Promising Young Woman - A Much-Needed Wake-Up Call

 

Rent it on Amazon, Google Play, and YouTube 

    Of the many unspoken privileges found in human society, a handful of them are the most toxic and overly abused. One of them is “Male Privilege”: the unofficial and often ignored notion that men are immune to consequences for their actions and are given more opportunities for advancement in life for no adequate reason. Much like “White Privilege,” it is an uncomfortable aspect of the human condition that many of us would rather not admit exists. We would all prefer to believe that underlining biases don’t exist in many aspects of society. Sadly, they do, and we all suffer the consequences one way or another. As a feminist, a human being, and as a man, I find "Male Privilege" to be one of the ugliest downsides of human society, and I genuinely wish for its demise. 

    Incidentally, this wish is shared and beautifully showcased in today's film, Promising Young Woman, a brand new take on the classic revenge thriller that succeeds in raising awareness and demanding action on both sides of the argument against “Male Privilege.” It delivers a chilling narrative and a satisfying message with incredible conviction, noticeable passion, and just enough humor to keep you engaged all throughout its two-hour runtime. This is a must-watch for generations to come. 

    The story follows Cassie (Carey Mulligan), a medical school dropout working at a coffee shop. Every week, she gets dressed up, goes to a club, pretends to be too drunk to stand, and waits for a “nice guy” to take her home. When the man tries to move in for a good time, Cassie snaps out of her act, lectures the man for his mistreatment of women, and “encourages” them to stop thinking of women as objects of desire. This practice was sparked by a terribly tragic event in her past when her best friend was assaulted, and her cries for help and justice were ignored by everyone, including the female principal of her school. When Cassie learns that her best friend's assailant is getting married, she takes it upon herself to make his past deeds come back to bite him in the ass in as many ways as possible. Along the way, she will give the same treatment to anyone involved in the assault or turned a blind eye when asked for help. It is a tragic yet provocative tale of trauma, justice, apathy, and the dangers of “Male Privilege.” 

    The movie succeeds in presenting a dark subject matter in a way that is easier to digest. It carries itself with wit and charm without forgetting about the weight of its message. Part of its clever execution is in the film's visual style: basking in an ocean of bright and pastel colors that serve as a kind of complementary contrast to the dark and uncomfortable subject matter. It’s a bubble-gum fever dream that demands your attention because it has something relevant to say. Those watching the movie would be wise to listen and learn. 

    There’s not much else I can say about this film without giving away too many details. I will say that there is one scene, in particular, involving a character played by Alfred Molina, that became my favorite moment in the whole film. You will see for yourself once you watch the movie, which I whole-heartedly recommend you do. I should also mention that the film has the good sense to never show the actual assault in question. Although, I would still place a trigger warning on the film anyway for safety. 

    While this movie may be difficult to watch at times, it is still a beautifully crafted story that raises awareness of an ugly aspect of the human condition while demanding better action betaken to abolish it entirely. This is a movie that deserves to become mandatory watching for everyone, especially for the most impressionable. Check it out. 

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

Reviews for the book are in!

 

Hello everyone, 

    I'm getting some great reviews for my book. I thought you might like to see them as well. If you haven't checked it out yet, I hope you will soon. 

    Thank you all for joining me on this adventure. I hope you will stay on board for the next story I'm working on. 

Links to reviews and the book below 

Online Book Club 

Self-Publishing Review

Amazon Reviews

Purchase Link 

Kindle or paperback

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

What’s to come

Hello everyone,

    I must apologize for not having any new material as of late. I’ve been rather occupied with a few things, including writing another book. Rest assured, I will continue to contribute material to this blog for as long as I am able. 

    However, given the ongoing situation of the pandemic, and since I currently do not subscribe to all streaming platforms, including HBO Max, it may be a while before I will be able to put our regular reviews of new releases. 

    Therefore, here are a few things to expect for the new year on this blog. 

Retro Reviews

    While I do write occasional retro reviews on this blog, it’s going to become a bit more prevalent due to the lack of access to all new releases. Also, this is a wonderful opportunity to look back at some of the films form my youth to see if any of them have aged well.  

Random Reviews 

    This year will also be spent on a few movies that I simply want to talk about. There won’t be any particular theme or special occasion for it, it will simply be me talking about a movie I find fascinating. I hope you will as well. 

More Filmmaking Editorials 

    I love all of the bells and whistles that go into making movies as much as I enjoy watching them. I especially enjoy sharing my thoughts on the many ways to make movies. You can expect a few more of those articles on this blog in the yew year. 

