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. 

The Last Rifleman - Sweet and Sour

 

Rent on Apple TV, Amazon, and Microsoft 

    Films about WW2 military veterans can seem like a dime a dozen these days. That is by no means meant to discredit or insult those who bravely fought for their respective countries against the Nazi regime; merely to say that, more often than not, a lot of these kinds of films tend to follow a similar pattern, albeit for obvious and understandable reasons. While today's subject, The Last Rifleman, is no stranger to the hallmarks of a typical WW2 veteran story, it earns many bonus points for being a much more human story that is only tangentially linked to what was once called the war to end all wars; delivering a powerhouse performance from a fantastic actor and a heartwarming story about the nature of love itself. 

    The story follows a 92-year-old Irish WW2 vet named Artie Crawford (Pierce Brosnan) who just lost his wife of 68 years on the eve of the D-Day anniversary. Despite multiple health issues, not to mention the recommendations of his nursing home friends, Artie makes a daring effort to reach France in time for the anniversary. Most people are under the impression that his journey is for his fallen comrades, and while they are partially correct, Artie is on a mission of much greater significance that just might catch you off guard. 

    I have always had a great deal of respect and a soft spot for people who have willingly risked their lives to serve their country, an act I have yet to believe myself capable of taking. While I consider myself a patriot to a degree, and I have at least a few things in my life I will gladly risk my life for, it pales in comparison to the courage demonstrated by those who have genuinely faced down the barrel of a gun; something I hope I never find myself doing but hope to be prepared for the right reasons should such an event come to pass. 

    But I digress. 

    The film is a fun, albeit occasionally heavy, escape story about a man trying to achieve one last critical mission before his time ends. His journey brings him into conversation with many different generations and perspectives of conflict, both old and new, that paint a portrait of the world we built based on past events. Not to mention the importance of learning from history, both your own and that of others. 

    Pierce Brosnan delivers a stellar performance with great-looking make-up to boot. Although in his early 70s. Mr. Brosnan succeeds in portraying a much older and hindered elderly person, along with the necessary emotional weight for such a character. His performance is further enhanced by the fantastic supporting characters he encounters on his journey. 

    The script is decently crafted with enough nuance and comic relief to deliver a balanced narrative. 

    Typically, this is where I would provide my nitpicks about the cinematography for being too uniform and "blurry background" heavy for its own good. Still, given the nature of the story and the quality of the performances, I am inclined to give it a pass. 

    The Last Rifleman may not be as visceral as other WW2 movies from before. Still, it is a heartwarming story about compassion and the importance of occasionally partaking in a little act of rebellion in some form or other for the greater good. If you're in the mood for a good story with an unexpected turn, check this one out. Also, have tissues handy; you'll likely need them. 

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

Stand and Resist

 

My Beautiful Readers, 

    This week, an unfortunate, heartbreaking, and vile historical event has occurred. We were shown a portion of our nation's sad and true colors and reminded of how grossly inadequate such essential elements of American society (education, opportunity, individualism, etc.) have become. A twice impeached, liable sexual predator, noted fraudster, and convicted felon has been given the highest authority in our country by acts of arrogance, ignorance, and apathy, among many other things! 

    While this blog has always been about the magic of movies and their essential role in satisfying the occasional need for healthy escapism, I could not, in good conscience, remain silent on my platform about this travesty. I have witnessed it and, like you all, must live with it for the foreseeable future. 

    Rest assured, I plan to continue writing entries about movies and cinematically related topics for as long as I can type, and if you will all still enjoy my observations and wit. 

    Our future may be bleak, but it is not lost! There are still too many things to be done and many possibilities to consider! I may be nothing more than a man with a keyboard, but I will use what I have, along with all that I am, to stand up for the America I believe in, and I hope you will all stand with me in your own way. 

    Please, don't give up. Stay safe, remain resolute, and above all, RESIST THE DICTATORSHIP!!!

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

"A patriot must always be ready to defend his country against his government." 

