The Last Voyage of the Demeter - A Questionable Remedy for Sea Sickness

 

Playing in Theaters 

    The Last Voyage of the Demeter has a beautifully chilling atmosphere, a talented & promising director, and some great performances in its favor. There is enough here to warrant more from most of this creative team. However, while I enjoyed the parts of genuine and surprisingly nuanced moments of storytelling, given the kind of film this is, too much of my enjoyment was bogged down by an unnecessarily long running time and painful sound design (more on that later). Not to mention that even a passing familiarity with the source material renders the film almost entirely moot. Although the film does attempt to remedy this with a decent surprise additional element, it only further demonstrates the issues that come from enforcing (if not demanding) name recognition, which, in this critic's opinion, is a more dangerous monster than the one stalking the boat. 

    Loosely based on a solitary section of Bram Stoker's novel Dracula, the story follows Dr. Clemens (Corey Hawkins), a Cambridge graduate with an intense curiosity, who searches for a ride on a sailing vessel from Carpathia back to England. He finds work on the crew of the Demeter helmed by Captain Eliot (Liam Cunningham), transporting unusual and ominously marked cargo. Not long after setting sail, strange and horrible things befall the crew: the livestock is killed and drained of their blood, a stowaway is found within one of the cargo crates, and the crew starts seeing something seemingly inhuman hiding in the shadows, picking them off one by one. Armed only with their wits, a few firearms, and the will to survive, they must determine the nature of this beast and pray to make it to England before it's too late. 

    The most significant problem with the film is that it desperately wants to bank on the name recognition of Dracula without actually being another adaptation of the whole story. While taking a singular aspect of a known property and building an entire film around it is in and of itself a potentially fun idea, some aspects are better suited for such treatment than others. 

    As a character, Dracula is known for being suave, sophisticated, and predatorial. He is also a monster and, as such, has a primal side to his character. While most previous adaptations haven't shied away from showcasing and exploring that aspect of his character, and focusing on that side of him makes the most sense in the story & setting of this film, it still raises questions that ultimately make you wonder why it has to be Dracula in the first place, other than being a recognizable property. I'm just saying that it's sometimes better to take "inspiration" from previous works rather than insist upon being a direct "adaptation." 

    Even so, when the film isn't causing you to question the validity of its merits as an adaptation, it's bombarding you with excessively aggressive sound design. The entire film plays as though its volume has been cranked to the highest levels, especially during moments of terror that are bombarded with build-ups to loud jump scares. Granted, the film utilizes jump scares to their proper effect (having the thing that jump scares you remain as a present threat rather than a thing that jumps out and proclaims "BOO" before retreating back into the shadows), but they lose their effect when the majority of the film sounds as loud as those annoying attempts at an instant scare. It is possible that this was the byproduct of a negligent technician at my theater. Still, when compared to all of my previous experiences at the same theater with films featuring moments of similar sound styles, it's hard to suspect anything else. Still, sound designers must stop playing with their loudness settings in horror films. 

    As I alluded to before, a few positive aspects of the film make it worth examining potential future works from the creative team behind it. Director André øverdal, previously known for Troll Hunters and the criminally underrated horror treat, The Autopsy of Jane Doe, succeeds in delivering a chilling and visually striking atmosphere, along with a surprisingly nuanced narrative that tackles themes of perception, race, and courage. It's the kind of narrative choice that deserves a better movie. 

    The cast is remarkable all around, especially the MVP, Corey Hawkins. He carries the movie's weight on his shoulders like a champ, delivering an award-worthy performance with a character that demands another (better) movie. His dedication makes the whole experience worth sitting through. 

    The Last Voyage of the Demeter is a Dracula movie that should not have been a Dracula movie. While the connection to the classical monster is understandable, it can't help but prevent what might have otherwise been a clever idea for a film from reaching its full potential. On top of the painstakingly loud sound design, the film left me with nothing but questions and a slight headache. What little entertainment value can be found here is not worth the price of even a matinee theater ticket. 

    If you're curious, wait for it to come out on streaming. At least then, you'll have complete control over the volume.  

