in general, is fantastic. From a technical perspective, 1917 is one of the best in recent years.

    Acting-wise, Dean-Charles Chapman and George MacKay do a great job, giving great performances even when there’s no dialogue. Given that they’re the ones we follow for most of the film, they need to have solid chemistry. Thankfully, they’re able to work off each other well and make for a great duo, even when they’re separated. There are also brief appearances from Colin Firth, Mark Strong, and Benedict Cumberbatch, all of whom shine in their scenes. The story is fairly simplistic, essentially an odyssey film, but sometimes a film doesn’t need a complex story to work. Also, even with its two-hour runtime, the film can be quite slow at times, so don’t expect any non-stop action. This film deserves its place amongst other great war films like Platoon, Saving Private Ryan, Glory, and Apocalypse Now. Overall, 1917 is a technical achievement punctuated with great performances and a solid story.

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  • The Irishman (2019)

    The Irishman (2019)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]In my review of Raging Bull, I talked briefly about the dynamic between Martin Scorsese and Robert De Niro. Their working relationship led to them working together on The King of Comedy, Goodfellas, Cape Fear, and Casino. Back in the 80s, the two were working on a remake of the 1952 film The Bad and the Beautiful. Unfortunately, this fell through, but De Niro revived the discussion after reading the 2004 book I Heard You Paint Houses. Scorsese became interested in adapting the book, with development starting in 2007, but it was pushed back due to rewrites. Around 2014, it was announced that the film would be moving forward following the release of Silence in 2016. The cast included De Niro, Al Pacino, and Joe Pesci, and the screenplay was written by Steven Zaillian (Schindler’s List). Finally, in 2019, Scorsese’s adaptation, retitled as The Irishman was released to Netflix.
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    Synopsis

    WWII and retired hitman Frank Sheeran (Robert De Niro) recounts his time with the Mafia at a retirement home. He talks about how he got involved with the Philadelphia crime family after meeting mob boss Russell Bufalino (Joe Pesci). While working for Russell, Sheeran is introduced to Jimmy Hoffa (Al Pacino), the head of the International Brotherhood of Teamsters. Hoffa has been using his ties to the Buffalino family to rise in power and becomes close friends with Sheeran. Things take a turn for the worse when Hoffa is arrested and jailed when Robert Kennedy is made Attorney General. Hoffa’s eventually released, but Russell starts distrusting him and orders Sheeran to eliminate him when Hoffa threatens to blackmail them. This leads to the infamous disappearance of Jimmy Hoffa, which Sheeran still denies his involvement with to this day. In reflecting on his life, Sheeran comes to terms with his mortality.

     

    Review

    Martin Scorsese returns to the mob genre he became famous for in top form with the release of The Irishman. Though not quite as good as classics like Goodfellas and Casino, this still ranks among his best films. The entire cast, from De Niro and Pacino to costars Ray Romano, Anna Paquin, and Bobby Cannavale delivers phenomenal performances. However, Joe Pesci, who reluctantly came out of retirement for this, easily steals the show, delivering his signature ruthless intensity. There are even appearances from Harvey Keitel, Stephen Graham, Jim Norton, Jesse Plemons, Stephanie Kurtzuba, and Kathrine Narducci amongst others. The way Scorsese films the sequences here could only have come from somebody who worked in the 1970s. There are many scenes where everything seems to slow down, but he hits you right when you least expect it. In true Scorsese fashion, there’s some pretty brutal violence sprinkled here as well.

    Be warned, with its runtime of over three hours long, this isn’t a movie you simply watch in the background. This is a film that demands your full and undivided attention as there’s so much information you need to remember. While I’m not saying this is necessarily a bad thing, this is something some audiences may be put off by. Also, the de-aging effects can be slightly distracting at first, but you eventually stop noticing them, certainly not a dealbreaker. This is a story about dealing with one’s mortality, regret over past actions, and seeking redemption for those mistakes. Whether or not the source material is accurate on what happened, it’s an interesting story nonetheless that’s worth telling. If you’re looking for something to watch on Netflix and you have the time, please give this a watch. Overall, The Irishman is an exceptional film that we hardly see nowadays.

     

    Buy The Irishman on Amazon: https://amzn.to/3NRPxVG.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase. 