-Edward Abbey

Alien: Romulus - Nostalga Meets Modern

 

Rent on Apple TV, Amazon, and Microsoft 

(While you still can) 

    The Alien franchise has been no stranger to the ups and downs that can befall any beloved nostalgic property in the Hollywood system: cynically motivated sequels, ill-fated spin-offs, and concepts for better movies abandoned by the wayside (see Neill Blomkamp's concept for what could have been a proper Alien 3). After the painful trainwreck that was Alien: Covenant, there seemed to be little to no hope for a proper return to form for this classic horror franchise, not to mention little hope for Ridley Scott to ever rediscover his edge as a director (at least, that was the feeling at the time). 

    Alien: Romulus succeeds in utilizing nostalgia the same way it was expertly executed in Spider-Man: No Way Home, giving enough of a wink and a nod to the long-time fans while maintaining its own individual identity as a coherent story. Throw in some good old-fashioned practical effects and a few familiar bad-ass quotes for good measure, not to mention a star-making performance from one of the supporting characters, and you got a brand-new Alien movie with plenty of justification for the price of admission. 

    Taking place between the events of Ridley Scott's Alien and James Cameron's Aliens, the story follows a young girl named Rain (Cailee Spaeny) and her android "brother" Andy (David Jonsson) trying to make their way off of a mining planet that never sees the sun. After their petition to leave is revoked due to a shortage of workers and a ridiculously raised quota, Rain and Andy are approached by some old friends with a proposition: Just above the mining planet is what appears to be an abandoned space station with the technology needed to escape their indentured servitude and travel to their desired destination. The plan sounds simple enough: sneak onto the ship, steal the required tech, and fly away before anyone notices; made all the easier by the fact that the ship is on a collision course with the planet's asteroid ring, ensuring no evidence is left behind. 

    Rain and Andy agree to the heist and go to the abandoned station. However, upon arrival, they discover why the station was abandoned in the first place and encounter a whole new nightmare they were hilariously unprepared for. With few tools and options, the rag-tag group must survive their unfortunate predicament if they ever want to see the sun again. 

    This new film comes from co-writer and director Fede Alvarez, the late director of the excellent Evil Dead remake, and the supremely disappointing Don't Breathe. Alvarez seems to favor gritty and grimy aesthetics in his films, seamlessly fitting the tone and world of the Alien franchise. He also seems to favor stories about strong women rising to the occasion despite their fears and leading the charge for survival against unfathomable odds—a perfect fit for this long-running series. 

    The MVP award goes to David Jonsson for delivering the best supporting character in the story and the most unbelievable performance seen in anything this year. Jonsson shows many possibilities for his acting capabilities despite having a character with a limited range. I sincerely hope this talented man gets many more opportunities to show us what else he can do. 

    According to some articles, while CGI was utilized in the film (of course), there was an apparent focus on more practical effects. Many monsters were built as classic animatronics (and people in monster costumes), earning the film many bonus points. This is not to give the impression that CGI is inherently a wrong tool, just that it only works when utilized properly, which this film does in abundance.

    Alien: Romulus is a significant step forward for the Alien franchise. It is a grand return to its proper horror roots, with the possibility of similar engaging stories to follow. As of this writing, the film apparently only has nine more days until it is removed from digital rental platforms. It may appear on a streaming platform afterward, but I cannot say where. If you want to see it and don't want to wait for it to arrive on streaming (assuming it ever does), now is the time. It is well worth the price of admission. 

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

Halloween Special - Targets (1968)

 

Rent on Apple TV, Amazon, and Microsoft 

Purchase from The Criterion Collection

    TRIGGER WARNING: 

Shootings and acts of mass violence are mentioned in this review. 