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

News of the World - Oscar Worthy

 

Rent it on Apple TV, Amazon, Google Play, and YouTube 

  Westerns haven’t been in fashion for quite a while. This is a shame because it’s still a fun and viable sub-genre capable of delivering compelling stories. To be fair, westerns have become mostly associated with specific eras of American history (both in their settings and the time they were made) that many of us would rather not be reminded about. This is why I tend to favor separating art from the artists. Because it is not fair to hold a negative position on works of art because you don’t like or agree with the one who made them. To paraphrase Duke Ellington, if it’s good...it’s good. 

    This brings me to today's subject, News of the World. A western with a compelling and surprisingly relevant story, topped with fantastic performances and an unexpected comprehensive visual style from its director (more on that in a moment). This film proves how possible it is to take something old-fashioned and breathe new life into it. Not to mention yet another wonderful reminder as to why we all love Tom Hanks. 

    The story follows a man named Captain Kidd (Tom Hanks), a civil war veteran now working as a traveling storyteller and newsreader. One day, he stumbles upon a toppled wagon, with its driver hanging from a tree, and its passenger, a young girl, hiding in the bushes. Upon investigating the scene, the Captain discovers that the young girl's name is Johanna (Helena Zengel), a German immigrant abducted and raised by an unknown Native American tribe. She was in the process of being escorted to her only known living relatives until her convoy was attacked. Now, Captain Kidd must take it upon himself to help Johanna complete her journey, despite how much she doesn’t want to. 

     The most surprising aspect of this film, at least to me, is how visually gorgeous it is. Not just in the beautiful landscapes and stunning cinematography by Dariusz Wolski, but also in how stable and comprehensive it is, including the editing. The reason for this pleasant surprise is the film's director, Paul Greengrass. His previous work includes all of the Bourne sequels, Green Zone, and Captain Phillips (also starring Tom Hanks). Normally, his films are shot and cut in the most aggressive interpretation of shaky-cam and rapid-fire-editing, which are believed to make a story more immersive. Still, all it does is give the viewer an unwanted headache and a terrible case of nausea. 

    However, for some unknown reason, most likely due to the large, heavy cameras used to capture the film, and possibly at Mr. Hanks’s insistence (he is also one of the producers), the camera language is stable and comprehensive. This, in turn, allows us to finally get a better sense of Paul Greengrass’s ability as a storyteller. Because, up until now, his over-reliance on shaky-cam and rapid-fire-editing made him a director to avoid. Now that I’ve had the opportunity to finally see his talent, I am confident in saying that he is a genuine storyteller, and he delivers some top-notch direction to this film. 

    The script is pretty solid and is loaded with memorable moments and stunning scenes. Without spoiling anything, there is one scene, particularly, which offers some relevant commentary on the effects of the civil war at present, and how it continues to haunt and divide our nation. It also showcases some of the better ways to spread unity and combat misinformation. In doing so, it also reminds us just how important stories really are. 

    As you would expect, Tom Hanks delivers a stunning performance. I am convinced that Mr. Hanks is genuinely incapable of phoning it in. He could not deliver a bad performance even if he wanted to. I could watch him read the phonebook on stage and still be totally entertained. Although, the MVP award of the film must go to the young Helena Zengel. At only twelve-years-old, she displays incredible energy as a performer and stands on par with Mr. Hanks. Their chemistry is a joy to behold and is the unquestionable heart of the whole story. 

    News of the World is a pleasant surprise of a film. It delivers a wonderfully modern take on a classic vehicle for storytelling and promises a bright future for a rising star. This is one new release that is absolutely worth the price of admission. Check it out. 

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

P.S. 

Please don’t forget to check out my book if you haven’t already—link below for details. 

Kindle or Paperback 

Honest Thief - Honestly Fine

 

Rent it on Apple TV, Amazon, Google Play, and YouTube. 

    I have mentioned many times before that January is typically the worst time to see new movies. Mainly because it’s the end of the Holidays, and people are less likely to spend whatever finances they have left on a movie ticket, or in this case, a $20 new release rental. However, even though Hollywood is well aware of this, they can’t simply "not" put out any new products merely because few people are expected to pay for them. As such, January and early February are typically reserved for movies that the studio system has no faith in doing well at all. Be it from a lack of confidence or a contractual obligation. This, incidentally, is the only reason the abysmal atrocity known as Norm of the North was given a wide theatrical release back in 2015. It wasn’t because of popular demand or artistic integrity, but because it was a pre-requisite as part of a multi-picture deal with the distributor. 

    With that in mind, you would be forgiven for assuming that today's subject, Honest Thief, was a complete waste of time. And while it is not in any way a terrific film, it is, at the very least, watchable for the most part. It may not necessarily be worth the asking price, but it’s a decent option if all others are unavailable. 

