Saturday Night - An Unmitigated Headache

 

For rent on Apple TV, Amazon, and Microsoft

    Saturday Night Live (or SNL) is one of those staples of American Television that was absolutely hilarious when it began but eventually lost its spark in the 21st century, like many other elements of pop culture. Taking inspiration from Mad Magazine and Monty Python, SNL embraced the absurd and the avant-garde and took many risks in comedy, which could only have been accomplished, let alone attempted, back when taking risks on the unproven was still alive and viable. 

    The new movie, Saturday Night, attempts to capture the insanity of bringing the show to life by depicting the drama and madness that occurred ninety minutes before the first episode aired in 1975. Historical accuracies (or lack thereof) aside, while the film succeeds in depicting what may very well be the pressure of creating and running a show as insane as SNL, not to mention providing some spot-on impressions of classic SNL alumni (Chevy Chase, Dan Akroyd, John Belushi, etc.) the film not only bombards the audience with too much of that craziness but also fails to provide the one essential element required for any story: an emotionally resonating reason to care! 

    Taking place on the night of SNL's first broadcast (October 11, 1975), the film follows the show creator, Lorne Michaels (Gabriel LaBelle), as he juggles through a multitude of massive egos, shareholders, and creative differences all to bring about a spark of spontaneous creativity to national television. Rather than present itself as a traditional story, the film is a montage of moments set to unsettling (and at times overbearing) jazz music strung together with rapid-fire-editing, constant whipping camera movement, and little regard for variation. 

    This means that the film is more preoccupied with creating a feeling than presenting a narrative, which isn't a problem so long as there are moments that allow the audience to breathe and relate to the characters and their goals. Sadly, this film can't be bothered with any of that, at least for the most part! 

    The film relentlessly bashes the audience over the head with its desire to replicate what was likely a stressful time in American Television history, but it does not give the audience any sound or emotionally resonating reason to care. Why does Lorne Michaels want to create the show? Why does he fight for the talent he hires? What makes the whole experience worth all the insanity to begin with? If these answers were in the film, then they were poorly presented! 

    The only aspect of this film I can praise is the talented actors' spot-on impersonations of early SNL cast members. They all deserved a better script with significantly more character depth beyond reminding the audience who Billy Crystal is. Although to be fair, the gentleman portraying John Belushi (Matt Wood) succeeded in making me laugh a few times, but, again, it was just a good imitation of John Belushi. 

    Also, the film loses several bonus points for needlessly mocking George Carlin! 

    Saturday Night is a film that is too loud, too crowded, and too far up its own derriere for its own good! It has the makings of an interesting film honoring the early days of SNL with plenty of homages to comedy classics; instead, it falls flat on its face with too much time spent trying to replicate how the characters feel rather than providing the audience with a sound reason to sympathize with any of them. This is one show that did not need to go on!

    Change the channel.

Ladies & gentlemen, I am TheNorm; thank you all for reading! 

Also...

LIVE FROM NEW YORK, IT'S SATURDAY NIGHT!!! 

I always wanted to say that. 😂

Retro Review - Inception (2010)

 

"But only in their dreams can men be truly free, 

'twas always thus, and always thus will be!"

-Dead Poets Society

Streaming on Netflix

Please buy this movie if you haven't already. 

    Sir Christopher Nolan is a fascinating and appreciated (albeit at times divisive) creative talent whose work will inspire many future storytellers and creatives, myself included. Most will likely recall him for his work on what is commonly referred to as The Dark Knight Trilogy, i.e., his take on the legendary comic book hero Batman, and rightfully so, as they are some of the best staples in that character-rich history. However, there will always be one film of his that remains his greatest triumph. Were it not for the success he enjoyed with the caped crusader, this idea dwelling in his brain might have never seen the light of day. It is a story of perception, creativity, and, above all, the motivation for inspiration. 

    Of course, I refer to the science fiction masterpiece from 2010, Inception: a mind-blowing experience that seamlessly fuses high-end concepts with conventionally enjoyable action fanfare, blending enthusiasm and tact in ways not often seen before. Blending nuggets of inspiration from multiple sources and concepts into a coherent narrative about stoicism, emotion vs. reason, reality vs. dreams, and how they all lead to true happiness. 