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

Dungeons & Dragons: Honor Among Thieves - An Adventurous & Well Structured Champaign

 

Streaming on Paramount+ 

For Rent on Apple TV, Google Plus, Amazon, and YouTube 

    Dungeons & Dragons has an unusual history in pop culture and cinema. What began as a simple tabletop role-playing adventure, designed by Gary Gygax and Dave Arneson in 1974, has since become a fascinating staple in nerd culture. A fun and engaging way to play out creative stories and fantasy-based adventures with characters of your creation in a rich & complex world where anything may be possible. It has also been the target of ignorant "concerned citizines" who mistook the game for a recruitment tool into evil and harmful cults of Devil worshipers and mentally unbalanced killers. This led to a tragic and hilariously overboard era in the 1980s known as The Satanic Panic. 

    This controversial event in nerd history spawned a series of distasteful and disingenuous media works that only added fuel to the fire. TV movies like Mazes & Monsters (also the feature-film debut of Tom Hanks) leaned into the idea of people becoming mentally unstable from playing the game. 

    While the entire Satanic Panic movement was eventually laughed off the stage, it has yet to prevent other game adaptations from being produced, though not with the best results most of the time. See the movie from 2000 starring Jeremy Irons and the vast majority of animated films for hilarious proof. 

    However, that curse appears to have finally been broken with this brand-new adaptation of the game series, Dungeons & Dragons: Honor Among Thieves. A fun, entertaining, joyfully crafted film with relatable characters, exciting action set pieces, and the sharpest writing I have ever seen in a movie of this caliber. It is a film I would proudly put on par with that timeless classic, The Princess Bride, in terms of narrative quality, comedic timing, and memorable moments. Not to mention characters I wouldn't mind having a beer with. 

    The story follows a pair of best friends: bard & thief Edgin (Chris Pine) and warrior & thief Holga (Michelle Rodriguez), on a quest to reunite with Edgin's daughter, Kira (Chloe Coleman), who has been in the custody of their former partner in crime & conman, Forge (Hugh Grant) and a questionable Red Wizard Sofina (Daisy Head). Along with their Sorcerer friend, Simon (Justice Smith), and a young wild shape, Doric (Sophia Lillis), they will travel the land and face harrowing challenges. Little do they know that all the while, Sofina is plotting something terrible that our heroes might have to stop. Assuming they can all find a way to keep getting along, that is. 

    There is much more to the story, but to ensure the best viewing experience possible, I want to give away only a few details. 

    The film successfully provides an experience that is both familiar to long-time D&D fans and engaging to general audiences without feeling condescending or dumbed down. 

    The writing is what ultimately contributes to the film's incredible quality. Penned mainly by Jonathan Goldstein and John Francis Daley (also the directors), the script succeeds in nearly every possible way regarding narrative delivery, comedic timing, and especially build-up & payoff. Not too surprising given their previous track record of well-crafted films, Game Night and Spider-Man: Homecoming, to name a few. What I appreciated the most about the writing was how everything feels earned, and nothing is ever pulled out of the writer's butt for convenience. They put real effort into this story! 

    The entire cast is clearly having a blast with the material. Their banter and characterizations feel natural and engaging. There's never a moment when a character says or does something outside their personality for unnecessary comedy or narrative convenience. Everyone gets to contribute to the story in some way that provides a satisfying arc that feels equally earned. Plus, Hugh Grant makes a fantastic villain. 

    This is my favorite film of 2023 so far. I have already watched it multiple times before writing this review. While one or two bits could have been adjusted or removed at no loss to the narrative, it is a remarkable experience for everyone. For my beautiful readers who may be inclined to avoid movies with any kind of violence, I am pleased to report that any and all fighting & action scenes in the film are done with expert care to carry the story and are presented in the most tasteful way possible. There is little to no grotesque graphic violence or material, save for one surprisingly funny scene involving speaking to the dead. 

    I cannot recommend this movie enough. Make some popcorn, relax, and have fun storming the Castle as soon as you can. 

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

TheNorm's Top 5 Camcorders for Cinema

 

    Many a time on this blog, I have discussed, explained, and defended the use of digital cameras of all kinds for cinema. I stand by the notion that no matter what camera system you use, if you can create exciting images that tell a story, you're making cinema, regardless of whatever famous conjecture wants you to believe. Still, there is an ongoing argument about what constitutes a cinema camera. This is a topic I have briefly discussed before. And while I continue to stand by my convictions, some of my beautiful readers, who might be interested in picking up a camera, would also appreciate some recommendations of where to start. 

    While there are many unique cinema-style cameras out there with fantastic image quality, versatile lens options, etc., there are also many cameras technically not "built" for cinema that can deliver quality just as good (if not better in some cases) and faster for a fraction of the price of a conventional cinema camera system. Most "cinema" cameras require additional lenses, separate monitors (assuming one isn't already installed into the camera itself), external stabilizers for smooth movement, etc. 

