TheNorm's Best Films of 2021

 

    Well, now that I've gotten that terrible taste out of my mouth from those awful films, let's cleanse the palate and look back at some of the better gems this year. 

This is TheNorm's Top 5 Best Movies of 2021! 

#5 

King Richard 

    I have long believed that Will Smith has a unique charm that can never diminish. With his latest outing, I am more confident than ever in that very notion. 

    King Richard is a delightful and inspiring film in many ways, both obvious and subtle. Probably the most inspiring aspect is how it reminds audiences that, sometimes, success comes in different, unconventional, and unexpected ways. Just because something has "always" been done in a specific and established way doesn't mean it's right for you and your goals. Also, probably the most crucial lesson, true victory doesn't always come from winning. 

    This is one sports story worthy of the gold with engaging performances from the whole cast, an all-inspiring narrative, and a promising future for director Reinaldo Marcus Green in movies. 

    Keep it up, Mr. Smith. 

#4 

Concrete Cowboy 

    Coming-of-age stories can feel like a dime a dozen, especially in the world of small-budget indie cinema. Concrete Cowboy is one such story that stands out proudly with a strange yet fascinating narrative, textured characters, and relevant commentary on the black condition in America. It also showcases just how versatile the cowboy genre of cinema can be, especially in the modern age. 

    The script is solid, the cast is remarkable, the concept is intriguing, and the insights & ideas presented within the story can resonate with many people in many ways. This is one sunset worth riding into. 

#3 

Herself 

    DIY projects are always fun, rewarding, and enriching. I took up some woodworking projects during the pandemic, building some tables and the like. I can only hope that I might be as lucky and fortunate to accomplish what Sandra (Clare Dunne) did in the film Herself: building an entire house with the help of family & friends on a modest budget. 

    The movie delivers a heartwarming story about overcoming obstacles, surviving abuse, and bringing people together for a noble & brave undertaking. It also provides well-delivered commentary on community, empathy, and how we are all connected as a people whether we choose to recognize it or not. Not to mention a mother's determination to stand on her own two feet and provide for her family. 

    Herself is a must-watch for anyone undertaking any kind of massive DIY project, and especially for single parents. It may not have the kind of conclusion you would want, but it will leave you feeling inspired and reassured of the good in other people. 

#2 

The Dry 

    Coming from the land down under, The Dry is a gripping, chilling, and enthralling murder mystery about troubled pasts, the importance of duty, and the destructive power of perpetual lies. When the truth is increasingly difficult to obtain and retain, stories like this are more relevant (and needed) than ever before. 

    Suppose there is one important lesson to take away from this film. In this case, it's that if you repeat a lie loud and often enough, people will eventually believe it's true, no matter how ridiculous, illogical, or unreasonable. It's up to us as individuals and human beings with empathy and curiosity to seek the truth, no matter how challenging or dangerous it may be. 

    The Dry drives these crucial points home with compelling performances, witty writing, visceral images, and spot-on direction. This is one mystery worth risking your neck to solve. 

#1 

Shang-Chi and the Legend of the Ten Rings 

    There is a good chance that some of my beautiful readers are somewhat perplexed by this choice, and I completely understand. Not only does this seem like an unusual choice for my #1 spot this year, but it's a big Hollywood blockbuster with lots of money and power behind it. How could I, TheNorm, give such a movie the #1 spot on my "Best of the Year" list when I've gone on and on about giving the little guys more attention? 

    I'll tell you. Despite this movie being as massive and famous as it is, Shang-Chi and the Legend of the Ten Rings is still, at its very core, a human story. Even with all the high-end special effects, larger-than-life creatures, exotic locations, and action-packed martial arts, this film is ultimately about self-worth, family, and the things that truly make us who we are as people. It delivers a simple and essential message about the human condition while providing invigorating entertainment. 

    No matter how grandiose or epic the presentation becomes, it never loses sight of what is most important: being a human story. 