    One of my favorite pastimes is enjoying YouTube videos from my favorite content creators. One such creator is an energetic and entertaining gentleman who calls himself Count Jackula from the planet Dracula: a horror cinema enthusiast who reviews and discusses classic horror films and how they reflect often ignored aspects of humanity. It was on Count Jackula's show that I first learned of what may be one of the most underrated classics in horror cinema history, Targets: released in 1968, produced by the king of schlock Roger Corman, with a script secretly rewritten by legendary screenwriter Samuel Fuller, directed by Peter Bogdanovich (who would later go on to direct Paper Moon and Mask), and featuring what is considered by many as the proper farewell performance of the legendary actor, Boris Karloff. 

    Like many classic works of cinema, Targets is especially relevant even today. The film tackles something that is, sadly, far too familiar in American society, spree shootings. The film asks the uncomfortable question, which horror is more terrifying: the monsters of old or the inhumane actions of real people? While the film does not shy away from the brutal results of mass shootings, it does so in a clever way that is more tasteful (for want of a better word) and coherent than one might expect. Targets deposits the real reason for most mass shootings; the concerns stemming from one's mortality and the genuine power of creativity all rolled into a compelling and shocking story of one troubled man's actions coming head to head with another man's mortal revelations. A true horror story, if ever there was one! 

    Many of the points I will make and discuss in this blog entry will be somewhat parroting the points made by Count Jackula in his video review. Typically, I would encourage you to watch the video after reading my blog entry. However, the video concludes with a "joke" that I cannot, in good conscience, feature or repeat on this blog, despite how entertaining and spot-on the rest of the video is regarding today's movie. Please know that I do not intend to plagiarize or rephrase Jackula's words into my own; I merely do not want to feature his video on my blog. 

    Anyway, back to the movie. 

    Targets tells the story of two contrasting visions of horror and how they eventually collide through forces of their nature. Our protagonist is a classic horror movie star, Byron Orlock, portrayed by Boris Karloff (yes, I know, just go with it), and our antagonist, or rather the vessel of the story's antagonistic force, is a troubled young former soldier named Bobby (Tim O'Kelly). 

    Orlock is in the early stages of his golden years, attempting to come to terms with his mortality. He plans to announce his official retirement from the movie business. However, his plans couldn't come at a worse time since a young up-and-coming filmmaker named Sammy Michaels (Peter Bogdanovich) has a script written with Orlock in mind, and the producers will only back the movie if Orlock is involved. So, Sammy has to convince Orlock to postpone his retirement for this last film, causing Sammy to spend the day with Orlock discussing their love for cinema and what constitutes absolute horror in the modern age. 

    Meanwhile, Bobby lives a quiet, decent life with his wife, parents, and siblings. Despite having a seemingly stable environment, Bobby has fits of alienation and isolation, possibly due to his experience in the military. His uncertain feelings initially cause him to cry for help, however subtly, only for his calls to be met with non-committal statements and apparent fits of apathy. His jarred-up feelings slowly build up to a massive secret gun collection, which Bobby eventually decides to put to use in the worst possible way. 

    Toward the end of the film, the two forces of horror find themselves coming head to head at a drive-in movie theater, and what follows is one of the most outstanding showcases of human storytelling and commentary that has ever been put to the silver screen. 

    What makes Targets such a unique film and a perfect choice for a Halloween viewing is how it tackles the horror concept, seamlessly combining fictional and real-world actions to blur the line between the two. Most relevant is how the film showcases the motivation behind horrific acts like mass shootings and what is needed to prevent them but is often overlooked or ignored by too many. Targets is a more human story than it has any right to be and is a must-watch for any cinema fan, especially during the Halloween season. 

    If you can, give this one a look. 

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

HAPPY HALLOWEEN! 

Transformers One - Has Most of The Touch

 

Rent it on Apple TV, Amazon, and Microsoft. 

    I have been a fan of The Transformers for as long as I can remember. Transformers are a massive staple of my childhood, from TV shows to toys. I remember crying the moment Optimus Prime almost died; I remember playing with the toys with my friends and taking ten minutes to transform them despite it only taking a few seconds on the show. Of the Michael Bay movies, the first one is the only one with at least a few redeeming factors to justify its existence, but the less said about all the sequels, the better! Bumblebee was the only outstanding live-action Transformers film, as far as I am concerned. It has the touch! 