    Meanwhile, various camcorders offer images and mechanical features almost on par with most conventional cinema cameras. These cameras feature built-in lenses, onboard stabilization, and incredible high-quality images. Most of them are disregarded as not suitable for narrative films. To those folks, check out the award-winning movies 28 Days Later, Pieces of April, and The Man from Earth for proof that concept that consumer camcorders can, in fact, create cinema. 

    Over the years, I have used and learned about many camcorders for various projects, including cinema. Some belonged to my friends, while others I have purchased. Having found my preferences in what I want out of a camera, I have narrowed down a handful of models to be the best starting point for beginners and the best potential stopping point for professionals. Of course, this is all based on personal preference and is not intended as an indictment of traditional cinema cameras. Some of the cameras I'll be recommending are older models that can be bought for excellent bargains, saving tons of money for production. 

    This is TheNorm's Top 5 Camcorders for Cinema. 

#5 

Canon Vixia HF G60 

    Although I have not used this particular model before, I used an earlier model of Canon Vixia camcorder as my first HD camera when I was starting to figure out filmmaking. While Canon may have unintentionally started the DSLR Cinema movement with their landmark 5D Mark II and 7D (photography cameras that have decent video options), their dedicated video cameras are top-notch and worthy of any cinema production. 

    The G60 has many features that most modern filmmakers would look for, including 4K resolution and 5-axis image stabilization. Also, like nearly all Canon cameras, it features their signature color science creating beautiful color options for in-camera looks or post-production adjustment. 

    If you're a Canon fan and can find one for a decent price, it's a worthy option. 

#4

iPhone

    It goes without saying that the iPhone (and smartphones, in general) have started their own little revolution in filmmaking. Since the majority of people have a smartphone with them today, everyone has the potential to become a filmmaker by learning how to best use their phone's video functions. The iPhone has already been used as the primary camera for successful feature films like Tangerine and Steven Soderbergh's Unsane. 

    With various applications allowing complete control over the phone's camera functions, along with a multitude of highly affordable external devices like lens adaptors & stabilizers, in the right hands, an iPhone can deliver cinema on par with the likes of any given Hollywood product. If you have a smartphone, you can make a movie. 

#3 

Panasonic HC-X2000

    This is another more modern 4K model that is, admittedly, pricier but is well worth every penny. I had the opportunity to use this camera on a few productions sometime ago and was impressed with what it could do. It's one supporting case for arguing how great things come in small packages. 

    It has everything you could ever want from a fully functional video camera: built-in ND filters, multiple high-quality video codec options, XLR audio, and a whole galaxy of color adjustment options. It's ranked in the middle of this list for its versatility and price. 

#2

Sony HXR NX100

    Regarding the quality of video cameras, I put most of my trust in Panasonic and Sony. Both brands were ahead in the game of consumer cinema and continue to provide a myriad of fascinating image-making machines, both in stills and video. Sony especially has an advantage, being the company to create the first HD camera intended for high-end productions, the F900. 

    The NX100 may not be as powerful as any of Sony's more conventional cinema cameras, but it provides many usable options for cinematic applications. Adjustable picture profiles, complete manual control, and assist functions for exposure, focus & framing. Not to mention some impressive low-light performance. 

#1 

Sony HXR NX70U 

    This may seem unusual for my #1 pick as it's the least (technically speaking) cinema-capable camera on the list: it has no options for image color adjustments outside of white balance, it has fewer monitor assist functions (like aspect ratio markings) than one might prefer, no built-in ND filters, and some might find its mandatory touch-screen interface a bit cumbersome. 

    However, despite these shortcomings, there is plenty in this little package suitable for cinematic applications. 

    The images adapt well to most post-production LUTs for color style. It features slow motion recording at 250 frames per second (albeit only for 3 seconds of recording time). With a large enough battery, the camera can function for seven to eight hours, even with the XLR audio adapter. The sensor features remarkable performance in low light with minimal grain/noise even at higher sensitivities; the little grain/noise in the image is minimal and feels more organic and, dare I say, film-like than typical ugly digital noise. 

    The best feature of this camera is its rain & dustproof body. This machine can easily handle treacherous terrain, especially when removing the XLR adapter. Its compact size and light weight make it an excellent option for tricky locations. 

