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. 

TheNorm's Top 5 Bicycle-Related Movies and Television

 

    The bicycle is one of the most enduring and fascinating machines devised by humankind. While some parts of the world have taken to them more than others, there is no denying the wonderful feeling one gets from peddling one's way through the day. Think about it: this simple device gives you exercise, transportation, happy endorphins, and confidence, all rolled up in a simple package. The best part is that it serves as a reminder that you only get as good as you put in! They are beautiful representations of freedom, independence, and rebellion. Perhaps more so than the car could ever hope to be. 

    Over the years, bicycles have been used for everything: sports, commuting, health, delivery, and, yes, making movies. Be they in front of the camera or behind, these two wheels on a metal frame have helped create some of the most memorable moments in cinema. 

    Lately, I have been rediscovering an interest in bicycle riding. So, it might be an excellent idea to take a moment to remember and recognize some of the best moments in cinema and television that utilize or involve a bicycle in some way. I am making this list based on movies and shows I have seen. I know some fantastic cult classics, such as Rad or the Italian classic The Bicycle Thieves, which are both interesting in their own right, but I have not yet seen them, so they won't appear on this list. Those films will likely have their own review later down the line. 

    This is TheNorm's Top 5 Bicycle-Related Movies and Television. 

#5 

Premium Rush 

    While this may not be the first movie about bicycle messengers in the city, it was the first version of the concept I saw in theaters. Released in 2012, the story follows a pro-bike messenger, Wilee (Joseph Gordon-Levitt), as he showcases his passion for his job while delivering some insight into the bike messenger culture, or at least the flashy "Hollywood" version. Things take a turn for the worse when Wilee finds himself accosted by a cop who desperately wants what Wilee has been tasked to deliver, but the bike messenger code of conduct dictates that once the parcel goes into the bag, it doesn't come out until it gets to where it needs to be. What follows is a series of high-octane chases, races, and extreme sports-style cinema. 

    This movie is your classic counter-culture-style story: you have an adrenaline junkie protagonist riding his way against the current of the norm (no pun intended 😂) who runs into "The Man" and fights his way through ridiculous obstacles to not only fulfill his duty but also prove a point about the importance of going against the grain. There are moments when the movie is moving too fast for its own good, and some of the commentary may be a bit too on the nose at times, but it's a fun ride of a film with enough excellent stunt work and witty banter to keep you engaged with the rush. 

#4 

Monty Python's The Cycling Tour 

    Monty Python's Flying Circus remains one of the funniest television shows, and for good reason. Their unusual talent for embracing the absurd and silly made them so memorable that we still quote their sketches today. While their show mainly consisted of collections of short sketches that were rarely (if ever) interconnected with each other, they started to experiment with their style in later seasons. One of the results of that experimentation was The Cycling Tour. 

    Season 3, Episode 34, airing in December 1972, is one of the few episodes of the show that presented itself as a linear story (and I use the word 'story' as a figure of speech). We follow a man named Pither (Michael Palin) on a cycling tour through North Cornwall. Constantly stopping due to an accident, regularly getting his trouser leg caught in the pump, Pither finds himself in the middle of one unusual situation after another, often inadvertently being the cause of it. This often goes over Pither's head since he spends most of his mental energy trying to figure out how to prevent his food from getting crushed with each and every crash. 

    Like most Monty Python presentations, The Cycling Tour is as silly and delightful as ever. It may not have much to say about bicycles, but it cleverly uses them to introduce every joke.

#3 

Hill Climb Girl

    This is an anime short film from 2014 (likely primarily intended as a tech demo) about a young girl trying to win an uphill bicycle race against her school friend. The short features a fascinating fusion of traditional hand-drawn animation and 3D effects, creating a surreal depiction of imagination, determination, and inspiration. You can watch a subtitled version of the seven-minute short on YouTube. Give it a look when you can. 

#2 

E.T. 

    While Steven Spielberg's seminal and definitive classic has remained so over decades for many reasons, it goes without saying that this very image used in the poster is the most recognizable and memorable: it coincides with one of the most heartwarming moments in the film, it has become a symbol of imagination and childhood, and remains the logo for Spielberg's production company, Amblin Entertainment. 

    Although bicycles are not the story's primary focus, they play a pivotal role in the story's resolution and provide some of the best chase sequences in the film. Every kid who saw this film, including yours truly, occasionally pretended to be flying in the air on their Bicycle with E.T. to help him on his journey home. I dare you to watch this movie and not take a long look at your bike afterward and wonder. 

#1

Quicksilver 

    This may very well be an overlooked classic and a fascinating time capsule of the 1980s, and I mean that quite literally. In addition to being a pretty fun movie about bike messengers, everything about this movie (from the music choices to the impromptu dance sequences and especially the opening title presentation) screams "I'm from the 80s" with every subsequent scene. It may not go in-depth about what makes bike messenger culture so alluring, but it does make it look like a lot of fun. Again, "flashy Hollywood interpretation." 

    This one may be a guilty pleasure for me as it contains many of my visual and cinematic preferences despite not being as narratively nuanced as I might prefer. Still, in terms of dramatizing the thrill of bicycle riding, with some pretty awesome chase sequences that add a little anti-car fetishism for good measure, this is a must-watch for bicyclists and 80s enthusiasts. 

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