    Sure, the action scenes are incredible, the special effects are fantastic, and it gains tons of bonus points for me by featuring things like Dragons and gorgeous eastern-oriented designs and philosophies. Plus, some audiences and critics may understandably write this off as a mediocre movie, overly relying upon its "representation" to get by.  

    While I understand where some folks are coming from with that impression, I personally don't feel that's the case with this movie in particular. Because (and I must emphasize this point) it ultimately doesn't and shouldn't matter. Yes, representation matters, and all of the ideas and desires that accompany the need for representation matter, but that shouldn't be the determining factor for the quality of any given work of cinema. 

    Shang-Chi and the Legend of the Ten Rings earned its place in my #1 spot for being a profound human story first and an action superhero movie second. Given the track record of the typical Hollywood system, that is nothing short of miraculous. If a story somehow enriches your life as a human being, as this film has done for me, then that is all that ultimately matters. 

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

Have a Happy New Year! 

TheNorm's Worst Films of 2021

 

    Happy New Year, my beautiful readers! I hope you had a fantastic holiday however you chose to celebrate. 

    As the year ends, now seems like the perfect time to reflect and consider how the world of cinema faired. Since, in general, I tend to prefer ending things on a positive note, let us begin with discussing the movies that left no lasting impact, other than frustration, boredom, and unwarranted despair. 

This is TheNorm's Bottom 5 Worst Movies of 2021! 

#5 

Black Widow  

    Black Widow, as portrayed by Scarlett Johansson, is a textured and essential character of what has come to be known as The Infinity Saga (as in all of the Marvel films leading up to Avengers: Endgame). Ever since her first appearance in Iron Man 2 back in 2010, fans were begging for a Black Widow solo movie, and rightfully so. Not only did Scarlett Johansson play the role with conviction and apparent enthusiasm, but her troubled past and reasons for being a hero could have made for a compelling story. Instead, we got a terrible Jason Bourne rip-off that arrived too late for the party. 

    The biggest problem with the film was its untimely release. With Black Widow's death in Avengers: Endgame, releasing her solo movie the following year made little to no sense. Anything the film had to offer in terms of narrative and steaks are rendered inconsequential and unsubstantial. It completely removes any tension and mystery for the protagonist (Black Widow) because we already know her fate, so why should we care about what she's going up against now? 

    Typically, a less-than-stellar Marvel film (few and far between though they are) can be saved with decent action scenes. However, in the case of Black Widow, not so much, as the practices of Marvel's action sequences began to show their repetitiveness the most in this film. 

    For context, the director, Cate Shortland, expressed genuine interest in crafting at least some of the action scenes for the film. However, Marvel Studios denied her the opportunity in favor of their typical practice, which has been to keep them all relegated to their designated action choreographers. While this practice has worked well in the past and is part of why Marvel has succeeded in maintaining a regular release schedule, it's starting to get a bit stale. The action sequences in Marvel's films as of late are beginning to show their grey hairs and are starting to overstay their welcome. Don't get me wrong, action scenes are essential for Marvel movies, but maybe they could stand to hand the reins over to someone else once in a while. 

    While other aspects also don't work (parts of the writing and so on), there were a few redeeming qualities. The performances from the whole cast, especially David Harbour and Florence Pugh, are stellar and fun with believable chemistry and decently timed comedic moments. The action scenes, though repetitive, are still fun and performed with excellence. Plus, even though the steaks aren't substantial, it's always fun to watch Scarlett Johansson kick butt. 

    Even with its significant flaws, it's still at least reasonably enjoyable. Which is more than I can say for the next film on my list. 

#4 

I Care A Lot 

    Many things about modern American life bother me to no end. While this film seems to be under the delusion that it's commentating on those very things, in reality, it's glorifying (however unintentionally or not) the very ugliness it claims to be bashing. The idea that the only way to get ahead in life is to be as ruthless and apathetic as those who seem to get away with literal murder is a sickness that needs to be purged, and movies like this aren't helping. When the most "sympathetic" character is a human trafficker, you know that something is seriously amiss. 