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    Where to watch The Irishman (2019)

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  • Ford v Ferrari (2019)

    Ford v Ferrari (2019)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Since the mid-1980s, James Mangold has had quite a successful career as a writer, producer, and director. His first film, the independent drama Heavy, was a hit at the Sundance Film Festival and Cannes in 1995. He followed that up with 1997’s Cop Land, which also helped revitalize Sylvester Stallone’s career which was slumping. Mangold also directed 1999’s Girl, Interrupted, which won a Best Supporting Actress Oscar for Angelina Jolie. After Kate & Leopold in 2001 and Identity in 2003, Mangold’s next major film was 2005’s Walk the Line. A biopic about Johnny Cash, the film was both a commercial and critical success, earning five Oscar nominations. 2007 marked the first time Mangold would work with actor Christian Bale on the Western remake 3:10 to Yuma. Cut to twelve years later, where Mangold has teamed up again with Bale for a new biopic, Ford v Ferrari.

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    Synopsis

    Carroll Shelby (Matt Damon) was a professional racer who won the 24 Hours of Le Mans but had to retire. Sometime later, he gets an offer from Lee Iacocca (Jon Bernthal), the VP of Ford Motors, for a major project. After a botched deal with Ferrari, Ford wants to build a car to compete against them at Le Mans. With that, Shelby decides to enlist British racer/mechanic Ken Miles (Christian Bale) to help build the car. However, Miles has doubts that such a task can be met considering the quality of cars Ferrari makes. At the same time, Leo Beebe (Josh Lucas), a senior executive VP at Ford, has his doubts about Miles. Despite this, Shelby and Miles push forward to get their car made and ready to race at Le Mans. Will they succeed and outdo Ferrari, or will they be left in the dust?

     

    Review

    Going into Ford v Ferrari, I didn’t have much to go on other than the cast and director involved. I did know that this was based on a true story, but I was unfamiliar with said story. That being said, Ford v Ferrari is a thoroughly enjoyable film with some incredible performances and stellar directions. Damon and Bale, both great actors on their own, are phenomenal together, having great back and forths with each other. Even when they fight and have their disagreements, you can tell that there’s a real friendship between them. As per usual, Josh Lucas does a good job playing a complete sleazeball who’s fun to hate. Bernthal is also good, and special mention should go to Caitriona Balfe and Noah Jupe as Bale’s wife and son. Both of them help add human drama, are fun and memorable characters, and have great scenes with Bale.

    Despite the title, the focus isn’t necessarily on Ford or Ferrari, but more so on two guys against two corporations. Throughout Ford v Ferrari, you follow these two guys as they work together despite having Ford breathing down their necks. Even if you’re not into cars, it’s fascinating seeing these guys trying to build this perfect race car. It all leads up to the big race at Le Mans, which is a pretty tense and thrilling sequence. If I had any issues, I’d say that there may be some scenes that went on a bit too long. Also, despite him being what sets things in motion, Bernthal sort of disappears at about the halfway point. Even with that said, this is yet another fantastic film from a fantastic director of other fantastic films. Overall, Ford v Ferrari is an enjoyable film about the creative spirit and overcoming the odds.

     

    Buy Ford v Ferrari on Amazon: https://amzn.to/3NUso57.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase. 

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    Where to watch Ford v Ferrari (2019)

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  • The Current War (2017)

    The Current War (2017)

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    Some of you may recall that the last new release I reviewed, Gemini Man, was in development hell for years. Well, seems October is the month of delayed movies as we have one that was already filmed before being released. Following the release of Me and Earl and the Dying Girl, director Alfonso Gomez-Rejon was offered a new historical drama. Entitled The Current War, the film premiered at the Toronto International Film Festival and was scheduled for a December release. However, it was owned by The Weinstein Company at the time and was subsequently shelved following the Harvey Weinstein allegations. The company’s assets were then purchased by Lantern Entertainment, and the film eventually got its release two years later. During that time, Gomez-Rejon was disappointed in the version shown at TIFF, so he reshot and re-edited the film. Now the “Director’s Cut”, 2019 sees the release of The Current War.

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    Synopsis

    The film revolves around the “war of the currents” between Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon). Having harnessed the power of electricity, the two are vying to be the ones to power the entire country. Edison favors the costlier and less effective Direct Current (DC), while Westinghouse favors the inexpensive and powerful Alternating Current (AC). In the middle of the conflict is recently immigrated Nikola Tesla (Nicholas Hoult), who soon becomes an ally for Westinghouse. Things take a turn for the worse for Edison when his wife Mary (Tuppence Middleton) dies of a brain tumor. With so much at stake, Edison launches a smear campaign against Westinghouse, claiming that AC is too dangerous to use. Westinghouse stands firm despite the smear campaign, which eventually leads to the creation of the electric chair. It all culminates in the two battling over who will light the Chicago World’s Fair.

