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. 

Happy Thanksgiving, my wonderful readers!

 

    I wish you all a wonderful day of great food, good company, and plenty of Pumpkin Spice in all of its glory! Enjoy the day and be happy while surrounding yourself with those you love. 

Happy Thanksgiving! 

Last Night in Soho - Hyperactive & Haunting

 

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

    Director Edgar Wright, late of Shaun of the Dead and Baby Driver,  is probably one of the more eclectic directors today. His almost hyperactive sense of style, combined with his precise focus on narrative, makes him a director worth getting excited for. Unlike some other directors I could mention, *cough* Michael Bay *cough*. Up until now, his primary focus has been on action/comedies and parody-style stories. All with a sense of homage and love-letter writing to the genres and references utilized. His latest offering, Last Night in Soho, may not be his first step into the more grounded psychological thriller genre, but it is one he seems well suited for, despite not quite hitting the mark. It's still entertaining and well crafted, as you might expect from an Edgar Wright film, but it needed to be reined in just a little bit. 

    The story follows a young girl named Eloise (Thomasin McKenzie), an enthusiast for 60s rock & roll music attending school in London to study fashion design. She appears to be dealing with some past emotional trauma about her late mother, causing concern about her ability to handle the big city (having lived in the countryside most of her life). Eloise decides to rent a room close to school rather than remain in her crowded dorm upon arriving in London. Things seem to be moving along well, until one night, she finds herself witnessing the experiences of another young woman, in the 1960s, named Sandie (Anya Taylor-Joy), an aspiring singer who finds herself trapped in the service of sleazy men. Over time, it becomes unclear if these are merely dreams of something more, prompting Eloise to investigate Sandie's life and solve an old mystery before it consumes her. 

    The film is a solid thriller with creative use of production design and color. It feels like the closest thing to a waking dream or even an acid trip. Appropriate given the 1960s aesthetics. Oddly enough, throughout the film's runtime, I was reminded of a similar haunting thriller, The Changeling from 1980, starring George C. Scott. Both films follow emotionally traumatized artists who find themselves in a mysterious environment that seems to haunt them somehow. Except, Last Night in Soho kicks things up a notch. 

    The two leading ladies are spectacular. Both Thomasin McKenzie and Anya Taylor-Joy shine with conviction and wild energy bringing their characters to visceral life. Although, in my opinion, the MVP award goes to Michael Ajao for playing the best possible supporting character. Also, he gives the film a million bonus points for having a supporting character of color who doesn't die for no justifiable reason. 

    While the film overall is well crafted, as you might expect from Edgar Wright, it's not entirely great. 

    A little while before the third act comes around, the film goes completely overboard with the "haunting" element. To the point where it starts to feel less creepy & chilling and becomes goofier by the minute. Moments that are supposed to be scary come off as parody almost. I understand the intention, but psychological thrillers typically require a "less is more" approach for the best possible results. Edgar Wright seems incapable or unwilling to turn things down when needed. This isn't a bad quality for the kinds of films he usually makes, but it doesn't seem to do him any favors with psychological thrillers, which is precisely what this film wants to be. 

    Last Night in Soho is the valiant effort of an uber-talented director trying to step out of his comfort zone. It may not land as well as intended, but it's still a solid piece of work (mostly) with more than a few redeeming qualities here and there. If you're in the mood for an excellent new thriller, check this one out. Then, for comparison, check out The Changeling. It's amazing how similar yet different they are. 

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

Georgetown - An Unexpected Presentation

 

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

    In the directorial debut of two-time Oscar-winning actor Christoph Waltz (credited as C. Waltz), the adaptation of the New York Times article, The Worst Marriage in Georgetown by Franklin Foer, reminds audiences of elegance in simplicity. Through smooth camera movement, well-timed music ques, and spot-on performances, Georgetown proves itself to be a significant first step into the realm of directing for the uber-talented actor, creating a sense of eager anticipation for what may come next. 

    The story follows Ulrich Mott (Christoph Waltz), an ambitious social climber who marries a famous journalist, Elsa Breht (Vanessa Redgrave), to help his way into the world of diplomacy and world relations. His business, known as the Eminent Persons Group, serves as a kind of "surrogate" for diplomats who cannot physically attend meetings and events. Through this operation, Ulrich hopes to become part of a worldwide relevant event and come out on top like some kind of hero. However, his plans slowly reveal their true nature over time, and his authenticity gets called into question as the term "ponsy scheme" circulates in the air. 

    Overall, the film is a significant step forward for the talented Christoph Waltz. He shows his understanding of camera language, fluid editing, and framing. Plus, as you might expect, he works with his fellow actors incredibly well. Through his efforts, C. Waltz elevates what might otherwise be a slightly dull presentation of talking heads into a fantastically engaging presentation with textured characters and a well-developed mystery.

    I look forward to seeing what else C. Waltz has to offer in the director's chair. 