    In this story, technology is used to enter and manipulate a person's subconscious mind through dreams, using unique chemical compounds and mental fortitude. This technology is primarily used by private espionage groups specializing in extraction, which uses dream technology to infiltrate a subject's mind and obtain secrets sought after by other parties. The best extractor and the film's protagonist is Cobb (Leonardo DiCaprio), who has been working in the shadows with his team in the hopes of eventually returning home to his beloved children. 

    Cobb's reputation catches the attention of a wealthy businessman named Saito (Ken Watanabe). Saito claims to have the power to help Cobb safely return home to his children, provided he can pull off what most believe impossible. Instead of extracting an idea from a person's mind (Extraction), Saito wants to plant an idea into someone's mind (Inception). According to Cobb, Inception is possible but is extremely risky and requires going as deep inside the subconscious as possible, which can be more dangerous than expected. 

    Uncertain of success, Cobb takes on the task, assembles a team, and prepares to pull off the most fantastic job of his life to reunite with his family. 

    Of the many allegorical descriptors for Inception (a heist film with psychological themes, an homage to classic James Bond films, a psychological thriller, etc.), one of the most underutilized is that it is also a movie about making movies and their impact on the heart and mind (conscience and subconscious). The players in the story can be easily linked to the roles of a filmmaking crew: director, writer, producer, special effects artist, etc. They all work together to create an idea meant to inspire at least one person to do something better with their life, however small or large that betterment may be. 

    Some critics initially reacted to this film, saying it might be "too smart" for mainstream audiences and that the layers of concepts and in-universe technology would be too confusing and unfollowable. While I have my opinions about this notion (which I won't share here for the sake of staying on track), although the film is complicated, I do not believe it is the same as confusing or "too smart" for anyone. Inception is one of many films that successfully takes high-end concepts and presents them in an easily digestible and enjoyable way. In that respect, it is on par with the likes of Robocop (a story about the dangers of privatization delivered in a fun action framework) and District 9 (a story of racial partite delivered with fantastic science fiction flair). Inception asks that you pay close attention to the rules and ideas presented, all of which will ultimately pay off and deliver a satisfying experience. 

    Despite what some critics and audiences may choose to believe, high-end concepts and social commentary have been fused into popular entertainment ever since the written word was created. They are there for the clever to implement and the curious to absorb, and they will hopefully remain that way as creativity continues to flourish. 

    Inception is a must-watch for any cinema enthusiast! It's clever, fun, and a testament to the value of creativity and critical thinking. It will take you for a ride and make you positively question things like any good work of cinema should do! 

    If you haven't already, track this down and watch as soon as possible. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

HAPPY NEW YEAR 💜

TheNorm's Top 5 Superman Stories

 

"It's very hard for me to be silly about Superman, because I've seen firsthand how he actually transforms people's lives." 

-Christopher Reeve    

    In my reaction to the new Superman teaser, I argued that Superman's humanity makes him more relatable than people often give him credit for. While I stand by my statements, my wording may not have been entirely accurate. When I said Superman was "more human," I was not implying that he was entirely human because, of course, he's not; he's an alien from another planet (Krypton) who looks human. Still, that does not mean he cannot share and embody human traits, attributes, and flaws. To pull a line straight out of the comics, "It was Krypton that made me Superman, but it's the Earth that makes me human!" 

    The central debate regarding Superman's humanity seems primarily linked to his religious links, intentional or not, and the kind of empowerment fantasy he represents (because all comic book superheroes are empowerment fantasies in some way). It is worth noting that Superman's creators, Jerry Siegel & Joe Shuster, were children of Jewish immigrants, so there's already a connection to the story of Moses; also, according to a video essay by Bob Chipman, a.k.a. MovieBob, the empowerment fantasy best embodied by Superman is, "...the power to stabilize and restore. Superman doesn't create good situations; he protects and builds them back up when they fall!" While this idea may be entirely optimistic, it is not impossible to achieve or realize. Honestly, I find it makes more sense to begin perceiving the world on the notion that it is already overall good but is susceptible to misdirection, which needs fixing not by a singular all-powerful entity but by the growing individualism embodied by comic book superheroes. 

    That may be challenging, but we have to start somewhere!

    Arguments have been made that Superman's mythology and, by extension, all superheroes are more dangerous than beneficial because they perpetuate an idea that the world's problems can be solved by non-existent powerful entities rather than individual effort. 

    To those who make that argument, while I understand where you're coming from, you're missing the point of superheroes entirely! 