     

    Review

    I can remember seeing trailers for the film back when it was supposed to come out in 2017. After that, I heard next to nothing about the film until I saw that it was being released in 2019. Since I haven’t seen the version shown at TIFF, I can’t say whether the version released is better or worse. That said, it’s very clear watching this that there were some production problems given how somewhat disjointed the film is. To get into the positives, the cast does a fairly good job, particularly Cumberbatch, Shannon, and Hoult despite limited screentime. Other highlights include Tom Holland as Edison’s assistant, Samuel Insull, and Katherine Waterston as Westinghouse’s wife, Marguerite. Also, the story itself is fascinating, if only because it makes you think about how we take electricity for granted. Plus, Gomez-Rejon’s direction is solid, really capturing the look of the late 19th century.

    Despite its positives, there are also several negatives, though some can be forgiven considering the troubled production. With a runtime of one hour and 45 minutes, the film feels rushed, scenes going by too fast. For instance, Edison’s wife dies roughly 20 minutes in, giving us almost no time to get to know her. There are also several montages, which makes it feel like there’s footage missing, and there’s hardly any breathing room. For being rivals, Cumberbatch and Shannon don’t share any scenes until the very end, part of the many reshoots. Thankfully, the newly added scenes aren’t as obvious as Dark Phoenix, being saved for the end of the film. With this being billed as the “Director’s Cut”, I can understand and respect that this was what the director intended. Overall, The Current War, despite several pacing issues, is worth a watch for the cast, story, and direction.

     

    Buy The Current War from Amazon: https://amzn.to/47H55Xc.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch The Current War (2017)

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  • Joker (2019)

    Joker (2019)

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    Throughout the history of comic books, one of the most enduring and iconic villains has been Batman’s arch-nemesis, The Joker. Dubbed the “clown prince of crime”, The Joker first appeared in Batman #1 in April 1940 as his ultimate foil. Since his initial appearance, The Joker has remained one of the most popular and iconic villains in comic book history. The character was first brought to life by Cesar Romero in the 60’s Batman television series and Batman: The Movie. More than 20 years later, Academy Award winner Jack Nicholson would dawn the makeup in Tim Burton’s 1989 film, Batman. In 2008, the late Heath Ledger won an Oscar for his career-defining portrayal of The Joker in The Dark Knight. While Jared Leto did the character wrong in 2016’s Suicide Squad, filmmaker Todd Philips pitched a dark Joker character study. Three years later, we have the 2019 dramatic thriller, Joker.

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    Synopsis

    In the crime-ridden city of Gotham, Arthur Fleck (Joaquin Phoenix) has been having a tough time getting by in life. He works as a sign twirling clown, where he gets regularly assaulted and mocked for his uncontrollable spouts of laughter. While caring for his mother Penny (Frances Conroy), he idolizes late-night talk show host Murray Franklin (Robert De Niro). Arthur dreams of becoming a stand-up comedian, but he struggles with his mental illnesses and his poor living situation. Unfortunately, he loses his job after a number of complaints made, which leads to him going over the edge. Before too long, others start rallying behind him, seeing him as a vigilante standing up for the less fortunate. Eventually, Arthur embraces the attention he’s gotten and manages to get a spot on Murray Franklin’s late-night show. Said show is where Arthur will reveal his new persona to the world, Joker.

     

    Review

    When it was announced that Todd Phillips, who previously directed the Hangover trilogy, was directing this, I had my doubts. However, Joker is not only a fantastic film deserving of its praise, but one of the best films of 2019. Even though there’s not much else that can be said about his performance, Joaquin Phoenix is the sole driving force. As controversial as it sounds, I personally feel that his performance might give Heath Ledger’s a run for its money. While both performances are radically different, Phoenix makes the Joker into an almost sympathetic and tragic figure, though not entirely. Even though you understand his situation, the movie never portrays any of Arthur/Joker’s violent actions in a positive light. The film is more a warning of what may happen if we don’t take mental health seriously and ignore it. It’s a powerful message that’s especially relevant today.

    Surprisingly, Phillips’ direction is very top-notch, having a style similar to a Martin Scorsese film from the 70s/80s. Story-wise, the movie does have references to the Batman universe, but it’s never distracting or detracts from the overall story. Aside from Phoenix, the rest of the cast is also excellent, particularly De Niro as the sleazy talk show host. Frances Conroy is certainly better here than in Catwoman, though Zazie Beetz, while good, doesn’t have much to do. Talking about the controversy, while I understand some people’s concerns, a Joker movie was probably going to be dark. Tim Burton’s Batman and Christopher Nolan’s The Dark Knight both featured the Joker and were dark, but no one complained. Still, if you’re put off by more realistic violence and/or fairly dark material, clearly you’re not the right audience. For everyone else, Joker is everything a movie about this character should be.

     

    Spoiler Review (For Patreon Supporters Only)

     

    Buy Joker from Amazon: https://amzn.to/4es1mgW.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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