    The ideas presented in this film are indeed profound and deserve to be presented in a story worthy of our time. Sadly, this film is not worthy of anything other than gathering dust on the shelf for the rest of its natural life! 

    None of the characters are in any way engaging or sympathetic, the overarching theme of unchecked capitalism will likely go over the audience's head, and the ever so important feminism aspect I would typically appreciate is mutated to an unhealthy degree. 

    This feels like a film made by angry people who have not learned how to channel their anger healthily. Even if you agree with some of the points raised in this film, the lack of a compelling narrative and sympathetic characters will leave you in want of something better. 

#3 

Tom & Jerry 

    How? How is lazy crap like this still getting produced well into the 21st century? How is director Tim Story still getting work? How can producers continue to believe that children are stupid? How can talented actors like Chloë Grace Moretz justify paying their taxes with these degrading paychecks? How can anyone watch this monstrosity and not feel driven to drink? All of these questions raced through my head as I forced myself to sit through this unfunny, unclever, and unjustified feature-length insult of my intelligence and attention span. This isn't a kid's movie; it's a torture device! 

    For clarity, I like the Tom & Jerry cartoons just fine. For the most part, they are well-executed works of slapstick and some of the funniest classic cartoons ever produced. While I would not dare put them on par with the likes of Laural & Hardy and such, I do find the animated duo to be decently hilarious in their own way. 

    This movie is not only a disservice to the Tom & Jerry cartoons; it's a disgrace to entertainment as a whole, especially children's media. 

    This is a fine example of the outdated perception that animation and the like are strictly for children. As such, according to Hollywood, it only deserves to be executed as lazily and stupidly possible. With no effort put into creating compelling characters, an engaging narrative, or genuinely funny jokes outside of poorly timed pratfalls, potty humor, and that ever-so-annoying style of "comedy" I refer to as awkward-moment-humor. 

    Even so, as insulting as this film was, it still wasn't as terrible on my brain as what came next. 

#2 

The Tomorrow War 

    This movie should have been so much better. With such a major studio like Amazon backing it, this could have been remarkable and memorable as a modern classic. Instead, it ended up becoming, for want of a better phrase, utterly stupid! 

    The entire film feels like a first draft! There are plot holes, and then there's this! It is unfathomable how no one stopped to think that maybe the script needed more time to develop at any point in the writing process. Every single problem with the story, characters, and overarching theme feels apathetically ignored in favor of flashy military machismo action that's somehow even more hollow than Battle L.A. 

    Not helped by every other terrible aspect of the film. 

    The monsters are too over-the-top, Chris Pratt is horribly miscast as the leading man, most of the dialogue is poorly delivered, and the misuse of the time-travel concept plagues the whole movie with the lingering question of "why are you doing what you're doing instead of something smarter?" 

    Save for J.K. Simmons' usual stellar screen presence and maybe a handful of decent action moments, this film left me feeling more hopeless and dead than the potential future it presented. 

    Which, oddly enough, is more than I can say for what is, without a doubt, the absolute worst film of 2021. Because, even though The Tomorrow War was terrible, at least there was some level of competence and skill involved in parts of its creation. Unlike the last film on my list. 

#1 

The Serpent 

    Good intentions do not make a good movie. Such is the case with Gia Skova's first attempt at an action film, The Serpent. Although she had genuinely noble intentions with this film, she should have known better than to believe she had the necessary skill and talent to write, direct, produce, and star in a major action flick (all of which she does not). 

    Literally, everything that could go wrong has gone wrong with this film! The writing is on par with a middle school play. The direction is unironically directionless. The acting is more wooden and unconvincing than a lazy magic show.  Not helped with vacant and unimaginative action scenes that feel like a high-schooler trying to be "cool" without disturbing the peace due to a lack of a permit. The plot can't make up its mind what it wants to be about. And, worst of all, it has some of the most prominent and annoying dialogue dubbing ever put to film. 