    Pick up an ND16 filter for daytime shoots if you want this model. Otherwise, you'll end up over-cranking the shutter speed. 

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

Maybe I Do - Maybe I'm Bored

 

Streaming on Hulu 

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

    Movies that explore the untold nature of romantic love, relationships, and marriage can be fascinating and engaging, not to mention side-splittingly funny. Especially when it's an anthology film about multiple (possibly intersecting) relationships with different kinds of conflicts & drama. Films like Playing By Heart, Crazy Stupid Love, and Love Actually successfully tread through the minefield of an all too relatable part of the human condition while delivering tons of insightful & memorable jokes. It is a subgenre of film that, when played right, can become a genuine classic. 

    The latest offering in this subgenre, Maybe I Do, has all the makings and ingredients of a perfect new entry into the club but fails miserably to stick the landing. What could have been a clever and nuanced entry into this hilarious subgenre turns out to be a schmaltzy, amateurish, repetitive affair that is neither clever enough to be engaging nor funny enough to forgive its shortcomings. Sprinkled with occasional profound moments that only delude you into thinking it might get better, only to constantly hit your snooze button. 

    The worst part is that it could have been fixed with different editing, but we'll get to that momentarily. 

    The story follows a young couple who, after a strange incident at one of their friend's wedding, forces the future of their relationship into question. One wants to get married, while the other sees no value in marriage. After a heated discussion, they both retreat to their parents, seeking their advice. After some time, they decide to all have dinner together and finally meet each other's families. Little do they know that there's much more behind the scenes than they might have guessed, as both of their parents have met before under questionable circumstances. As the drama unfolds and secrets are revealed, how will this influence the young couple's future together? 

    Technically, the film is reasonably solid. It has a funny concept with top-notch talent, delivering decently cobbled thoughts about relationships and witty banter. Not to mention clever circumstances calling some of the convictions presented in the film into question. It has the proper makings of fun comedic drama. 

    The biggest problem lies within the misarrangement of events depicted in the film. Because the audience is already privy to the unusual circumstances between these two families (i.e., knowing that the parents of the young couple have met each other before in uncertain romantic poses) so early into the story, it significantly diminishes both their declarations about relationships before the dinner and their comedic encounters during said dinner. Nothing the characters say or do have any real impact because it was all blown within the first act, rendering all the declarations about romance and the awkward reunions unengaging. 

    The solution would have been some judicious re-editing. Had the film been rearranged so the revelation of the parent's previous encounters didn't surface until sometime after the dinner had begun, it would have likely thrown the audience for a loop by adding to the comedic mystery and better calling their convictions about relationships into question. Since we would have known about their underlying connection later in the story, there would have been a more significant impact and better opportunities for tangible comedy. Serious re-editing might have also fixed a few additional problems, but I've already spent more time on this concept than the film probably deserves. 

    Maybe I Do suffers from the same affliction as Disney's Frozen: a story filled with clever ideas about love and relationships peppered with moments of witty characterization, only to be bogged down by less-than-stellar execution and what can only be described as an anti-twist. Had the film received some much-needed adjustments before its January release (which should have been my first clue), it might have come out the other side as a worthy entry into this subgenre of comedy. Instead, it's a veritable dud of a movie prevented from being the worst entry into this particular subgenre solely by virtue of the existence of Movie 43. 

    Watch any of the other movies mentioned at the beginning of this review. 

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

Nimona - Hyper but Heartfelt

 

Streaming on Netflix 

    I will never tire of saying this so long as it bares repeating; animation is not strictly for children! Despite what famous conjecture has caused you to believe, animation is an artistic medium that conveys various genres, themes, and narratives. It is a platform of limitless possibilities, and it frustrates me how seemingly everyone (especially those high up in the artistic community), even to this day, still dismisses animation as something for children to enjoy and adults to endure. It is a toxic, arrogant, and unfair perception that needs to stop for everyone's sake! 

    This argument, I admit, is challenging to maintain when we're still getting animated films like Nimona: a hyperactive, overtly comedic film with mature narrative texture and relevant themes that are needlessly overshadowed by formulaic tropes and excessive (albeit hilarious) comedic reliance. Yet, despite all that, the film still succeeds in carrying the weight of its narrative choices with conviction and pride. While I might have preferred that it dialed back the comedy a bit more and allowed the title character to be the stand-alone wild card of the story (more on that in a moment), I have to give the film credit where it is due. Nimona does enough things right to forgive its shortcomings (mostly). 