    Yes, costumed super-human entities kicking the snot out of evil on behalf of humanity is a lot of fun, a little cathartic, and satisfies a need for escapism, but that is not their ultimate purpose, no matter how many others may want to believe otherwise! 

    Superheroes are, and always have been, representatives of human potential and individualism. They are meant to guide us through life, offering advice and inspiration to do better, be better, and live better. In that way, Superman is relatable through his human-oriented choices despite his Kryptonian heritage, not because of it. In this Blog entry, I will showcase some stories that best embody these human notions. 

This is TheNorm's Top 5 Superman Stories!

#5

Justice League - Season 1 - Episodes 12/13 - War World

    You may notice that most of the best Superman stories aren't really about Superman himself; they are about the influence he can have on people and society as a whole. Numerous episodes of the Justice League and Justice League Unlimited animated series offer great stories of many DC Comics characters. Regarding Superman stories, one, in particular, stands out to me as an example of the kind of inspirational symbol Superman was always meant to be and how that inspiration can ultimately bring about real progress in many ways. 

    In this story, Superman is abducted by aliens and brought to a distant planet ruled by a dictator named Mongul, who keeps his subjects placid and at bay with a gladiator-style show dubbed War World, wherein he sends prisoners and champions to the ruins on their moon to fight to the death for mass entertainment. 

    This story is compelling because it is not necessarily a Superman story but about the supporting character, Dragga, the local champion of War World. His journey and character arc through Superman's example causes him to reevaluate his stance on essential things in his life, like the nature of honor and the power of compassion and empathy. Dragga learns the importance of stopping to see things more critically and diligently through his encounters with Superman, not to mention discovering that people can do good things, for goodness sake, in a world where such things are challenging. 

    It's also a good story about building resistance to dictatorships, which is always welcome in my home! 

    While most episodes in the first season of Justice League weren't the most polished, regarded as the show's figuring-things-out phase, this episode stands out to me the most for how it showcases what being a Superman can mean when executed to its full potential, which we all have the power to accomplish in our own ways. If you have the time, watch this episode, and you'll see what I mean. 

#4

Superman for the Animals - Dear Superman...

    This one-and-done PSA (Public Service Announcement) comic was penned by Mark Millar in conjunction with the Doris Day Animal Foundation. It was also featured on an episode of the YouTube show Atop The Fourth Wall, hosted by Linkara. At first glance, it may be easy to dismiss this story as cheesy and preachy, with a misplaced sense of priorities. You know, like anything put out by PETA! However, this particular PSA, while a bit exaggerated in some areas, is a well-written story about animal cruelty, mental and emotional health, and the value of standing up to evil however and whenever possible. It may come as a surprise, given the track record of Mark Millar's writing; a mere glance at his body of work says it all. 

    In this story, Superman takes time out of his day to read letters sent to him by various needy people. After combing through some letters with varying degrees of concern (missing people, armed conflict, etc.), he comes across a letter from a twelve-year-old boy named Tommy, who isn't writing to Superman for help but to explain how he was inspired by Superman's actions to help someone in his life. And, in doing so, offer Superman a little solace that his efforts are having the intended effect on others, especially kids. 

    Tommy writes to Superman about being the new kid in town and making friends with the wrong crowd, particularly with a young boy who goes by the nickname Ballser (no, the comic never explains it). After spending time together, Tommy discovers that Ballser has serious issues and is taking them out on animals in terrible and terrifying ways. It isn't until Tommy witnesses Superman being himself, using his super-human abilities to help others in need, that Tommy gets the courage to confront Ballser and discover his deep problems and what needs to be done about them. 

    What makes this a great story is how well it understands Superman and what he is meant to be, especially in kids' eyes: an inspiration. Witnessing someone doing something good, superpowered or not, is enough to inspire that same drive to follow in others. It's easy to forget today, especially given most of the world's political and sociological situations (some more unfortunate than others). Still, it's a simple truth that doing good is good in and of itself and can bring about more good one way or another, even if we never notice it. 

#3 

Superman: The Movie

    It is downright impossible to discuss Superman in any context without mentioning the masterpiece from 1978, directed by the late Richard Donner and starring the late great Christopher Reeve. Still, I've already talked about my feelings toward this beautiful film in my Retro Review, so rather than repeat myself, allow me to reiterate my favorite moment in the film, which exemplifies Superman as a character in two simple words. 