    Perhaps what aggravates me the most about this film is how much I wish it was better. I want this to be a genuinely good first step towards something great and engaging: an effort to further prove that talent can come from anywhere and that people from all walks of life can create whatever their imagination can conjure. Sadly, Gia Skova does not appear to be one of those talented individuals, nor does she seem capable of recognizing those who might be. 

    To repeat myself from my initial review of this film, "The Serpent is nothing more than the unfortunate result of a likely wonderful person with too much hubris in all the wrong places." I declared this film to be the worst of 2021, well before the year's end, and I stand by that statement. Let this be an example of how not to make a movie! 

    Okay, now that I've gotten all that out of my system, please check in next time for my top 5 Best films of 2021. 

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

TheNorm's Favorite Holiday Special

 

    Everyone in the world has a favorite piece of media they enjoy most around the Holidays. Whatever you may celebrate with your family and friends in December, there's likely a book, movie, episode of a TV show, or some obscure recording you caught on VHS one night long ago that gives you the warm fuzzies to this day. A few classic examples are The Charlie Brown Christmas Special and Die Hard (yes, it is a Christmas movie). 

    For me, my favorite Holiday Special has, and likely always will be, Christmas Eve on Sesame Street. Not necessarily the entire special (though it is a fantastic one through and through), but for a specific part of it, which I have always found the most enduring and perfectly encapsulates the true spirit of the Holidays. 

    Christmas Eve on Sesame Street first aired on television on December 3, 1978. My first viewing of the special was from an old VHS recording of the show my parents made. The special revolves around the main plot (Big Bird trying to figure out how Santa Claus goes down the chimney) while a series of Holiday related subplots fills the time in between. Some subplots include Cookie Monster trying to communicate with Santa the need for lots of Cookies under the tree, and Oscar The Grouch dealing with his frustration at the Holidays.  

    But the one subplot of this fascinating Holiday special involves two of the most famous duos in pop culture, Bert & Ernie. It has remained one of my favorite Holiday stories to this day. 

    First, a little context. Bert & Ernie have been two staples of Sesame Street pretty much since the beginning of the show in 1969. As far as the audience was concerned, they were two best friends who happened to be roommates. Many viewers have attributed them to classic comedy duos like Laural & Hardy or Abbot & Costello due to their comedic antics and occasionally conflicting personalities. 

    An essential aspect of their characters, which plays a significant role in their subplot of the Holiday Special, is their most prized possessions: Ernie's rubber ducky and Bert's paperclip collection. 

    On Christmas Eve, Bert & Ernie contemplate what to get the other for Christmas. They both want their gifts to be unique and thoughtful. 

    Bert decides to get Ernie a soap dish for his rubber ducky to help keep his favorite toy afloat and in a safe place when not in use. At the same time, Ernie decides to get Bert an empty cigar box as a safe place to store his paper clip collection. 

    Here's where things get really creative and meaningful.

    In Sesame Street (at least at the time of the Christmas Specials airing), there is a little shop run by a kind man named Mr. Hooper (Will Lee), who provides groceries and other essential things for the town. 

    As Mr. Hooper goes about his business, Ernie walks into the store to buy the cigar box for Bert. However, he doesn't have any money. So, Ernie does the only thing he can think of; he asks to trade his treasured rubber ducky for the cigar box. After a friendly skeptical comment from Mr. Hooper, Ernie insists that he's ready to make the trade, and Mr. Hooper accepts, taking Ernie's rubber ducky in exchange for the cigar box. 

    Right as Ernie is on his way out the door, Bert walks into the store to buy the soap dish for Ernie. However, he also doesn't have any money and offers the only thing of value to him; his beloved paper clip collection for trade. Again, Mr. Hooper seems skeptical of the idea, knowing how much Bert values his collection, but Bert insists, and the trade is made. The scene ends with a touching moment as Bert tries to ask if he can occasionally visit his collection. 