    This new film, Transformers One, gets many bonus points for being an animated film (a medium better suited to this mythology) and for having a genuine heart and showing a clear direction to take this property seriously, but its overly flashy visuals (stunning though they are) combined with excessive rapid-fire editing, along with world and character designs that occasionally blend into each other too well, makes this a challenge to watch at times. Still, despite all that, the narrative is solid enough, and the dialogue is witty enough to tolerate the fireworks show visuals. Although I didn't mind the blazing styles much, I understand if some viewers need a Tylenol after watching. 

    For those who may not be as familiar with the Transformers as I am, they are a race of sentient robots from a distant planet who can change from humanoid to vehicle at will. In the original cartoon, which, like many childhood staples, was primarily a means of advertising toys, the robots were divided into two factions: Autobots and Decepticons, who were at war with each other over control of their home planet, Cybertron. The original series was your standard, reliable, good vs. evil dynamic with occasional bits of nuanced storylines and characters here and there. Despite being a toy commercial, the series produced compelling stories with interesting characters. 

    Transformers One tells the story of the events before the war, chronicling the early days of Cybertron, the dynamics of their society, and, most compellingly, the doomed friendship between the two characters who would eventually become the evil Megatron and the grand hero Optimus Prime. The story follows the exploits of two best friends, Orion Pax (Chris Hemsworth) and D-16 (Bryan Tyree Henry), who work as minors together, gathering their precious power source, Energon. Orion Pax has ambitions of becoming more than he was relegated to being and actively seeks his means of accomplishing his goal, despite D-16's insistence on finding content in their place. 

    Eventually, Orian Pax's curiosity leads him, D-16, and a few others to discover a frightening conspiracy that turns their perception of their place on its head, forcing them to reevaluate their attitudes toward their society and place within. With their revelations, Orian Pax and D-16 will discover where their true desires reside and how their better-informed choices will affect their destinies. 

    The most compelling part of the film is the character dynamic between Orian Pax and D-16. Chris Hemsworth does his best to not merely emulate the great Peter Cullen (the original voice for Optimus Prime) but channel enough of the character to make his portrayal his own. The best voice performance goes to Bryan Tyree Henry as D-16, a.k.a. Megatron, for delivering excellent emotional depth and sympathy for a character who, realistically, didn't have much to speak of before. 

    Make no mistake—the trailers for this film do not do it justice! Yes, there is a fair amount of comedy in the film, but there is much more dramatic nuance than the trailers would have you believe. Granted, it's still within the realm of Saturday-morning cartoonism, but it's a well-executed version. With such a decent amount of compelling narrative nuances, it's a shame that the visuals don't always compliment the story. 

    While the animation is top-notch, and the character designs are distinguishable enough (at least for the main characters), much of the visual presentation suffers from too much hyperactive movement, overtly uniform lighting, and excessively shiny and sleek robot and background designs. Although I didn't have much trouble distinguishing between the characters and backgrounds, I can understand some of my readers not having a similar experience. Despite my appreciation and enjoyment of most of the design elements, I felt the visuals lacked a much-needed stronger sense of contrast. Granted, it's nowhere near as overly busy and ugly as the designs from the Michael Bay movies, but it can be just as visually confusing at times.

    While Transformers One may not be precisely the kind of movie I was hoping for, there is at least enough nuance and appreciation for the mythology on display to make for an enjoyable experience. Director Josh Cooley, late of Toy Story 4, shows promise for fascinating animation projects in the future. Personally, I wouldn't mind him taking on a Thundercats movie, provided he hired a different design team. 

    If you're a Transformers fan or at least curious, it's worth a look. However, if you're prone to headaches from flashy visuals, consider something else. Check out the original 1987 film. It still has the touch! 

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