    In this movie, when Superman rescues Lois Lane from a deathly fall off a skyscraper, then lifts a falling Helicopter from the same building, drops them both back onto the roof, and reassures Lois that flying is still safer than most methods of transport, Lois finally asks Superman, "Who are you?" 

    To which Superman replies, without hesitation and with great confidence, "A friend!" 

    That moment unquestionably cemented that everyone in the cast and crew of this movie, especially writer Mario Puzo, wholeheartedly and with unbound verisimilitude understood and embraced Superman and what he means to the world; a friend who sees us and wants to help out of love. 

#2 

For The Man Who Has Everything

    This is one of Superman's darker and more in-depth character examinations, which could only have been accomplished so eloquently by master comics writer and storyteller Alan Moore. 

    First, a little context. 

    Alan Moore is regarded as one of the greatest comic writers of the 1980s and 1990s, having written seminal classics such as Watchmen, V for Vendetta, and Swamp Thing. However, he is also known for having a less-than-ideal relationship with Hollywood regarding adaptations of his works. He has not only insisted against having his name in the credits but has reportedly refused well over a million dollars in royalty fees, demanding they be redirected to his long-time collaborator, Dave Gibbons. 

    Given this, it is worth noting that, to this day, the only adaptation of Alan Moore's work bearing his name in the credits is an episode of Justice League: Unlimited, which adapts the same story. While the adaptation is well executed despite missing a few mature elements (after all, the show was primarily intended for younger audiences), I always recommend reading the original comic first. Not only is it a fantastic story that delves deep into the kind of person and hero Superman is at heart, but it is also a carefully crafted story about desire, duty, and the courage to distinguish between the two. 

    In this story, Batman, Robin, and Wonder Woman visit Superman at his Fortress of Solitude to celebrate his birthday. Upon their arrival, they discover Superman comatose with a mysterious plant embedded in his chest. It's then revealed to be a revenge plan by the villain Mongul (the evil dictator mentioned in the #5 story earlier). Mongul explains that the plant is known as The Black Mercy: a parasitic plant-like creature that dries up the life force of its victims while diving deep into their subconscious, enabling them to live out their deepest desires in their minds. Think of the dream technology from Inception, but it slowly kills you in your sleep. 

    In his mind, Superman is living out his deepest desire: a reality in which his home planet, Krypton, isn't destroyed, and he can live a whole, loving life with a wife and children. While this desire is noble and clearly born out of love for others and pride in one's heritage, it is not entirely without its unfortunate and painful faults. 

    I won't spoil how that is so or how the story resolves itself because this is one of those stories that demands to be experienced. It is a clever, deep dive into what makes Superman a compelling character and showcases how relatably human he can be. Once again, please read the comic before watching the adaptation, should you decide to do either. 

#1

Superman vs. The Elite 

    Based on the comic story What's So Funny about Truth, Justice, and the American Way penned by Joe Kelly, this animated feature film may be my favorite Superman story ever conceived. Without holding anything back and making a few minor adjustments here and there, this film expertly displays why Superman is not only a relevant character in the superhero world (along with why his inspiration is so important), but it also showcases what a Superman who embraces modern cynicism and misguided societal anger looks like; it is far more terrifying than you might have thought. 

    In this story, Superman is challenged to question his conviction and moral identity when confronted by a "modern" approach toward justice. Superman encounters a group of dark anti-heroes calling themselves The Elite: a group of edgy, cynical superbeings who embrace the darker ideas of "heroism" through excess violence, intimidation, and the threat of death. Superman, justifiably so, rejects this idea of "modern heroism" and tries to remind the world of the better parts of humanity that can easily be lost when embracing that kind of darkness. However, his words and actions become lost in the noise of a society blinded by their frustrations and desire for what they perceive to be more instantaneous justice. 

    Too many people demand that Superman become what they believe to be a more "appropriate" vision of justice. And, in the words of Oscar Wilde, "There are two tragedies in life: not getting what you want, and getting it!" The people get to see precisely what they wanted, a darker and more "modern" version of the hero they once revered, and they soon learn to regret that desire. 

    Unlike the case with the Alan Moore story I previously discussed, this is a case where I find the animated adaptation to be better than the original comic. Primarily for visual and art style differences (admittedly) but also for successfully retaining the overall point and spirit of the original comic story. Not to mention, it's a fantastic film in general, with witty writing, fluid animation, and solid voice acting all around. This is an actual deconstruction of Superman and why he is still as relevant as ever in these dark and uncertain times. 