    Later that night, Bert & Ernie decide to open each other's gifts early. As they open each other's gifts and are delightfully surprised, they are just as suddenly heartbroken upon discovering what the gift was initially for. They are touched by each other's sacrifice but are unwilling to admit it was ever made. 

    Just before either one of them can fess up, Mr. Hooper comes knocking at the door for a surprise visit, and he just so happens to have a gift for them both: Bert's paper clip collection and Ernie's rubber ducky. 

    Through this thoughtful action, Mr. Hooper not only reunited his friends with their beloved possessions but also cemented the bond between his friends. At that moment,  Bert & Ernie gained a better understanding of their friendship, how much they mean to each other, and how lucky they are to have each other and mutual friends like Mr. Hooper. After bidding Mr. Hooper a Merry Christmas and a fond farewell, Bert & Ernie sing one of the most beautiful renditions of "Have Yourself A Merry Little Christmas" you will ever hear. Incidentally, this is also the reason it is my favorite Holiday song. 

    This minor subplot of the Sesame Street Holiday Special has spoken volumes to me about the true nature of the Holidays and the importance of human connection. While we may never live in a world as ideal as Sesame Street, it does not mean that we cannot live by the values and good-natured principles presented within. If two people are prepared to give up something they value to make someone they care about happy, even if for a mere moment, then maybe there is hope for humanity after all. 

    To put this all into a more modern context, stop whining about the non-existent "War on Christmas" and just do something nice for a loved one, not because you think you should, but because you can. No one is forcing you to do or think anything because that's not what the Holidays are about. It's about taking the time to think about someone other than yourself. In other words, remember to always have empathy, even when it may be difficult. 

    If you'd like to watch Christmas Eve on Sesame Street for yourself, you can find it on YouTube. The link is provided down below. 

    However you choose to celebrate the holidays, I wish you all a wonderful time, lovely company, and lots of delicious food. May you surround yourself with loved ones and thoughtful gifts. Here's to a better new year. 

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

Happy Holidays! 

Christmas Eve on Sesame Street on YouTube

Finch - What if Issac Asimov wrote Cast Away?

 

Streaming on Apple TV+ 

(Subscription Required) 

    Tom Hanks appears to have a decent working relationship with Apple. Co-developing a typewriter app (Hanx Writer) exclusively for IOS, re-releasing his animated masterpiece, Electric City, onto an exclusive IOS app (sadly no longer available on the latest firmware), and at least one excellent feature film, Greyhound (which I never reviewed but whole heartily recommend). Now, his latest outing comes in the form of a well-crafted piece of science fiction, Finch: a story of isolation, friendship, and the potential fate of humanity. It is the Issac Asimov story that never was. 

    Set in a post-apocalyptic future where the ozone layer has been all but destroyed, resulting in increased solar radiation and hostile atmospheric conditions, one survivor, Finch (Tom Hanks), has managed a decent form of living with his loyal dog, Goodyear. Among his many pastimes, his most important is building and teaching a unique intelligent robot, eventually named Jeff (Caleb Landry Jones), to serve as his dog's guardian, and caretaker should Finch pass away before his canine friend. However, a massive storm making its way too close to home forces Finch and his companions to leave their once safe haven and make their way towards San Francisco in the hopes of finding better atmospheric conditions for a better quality of living. Along the way, Jeff will learn about the world, people, and the value of trust, while unintentionally causing Finch to reflect upon his own perceptions. 

    To put it plainly, this kind of thing is my jam! Finch has just about everything I love in this particular genre of storytelling: animal companion, a handful of characters, road trip, larger-than-life obstacles (both external and internal), and social commentary abound. 

    The performances are what ultimately sell the film. Tom Hanks, as expected, delivers a heartfelt performance only he can provide. His chemistry with the learning robot feels believable and tangible, thanks mainly to Caleb Landry Jones' performance. I was often reminded of Johnny 5 from Short Circut. 