    Set in a rather fascinating world that combines traditional fantasy elements with futuristic & modern technology, the story follows Ballister Boldheart (Riz Ahmed), a street youth given a chance to become the first person not hailing from a noble bloodline a knighthood. Despite public outcry and internal debates, the Queen insists that he be granted the same opportunity as anyone else who may wish to earn the title of knight. However, on the day of the knighting ceremony, Ballister is seen deliberately (apparently) assassinating the Queen. Now on the run from the authorities, Ballister must prove his innocence. A task made all the more challenging (and occasionally easier) with the help of a mysterious shape-shifting young girl named Nimona (Chloë Grace Moretz), who offers her services as his "evil sidekick," thinking Ballister has turned into a villain due to his unfortunate situation. With no one else to turn to for help, Ballister reluctantly accepts Nimona's assistance on his quest for justice while making some harsh and much-needed discoveries on the nature of good and evil. 

    The film tackles heavy topics that ring true and relevant in the modern age, such as identity politics, media perception, and the need to always question authority. Nimona, in particular, is a beautiful allegory for, among other things, transgender youth. Her ability to become anything she wishes on a whim terrifies most of the kingdom. Her allegorical status is best exemplified in a scene with her and Ballister on the subway, which I won't spoil here, though it's likely already visible on YouTube. It hits the note nicely. 

    The film also gets bonus points for creating an incredibly fascinating world that combines classical fantasy elements with modern & futuristic aspects. It's a creative and clever way to make the story feel old-fashioned yet still ring familiar to modern audiences. It's like Cyberpunk 2077 had a Renaissance Fair. It's incredibly cool, and I wish more movies would do more clever fusions like this more often. 

    The MVP Award goes to Nimona for being an incredibly sympathetic and fun character who carries the story on her shoulders. While Ballister's character arc is important, and his relationship with another knight is more relevant than you might have thought, Nimona is the ultimate heart of the story, delivered brilliantly by Chloë Grace Moretz's beautiful performance. 

    Which, sadly, also brings me to one of the movie's problems. 

    Most (if not all) of the other characters exhibit the same manic silliness as Nimona. While she succeeds in fitting in as the stories live wire goofball, when nearly every other character has too many moments practically mimicking Nimona's personality type, it renders the other characters indistinctive. Granted, the film has a silly tone overall (another problem with the modern Western animation formula). While I don't have a problem with silly tones, there should be a better balance between that and the more mature thematic elements, which, sadly, is lacking in this film. Not to the point of non-existence, just needlessly overshadowed to the point of uncertainty in its earning. 

    Despite falling victim to modern Western animation formula tropes, Nimona still delivers a worthy narrative with at least one excellent character who deserves to become the mascot of giving voice to the silenced and repressed. While the comedic tone can sometimes unintentionally diminish the intended message, it still comes through like a shining light on a starless night. Give this one a shot for a fun, entertaining, and relevant romp. 

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

Hidden Strike - Jackie Chan's Typical Tuesday

 

Streaming on Netflix 

    Jackie Chan is one of those titans of cinema whose sheer awesomeness successfully spawned its own subgenre. Starting out as a stunt double & performer in Bruce Lee movies, Jackie Chan made a name for himself in the Hong Kong martial arts action world. Building his own stunt team and choreographing some of the most memorable martial arts fight scenes that would become the catalyst for most films of the genre to follow. Not to mention performing all of his own fights and death-defying stunts, including but not limited to falling nearly a hundred feet through a set of awnings and onto the ground, jumping from the top of a parking lot to the adjacent building, and jumping from a moving bus through a pane of glass. Oh, and that one time he semi-jetskied across some water with a broken leg in a cast that the costume department covered up with a dummy rubber shoe. All of which have cost Jackie Chan several broken bones and more visits to the hospital than anyone might care to count. 

    Tom Cruise wishes he was as accomplished in stunt performance as Jackie Chan! 

    However, like any form of entertainment, it can lose its initial shock value and become standard fair. That's not to say anything new from any given accomplished performer is expected to be boring or uninteresting, just that it could have been more spectacular. After all, there's not much nuance to cover once you've defied death multiple times. It becomes routine, held together by the underlying charm of the performers. 

    Which is an apt description of today's subject, Hidden Strike. It's not mind-blowing entertainment, but it doesn't try to be. It's a decent, albeit cookie-cutter, piece of work held together by two charismatic performers with genuine comedic talent & solid chemistry. In other words, it's OK for a lazy afternoon but not much else. 