    Superman is, first and foremost, a symbol, representing the brightest light that shines in all people, contrasted by those who have chosen to ignore or extinguish it with selfishness, cowardice, and blindness. Superman reminds us of humanity's better qualities if we allow ourselves to be brave enough to see it, embrace it, and act upon it in our own ways. For this reason, above all, our capacity for good, we have Superman to look up to...and embody. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Force of Nature: The Dry 2 - Servicable

 

Streaming on AMC+

Rent on Apple TV and Amazon Prime

    Regular readers of my blog may recall my high praise for The Dry, an Australian murder mystery from 2021 (technically released in 2020 but not in the U.S. until the following year). I found the film to be an excellent story with superb commentary on the dangers of dishonesty. It received a glowing review and ranked #2 in my Top 5 films of that year. Like any good film, there wasn't any need to expand on the world created therein with sequels or spin-offs, but the possibility was at least open to a degree. Thus, the same creative team from before has jumped on that very notion and put together a new story with the same stoic detective, lovingly portrayed by Eric Bana, a guy who should really be more famous than he is. 

    While the sequel boasts the same overall quality as the first film in terms of character and presentation, there are aspects of the execution that don't quite hit the mark as they did before. Not to mention, the overall story, while engaging in some areas, is not as engrossing as the film wants it to be, resulting in a film that is, as the title of this review says, merely serviceable and not much else. An unfortunate disappointment from such a resounding beginning with the first film. 

    Based on Jane Harper's novel, the story follows Detective Falk (Eric Bana) as he assists in a situation where a missing person is in the Australian woodlands. The missing person is a criminal informant for Falk, who was preparing to provide incriminating information about the company she works for but was stalled by a company retreat hiking trip. While searching for his C.I., Detective Falk also takes this opportunity to reconcile with a past childhood trauma related to his mother, which just so happened to take place in the exact location. As more secrets are revealed and personal motivations come to light, not to mention an impending storm on the horizon, Detective Falk has to hope he can still solve the mystery before the storm cleans away his efforts. 

    This film has enough texture to render its viewing effective but lacks the same nuance and visceral execution as its predecessor. 

    The story abruptly switches between two different timelines of the events (with a third in the form of Detective Falk's memories of his missing mother) with little visual distinction or establishment. There is an unjustified breaking of the show-don't-tell rule with the shady corporation Detective Falk is seeking information about (the film never showcases what the company is doing or why outside of some clunky and vague expositional dialogue about money laundering through charity donations). There's also a running subplot about a historical serial killer who once resided in the area that falls dead in its tracks with no satisfactory payoff. In short, this film does the bare minimum!

    However, despite that, the film still delivers strong performances, bits of witty writing, and enough of a fleshed-out mystery to warrant at least a single curious viewing. 

    Force of Nature: The Dry 2 is a disappointing sequel that could have been so much more than it is. As it stands now, it's a serviceable film with enough texture for a quick afternoon watch, but it will likely fade away from your memory the next day. At the very least, it functions as a friendly reminder of a better first film, which, if you still haven't seen yet, I encourage you to do so. You are not missing out on anything with this unfortunate sequel. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

TheNorm's Reaction to the Superman Teaser

    It may come as no surprise to my beautiful readers that I love Superman! While Spider-Man will always remain my favorite superhero of all time, Superman retains a special place in my heart. Not only is he the quintessential superhero who has been the baseline for all superheroes since his conception, not only has he been the victim of lazy and apathetic writing (more on that later), but he is, above all else, the embodiment of hope and the best humanity can be and has to offer when we make an effort as individuals to become such. In a time when it has become far too easy to give up on humanity (understandably so), we need characters like Superman now more than ever! 

    The teaser for writer/director James Gunn's upcoming brand-new Superman movie, which will be released in theaters next July, provides a glimmer of hope for the character in movies and the future of DC Comics movie studios at Warner Brothers. Sadly, as of late, DC Comics has not had the best track record for movie adaptations of their beloved comic book characters, with notable exceptions being the Christopher Nolan Batman trilogy, the 2017 Wonder Woman movie, and the first SHAZAM movie. This is a shame because compared to DC Comics' animated and television works, it's not challenging to see a perfectly laid blueprint of how to apply that same kind of world-building to the big screen. While there are many reasons it has taken DC Comics and Warner Brothers so long to put together a plan for a proper Superman movie, I argue that their most significant mistake was placing all their faith in director Zack Snyder to helm their entire DC lineup. 