    Probably the most delightfully surprising factor was the film's director, Miguel Sapochnik. Most of his previous work consists of television shows, including Game of Thrones, and at least one other film, Repo Men. With Finch, he shows a great deal of talent and promise as a potential full-time filmmaker and could very easily transition away from television should he choose. This is not intended to imply that television is a "lesser" form of art, far from it. I merely mean that television directors typically have a more challenging time transitioning to movies. 

*cough* Alan Taylor *cough* 

    Finch is probably one of the best films to arise amidst the COVID pandemic. It encapsulates humanity's fears and hopes in troubling times with a story that reminds us all what a healthy relationship with technology can look like. If you've been considering subscribing to Apple TV+, this would be a perfect place to start. 

Check it out. 

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

Special Announcement

My wonderful readers, 

    With incredible excitement and boundless joy, I share with you some captivating news. 

    For the past year, I have been drafting my next book. A future-history science fiction novel titled Come See The Light. The story of a future where all non-biological electricity has been stripped away, and only one young girl may find the means of restoring the power, along with her loyal fox companion. 

    I intend to provide regular updates on the book's progress here on this blog, social media platforms, and personal website. Links to all may be found below. 

    The book will be released in the Summer of 2022. 

    I look forward to sharing this story with all of you. 

Facebook 

Twitter 

Website 

King Richard - A Man, A Plan, And Lots of Love

 

Playing in theaters. 

Streaming on HBO Max through December 19th. 

    Will Smith has earned a high place in cinema royalty with a long and proud career. From making us cry with a powerhouse performance in that one episode of Fresh Prince (you know which one I'm talking about) to redefining "badass" with Bad Boys and taking risks to push boundaries with incredible experiments like the criminally underrated Gemini Man. Mr. Smith has perpetual energy and lovable charisma that has yet to be matched. His best and most profound achievements have often been his films about historical figures, both long past and contemporary. Such as his portrayal of the incredible boxer Muhammad Ali. His latest offering, King Richard, chronicles the efforts and determination of a father and his detailed plans for his five daughters. Notably, his young Tennis prodigies, Venis and Serena. 

    The story follows Richard Williams (Will Smith), a father of five daughters living in Compton. Having been raised when racism was significantly harsher (to put it mildly), Richard sets out to provide a better life for his family. He has drafted a detailed plan for preparing his daughters for the world, including helping two of them become some of the greatest names in the world of professional Tennis. We see their ups & downs, their trials, and tribulations. Not to mention a few reminders of how important it is to occasionally think outside the box and challenge what is considered the "normal" approach to achieving one's dreams. 

    The main driving point of the film is the cast. Everyone, especially Will Smith, delivers stunning performances. Everything from emotional, dramatic scenes to funny family moments is delivered with conviction and contagious energy. Although this is Will's show, along with Saniyya Sidney and Demi Singleton (who play Venus and Serena, respectively), the MVP award goes to Jon Bernthal for showcasing his ability as an actor, playing a character wholly departed from the grizzled anti-hero he typically plays. It's always nice to see talented actors get the chance to stretch their talents. 

    As you might expect, the film touches base on the many issues with systemic racism. What makes this specific take on the subject particularly important, at least to me, is how it reminds audiences that unjustified hatred and anger can go both ways. We are all just as capable of becoming as awful as those we may deem as evil if we are not careful. If we are to truly overcome, we must all do better for each other. Granted, in many cases, the need for better change often falls onto one side more than the other, but the point still stands. 

    The cinematography is gorgeous. Photographed by Robert Elswit, late of Good Night and Good Luck, Mission Impossible: Rogue Nation, and Nightcrawler (along with an incredibly hilarious Nespresso commercial), his style can best be described as slightly exaggerated naturalism. Just stylized enough to invoke a particular feeling without coming off as flashy. It's much more of a delicate balance than you might think, and he nails it every time. 