    The story follows an experienced bank robber named Tom (Liam Neeson), who has stolen roughly nine million dollars over the course of his career as a thief. One day, he meets a woman named Annie (Kate Walsh) and falls in love. After dating for a year, Tom decides that he wants to spend the rest of his life with her but wants to do it the right way. So, he sets up a plan to turn himself in and return the money in exchange for leniency and a reduced sentence. However, things take a complex turn when the two FBI agents assigned to his case decide to frame Tom for murder and try to take the money for themselves. Thus begins a game of cat & mouse between two corrupt federal agents and Tom, who will stop at nothing to clear his name, protect his love, and turn a new leaf. 

    For the most part, the film is competently made. Save for a few spots of questionable writing, the script is fairly well constructed. The characters are rounded and likable, the plot flows at a decent pace, and the conflicts are engaging and relatable. The movie is a pleasant enough distraction for a lazy afternoon, combined with decent performances and adequate action scenes. 

    Where the film falls short is, as mentioned earlier, the spots of questionable writing. Parts of the story reek of plot convenience and don’t measure up to the story's overall quality. Without spoiling anything, a prime example is how Tom decides to prove his story to the feds. For a man as clever and thorough as Tom, you would think that he wouldn’t do something as stupid as what he does. 

    That aside, the film as a whole is alright, but I would not say it’s worth the $20 admission fee. If you’re curious enough and have already exhausted all other options at present, this is an alright piece of entertainment. Otherwise, I recommend waiting for the price to drop and checking out something else. 

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

The Debate on Color Correction

 

        One of the many aspects of cinema that sparks creative debates is the practice of color correction. For those of you who don't know, this is the art of shaping how an image will ultimately look through adjustments in color and exposure. Color can profoundly impact how an image can make you feel and communicate an intended mood or style. The vast majority of color correction work is done in post-production when all of the footage and special effects have been captured. However, there is another means of achieving the desired color style that not many filmmakers seem interested in trying. While adjusting color and exposure is relatively simple to accomplish in post-production, it is now easier than ever to apply the desired color style in-camera, as little to no post color grading may be required. Each approach has its pros and cons, but even so, why is setting up the desired color style in-camera so unpopular? 

    First, let’s go over the basics. 

    Movies that are captured on digital cameras are typically recording in a color profile known as LOG. This creates an image that is incredibly washed out and bland. The purpose is to have a raw image with as much information as possible, as in the maximum amount of details within the highlights (the brightest part) and the shadows (the darkest part). When viewing an image in LOG format directly from the camera, it looks like this: 

    However, when you take the same image and apply one of the many methods of post-production color correction, the image can look more like this: 

    Shooting in LOG provides the editor with the maximum amount of “wiggle room” for manipulating the image. It offers tons of creative freedom and allows the opportunity to fine-tune the final image for the best desired visual impact. When it comes to creative control, LOG offers the most. 

    Even so, one of the most overlooked and underrated capabilities of digital cameras, including those with LOG capabilities, is the equal amount of freedom and control to create this same (or as close as possible) color style within the camera. 

    A prime example of this practice is a fan-made trailer for a potential film concept. The filmmakers shot the trailer on a Canon camera with a downloadable picture profile called “Cinelook,” which provided a cinematic color style that was “baked” into the image rather than added in post-production. 

    Take a look for yourself at the link below: 

    RCvT Trailer

    Now, setting aside the lackluster acting chops from the whole cast, the trailer's entire visual style was created in-camera. Moreover, it was achieved utilizing a picture profile developed by a third-party and used on a consumer camera not originally designed for cinema. And yet, you likely would never have known just by watching the trailer. 

    One of the undiscussed benefits of having a color style set in-camera is saving time and money with post-production. Committing to the desired look out of the gate with little to no adjustments required after the fact can lead to faster turnouts and higher recognizable quality. It can also encourage creators to spend more time focusing on making everything look its best on set rather than waiting to adjust it all in post-production. 

    Like every aspect of the arts, how you choose to accomplish your color style is based on preference and ability. All I have to say is that we should not allow ourselves to feel as if one method is superior to the other. While post-production color grading is the most widely used and popular method, it is not the only one. Don't allow yourself to believe that cinematic style can only be achieved through any single method. 

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

P.S. 

    Please don't forget to check out my recently published debut book. Click on the link below for details. Thank you all. 

    Kindle or Paperback 

Happy New Year

Happy New Year, everybody!

I hope you had a safe and joyful celebration.

If you haven't already, please check out my first book. I hope you will enjoy reading it. If you do, please provide an honest review on Amazon.

All my love to you.

Link:

Kindle or Paperback