    Zack Snyder's Man of Steel, Batman v Superman: Dawn of Justice, and even his much-improved cut of Justice League are movies that definitively prove two things: first, that Zack Snyder does not know the difference between deconstruction and reimagining, and second, that he has an unmistakable misunderstanding of the characters and superheroes in general! 

    You see, Warner Brothers hired Zack Snyder to direct the movies mentioned above mainly because he successfully made a lot of money with his visually fascinating (though highly historically inaccurate) adaptation of the graphic novel 300, penned and drawn by Frank Miller. Zack Snyder was then allowed to helm another famous graphic novel, Alan Moore's Watchmen. Though the film adaptation was critically panned and didn't rake in much at the box office, it was still lauded as the best possible adaptation of what had been previously deemed an unfilmable book, even if for no other reason than Zack Snyder didn't understand the story was intended as a satire. 

    While Zack Snyder has a talent for creating striking visuals, he lacks a firm grip on compelling narrative or character depth unless the script already does it for him. Furthermore, he appears to prefer a more cynical approach to storytelling, embracing surface-level machismo (for want of a better description) over genuine character depth and emotional resonance. In short, he was not the right guy to tell the story of a character built on hope, compassion, and the light within all humanity!

    But I digress; back to the teaser. 

    Like any good teaser for a film, there isn't much of a story or plot revealed; instead, the intended tone and feel of the film are conveyed beautifully. At least it's actually in color! 

    From this teaser, what most interests me about this film is the first thing we see: a weakened, beaten, and struggling Superman, a vulnerable Superman gasping for breath, possibly on the verge of death, to the point that he has to call upon his faithful friend, Krypto the Super Dog, to take him home. This is particularly interesting to me because not only is it made abundantly clear that James Gunn knows how to get your attention through emotional resonance (an essential element in storytelling), but it also shows that he is making an effort to remind audiences that Superman, while powerful, is not the invulnerable demigod he has been made out to be in recent decades. 

    As I alluded, Superman has occasionally been the victim of lazy and apathetic writing. Some comic writers hired to tackle Superman and adjacent comics would often take advantage of the fact that they were working with superhuman characters and sometimes bend the rules of the lore and mythology to make their job more convenient. Whenever Superman was in a specific situation, the lazy writers would insert a new superpower to resolve the situation without incident or too much effort.  This is the same kind of lazy writing that inadvertently transformed Batman into the omnipotent "badass" he's been in recent years because they simply threw their hands up and said something along the lines of, "It's because he's THAT good," or "it's because he had a contingency plan for this," and so on. 

    What makes Superman a compelling character is not the notion that he can juggle planets; it's his choices with his abilities and capabilities. Superman can easily use his power and advantages to dominate the world and make it the way he sees it best, but he doesn't. Why? There are many reasons, but the most relevant is that Superman sees the world as something better than what most perceptions depict it as. Also, Superman is, and always has been, more human than many people give him credit for: he was raised by a human family, has human likes, shares human concerns, and has human desires. Superman is precisely what his name describes him as; a Super...Man! 

    Whatever else can be said about the teaser regarding the little hints and cameos appearing in the film, most of which are indeed exciting, James Gunn's efforts to remind audiences of Superman's true relatability is a testament to his commitment to emotionally resonating stories, and his desire to bring Superman back to the modern discourse table. If Gunn's track record is any indication of what to expect, we will be in for a fun and emotionally visceral ride next summer, and I, for one, can't wait to see how he will make us feel about Superman moving forward. 

    I am excited to look up again for the first time in a long time! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Watch the Teaser Here

Juror #2 - Unexpected

 

For Rent on Apple TV, Amazon Prime, and Microsoft

    Cinema royalty Clint Eastwood is a director who works best when presented with a solid script, with the caveat being that he sometimes needs to learn how to properly judge a script. While his visual style and work ethic on set with the cast and crew are proficient and professionally relaxed (a trait not often found in most Hollywood directors), there are times when his choice of stories to tell (and the way he chooses to tell them) don't appear to be on par with the kind of pedigree Mr. Eastwood has built up for himself. 