    Director Reinaldo Marcus Green, known primarily for television and a few short films, showcases his ability to handle character-driven narratives. He has a fine-tuned sense of pacing and appears to build great chemistry with actors. I look forward to seeing what more he may have for us in the future. 

    King Richard is a relevant and heartwarming film that inspires goodness in all people. Something we desperately need much more of right now. If you can do so safely, go see it in theaters. If you're not quite ready for that yet, let this be another piece of encouragement to consider signing up for HBO Max if you haven't already. I promise you, they did not pay me to say that. 

    Check this one out. 

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

The Last Duel - Hear Me Roar

 

For rent on Spectrum On Demand. 

For purchase on AppleTV, Amazon, Google Play, and YouTube. 

Trigger Warning 

Depictions of sexual assault and violence towards women. 

    In 1997, best friends Matt Damon and Ben Affleck won the Acadamy Award for Best Original Screenplay for Good Will Hunting. Since then, they have made some stellar films as talented actors, but neither seemed to have any plans for another writing collaboration. Sure, Damon contributed to some scripts here & there, and Affleck proved his chops in the director's chair (along with some additional writing credits). Still, the dynamic duo didn't seem to have anything on the horizon until now. Along with veteran screenwriter Nicole Holofcener (late of Walking and Talking and Can You Ever Forgive Me), the three talented bards adapt a socially relevant and emotionally charged medieval history story with the ever-reliable (usually) Sir Ridley Scott at the helm. Resulting in a film that is all at once shocking, gloriously crafted, and beautifully realized. It may not be the kind of film to put you in the Holiday mood, but it will make you think (and occasionally cringe). 

    Based on a series of books by Eric Jager, the story follows three people whose fates have become intertwined by broken promises, shared desires, and a horrendous crime. Sir Jean de Carrouges (Matt Damon) accuses his former friend and fellow soldier Jacques Le Gris (Adam Driver) of committing assault against his wife, Marguerite de Carrouges (Jodie Comer). The law of the time states that a duel to the death is permitted. However, if Jacques wins, Marguerite will be charged with bearing a false witness and promptly executed. However, should Jean be victorious, he will also prove the validity of the accusations. 

    The story is presented from three different perspectives, building up to the final duel between the two men. Each one showcases the nature of history (typically fiction agreed upon by experts) and how events can be twisted based on bias and individual perception. Not to mention a significant (albeit uncomfortable) reminder of how history's mistreatment of women continues to negatively affect them and the human condition to this very day and how more must be done if we are to ever rise above. 

    Aside from featuring a well-crafted script, the film as a whole is quite fantastic. 

    The cast is absolutely amazing. Matt Damon and Adam Driver have remarkable chemistry, and Driver continues to display his incredible range as a performer. Jodie Comer has arguably the most emotionally demanding role of the story, and she plays it with incredible conviction. I must be sure to check out her Emmy Award-winning work on Killing Eve. 

    The production design is stunning! The costumes, sets, props, and special effects bring the middle ages to life. Not too surprising, given Sir Ridley Scott's track record for making memorable and stellar medieval films. Most notably, his director's cut of Kingdom of Heaven. 

    Probably my only real nitpick with the film is the depiction of the assault, which drives the narrative. The violence with the battle sequences and the duel was acceptable (mostly), but the one moment that drove the plot felt like it could have been handled differently. At least to me. While I recognize it is crucial to the overall narrative, and the filmmakers do not shy away from adequately conveying how horrifying this crime is, I feel the story might have benefited more from the power of suggestion rather than full-view depiction. I do not make this suggestion because of the nature of the scene in question; I make it for all depictions of inhumane violence towards others in cinema. There are times when, indeed, less is more. 

    The Last Duel is a film that is uncomfortable to watch at times, but it delivers a powerful story with some much-needed commentary on the human condition and how much more work is to be done before we can indeed be free. Whenever you feel so inclined, check it out. 

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