    The story follows Special Forces commander Lou Feng (Jackie Chan) leading a mission to evacuate civilians from an oil refinery in Baghdad. The fastest route to the green zone is via a treacherous road nicknamed The Highway of Death. On their way to their destination, they hit an unexpected sandstorm, which becomes the perfect cover for a team of elite mercenaries led by Chris Van Horne (John Cena) to highjack the convoy and kidnap the former director of the refinery. Little does Chris know that he's been hired by a local warlord to steal the oil for himself. When Chris discovers his actions' folly, he switches sides and joins forces with Lou Feng to retrieve the director and stop the warlord. The only question is can they accomplish their new mission before they kill each other? 

    There's only a little demand for critical thought in this high-octane (albeit occasionally silly) bit of action fast food. It knows what it is and isn't embarrassed or ashamed, which is always appreciated. It's the right kind of "turn-off-your-brain" movie where it's meant to be enjoyed momentarily and without any profound, lasting impact. This can be dull for some audiences, but it's perfect for the right mood and mindset. 

    The solid chemistry between Jackie Chan and John Cena makes it worth looking at. Both are capable performers with a commitment to their craft and solid comedic timing, rendering them a decent pair for this kind of action film. 

    Even though the film doesn't demand too much from the audience, that doesn't mean we shouldn't ask for a bit more nuance when possible, which leads me to my main issue with the film and why it's not ranked above any of Jackie Chan's better works; the failed attempt at extra family drama. Early in the film, there is the revelation of a subplot involving Lou Feng's relationship with his estranged daughter, who happens to be one of the civilians in the evacuation. Their feud originates from her mother's death and Lou's absence. While this is an acceptable way to include some human drama in an action film, the script fails to utilize it properly (at least in my opinion), rendering what should have been a relatable characterization into unnecessarily forced drama. Admittedly, this is a minor nitpick considering the kind of movie this is, but that's still no excuse for what amounts to lazy writing. 

    After all, just because you don't have to do a good job doesn't mean you shouldn't. 

    Hidden Strike is the kind of action schlock you typically play as background noise while doing chores. You don't have to give it your full attention, but you are not punished for doing so, either. If you need a fine mindless distraction for a lazy afternoon, give it a look. Otherwise, check out some of Jackie Chan's earlier films if you haven't already. Many of them are, quite literally, unbelievable. 

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

Sympathy for the Devil - A Decent Roadside Attraction

 

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

    Movies with Nicholas Cage are like firecrackers with a broken fuse; they can blow up in your face at any moment with a fantastic flash! The only difference is one situation results in a surprising bout of entertainment while the other leaves you feeling uncomfortably burned. On some occasions, they can go hand in hand. The man may be crazy, but he seems to be one of those few individuals who has successfully learned to channel that insanity into his craft and to the benefit of many movie watchers.

    Today's subject, Sympathy for the Devil, is no exception to this unusual subgenre of cinema. While it can feel as though it drags for a bit too long at times (as slow-burn movies can often feel), the journey is always more important than the destination. And this journey might be worth taking, with a few pit stops here and there to catch your breath and ponder why you might be laughing. 

    The story follows a man, The Driver (Joel Kinnaman), who is going to the hospital to meet his wife in labor with their second child. However, the moment he pulls into the parking lot, a dangerous-looking mystery man, The Passenger (Nicholas Cage), hops into the back seat with a gun and instructs the driver to drive away and into the night. As the journey unfolds with The Driver doing his best to survive the night, the truth about why this is all happening slowly reveals this seemingly chance encounter to be so much more than what may be perceived. What follows is a high stakes emotional ping-pong match that will likely end with only one victor. 

    About 85% of the film takes place inside a moving car as Cage and Kinnaman exchange tense dialogue unraveling each other's mysterious layers. Most of the film's energy comes from Nick Cage's ever-reliable manic & intense screen presence. Though it can get a little repetitive at times, and the mystery can take a bit too long to unravel itself (not to mention perhaps a little too much gratuitous violence for my personal preferences), It's just crazy enough to work with what little it has. 

    While I admit this film is not for everyone (as most slow-burn movies are acquired tastes), if you have the patience and the inclination for a deliberately paced thriller with solid acting and decent narrative exploration of themes like revenge, give this one a try. Just be sure to watch something lite hearted afterward. 

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