    For an apropos example, I think it's been long enough to say that American Sniper, while admirable in a few areas, was an overall propaganda mess that was not worthy of a Best Picture nomination, and The 15:17 to Paris, while a worthy story, would have been better told with a tighter script and actual actors rather than the participants themselves. No, really, Clint Eastwood got the real heroes of that day to portray themselves in the movie adaptation. When comparing those films mentioned above to some of his better works, such as Mystic River and Million Dollar Baby, it's challenging to not notice a potential lack of script-quality judgment on his part. 

    Fortunately, the script for Clint Eastwood's latest offering, Juror #2, is as solid as possible, allowing a seamless and wholeheartedly well-crafted film about secrets, justice, and the line we can sometimes draw to serve one over the other. 

    The story follows a young columnist named Justin Kemp (Nicholas Hoult), who is summoned to jury duty for a murder trial. While Justin initially attempts to escape performing his civic duty due to his wife near the end of a complex pregnancy, Justin finds himself selected for duty. Things take an even worse turn when Justin learns the details of the case and has reasonable cause to not only believe the defendant may be innocent but that he may be directly connected to the case. However, dark aspects of his past cause reluctance to come forward with his knowledge, attempting to help the poor fellow secretly while maintaining his own. The question is whether it will be enough to allow justice to prevail. 

     The film is a solid story with a sharp script and committed performances. Nicholas Hoult demonstrates his usual and ranged talent as an actor. The supporting cast, especially high-quality staples like J.K Simmons and Kiefer Sutherland, bring the perfect amount of gravitas to the proceedings. The MVP award goes to Toni Collette for her excellent talent and bonus points for being the best character in the story with the most satisfying arc. 

    Juror #2 may not be the most earth-shattering film of this year, but it is a solid work with enough twists and turns to keep the audience's attention and plenty of goodies to make it a satisfying watch. If you're looking for good, clever entertainment, check this out. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Conclave - Timely and Nuanced (if a bit too loud at times)

 

Playing in Theaters 

    Stories about or related to the Catholic Church can seem like a dime a dozen, especially given its dark and questionable history (to put it mildly). In the days of The Hays Code (a set of rules that governed the film industry from the 30s to the late 60s), storytellers weren't permitted to mock religion or present priests as evil characters. In fact, many of the consultants for The Hays Code were ordained ministers. So, while I know some of my readers will take massive offense to my giving this film the time of day for a viewing and a review (you know who you are), please know that it is not, in any way, intended as an endorsement of the Church or its affiliates. This is strictly about the movie and nothing else! 

    Having said that, aside from a questionable technical choice with sound mixing, Conclave is a surprisingly relevant story with superb performances, timely commentary, and an important message about humanity and the need for change. Much to my delight, this film is much different than you might have expected. 

    The story follows Cardinal Lawrence (Ralph Fiennes) as he organizes and oversees the traditional election of the next Pope by all the Cardinals of the Church, known as the Conclave, wherein the Cardinals are locked away and left to deliberate and vote, requiring a 2/3 majority to secure the position. With the help and advice of his trusted friend, Cardinal Bellini (Stanley Tucci), Lawrence will uncover strange secrets and discover unexpected revelations about himself and his duty. 

    The film is loaded with outstanding performances and witty writing, its strong suits. Stanley Tucci especially has the best scenes in the film. Although Ralph Fiennes delivers the best speech early in the film, I won't spoil any details here, but it can apply to about anything in the world, as it should. 

    Funny enough, the film's weakest point is also its loudest. The sound mixing unusually raised the volume of some scenes to obscene heights, to the point where I regretted not having earplugs with me at the time. Initially, I couldn't determine if it was some kind of artistic choice or if the sound system in the theater wasn't correctly calibrated. As the film went on, I realized that it was a deliberate artistic choice meant to emphasize the protagonist's mindset, which was utilized effectively in parts of the film but improperly balanced in others. 

    Aside from improperly executed sound mixing and a runtime that could have been shortened by at least twenty minutes, Conclave is a welcome story of doubt, clarity, and much-appreciated advocacy for change and openness. Much like one of my favorite movies, Keeping The Faith, this is not a story about priests but rather a tale about clashing personalities and ideologies who happen to be priests. While I recommend you check out this film, I do not recommend seeing it in theaters. Wait for it to come out on VOD, where you can include subtitles and volume control. 

Ladies & gentlemen, I am TheNorm; thank you all for reading.