    However, as much as I appreciate this film in general, I can't help but dock it a few points for some poor choices in cinematography. Photographed by Henry Brahman, whose body of work includes Guardians of the Galaxy Vol.2 and The Suicide Squad (all of which are gorgeously photographed with terrific lighting), his lighting choices for Georgetown feel unusually amateurish. Too many times, I found myself asking, "where is that light coming from?". Admittedly, it is not entirely C. Waltz's fault, but it is a minor annoyance for me nonetheless. 

    Georgetown is a well-crafted drama with a decent mystery that perfectly showcases what we may expect from director C. Waltz in the future. Here's to many more memorable movies with him at the helm. 

    Check it out. 

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

Red Notice - Good Silly Fun

 

Playing in Theaters 

Streaming on Netflix 

    Red Notice is to action/heist movies what Hobbs & Shaw was to the Fast & Furious franchise; a much-needed over-the-top hilariously entertaining shot of adrenaline that reminds us all why we love movies. Sure, it's not the most sophisticated heist film out there, some of the narrative beats have been done a few times before, and some of you may spot the plot twists within the first twenty minutes of the film. Despite all that, it is a work of joy with witty dialogue and invigorating performances, especially from Gal Gadot (more on her later), that will have you laughing and cheering. Not to mention a pleasant reminder of why it's sometimes fun to root for the "bad guys." 

    The story follows the notorious art thief Nolan Booth (Ryan Renolds), who gets caught by the authorities after successfully stealing one of three priceless ancient Egyptian eggs once belonging to Cleopatra. His capturing officer, FBI profiler John Hartly (Dwayne Johnson), has the honor of bringing in Booth and retrieving the priceless egg. Sadly, his victory is short-lived, as it turns out the egg was another fake, and he is mysteriously framed for stealing the real one. Booth and Harly find themselves sharing a jail cell together, and things look rather bleak. That is until they are greeted by the most remarkable art thief of them all, known as The Bishop (Gal Gadot), who offers the two men a chance to escape and return to their lives, provided they help her find the other eggs. From there, a series of shenanigans, hijinks, and buddy-cop moments sprinkle the entire film with delightfully silly entertainment. Also, Gal Gadot doing martial arts in a red cocktail dress. Need I say more?

    As you have likely surmised, this movie is top-notch ridiculous schlock, and I love it. It may not be entirely on par with Hobbs & Shaw, as mentioned earlier, or the ever-reliable classic Tango & Cash, but it's up there. 

    What sells this movie the most is the cast. All three primary leads have remarkable chemistry and work off of each other beautifully. The comedic timing is on point, the few dramatic moments have weight, and everyone keeps their dignity as a likable character. It may have helped the production that Ryan Renolds and Dwayne Johnson have an unusual charisma that few Hollywood stars can replicate. 

    But, of course, the MVP award must go to Gal Gadot. Aside from looking absolutely gorgeous in nearly every frame, she has the freedom to show off some of her surprising chops as a comedic & acting talent. While she has performed her famous role of Wonder Woman remarkably well (and continues to do so), I couldn't help but feel like she wasn't receiving many opportunities to stretch herself out a bit more. Here, she performs like a kid in a candy store with too much-saved allowance. She is having an absolute blast with her role, bouncing off her chemistry with the leading men, and it is glorious! This movie would not be as entertaining nor as memorable as it is had she not been here. 

    The action scenes are beautifully realized. No shaky-cam or rapid-fire-editing to artificially up the intensity. Each action set piece has the right amount of personality to stand out and elevate the movie, with just enough flare to keep things moving at a nice pace. A few times, I found myself a bit confused at some of the editing choices, but never to the point where it became distracting.

    Red Notice is the perfect kind of movie to kick off the holiday season. As we all prepare to hunker down for the cold weather and stuff ourselves with turkey, know that Red Notice is here to cheer you on as you prepare for the harvest. 

    Give this one a look. 

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

You Can't Bring IMAX Home With You!

 

    Earlier this year, I wrote a blog entry about the unusual choice of aspect ratio for Justice League: The Snyder Cut. The short version is the film looked the way it did (appearing as a square frame rather than filling the whole screen) was due to the choice of capture format for the film known as IMAX. A celluloid film format, recognized as one of the most giant forms of image capture available in the Hollywood system. 

    IMAX is hands down, the best way to experience cinema in theaters. It is a frame of film roughly the size of a playing card, instead of traditional film or most digital sensors, which are about the size of postage stamps. This allows filmmakers to create rich, textured, massive, and epic images with frames that are as tall as they are wide. Presenting incredible movies on screens the size of small buildings. 

AMC Metrion in San Francisco. 

    The main thing to remember about this fantastic format is that it is intended for theatrical presentation and, as difficult as it may be to admit, cannot be replicated for home viewing, regardless of equipment and screen size. 

    Even so, that does not seem to prevent the streaming service Disney+ from trying or at least claiming the contrary. 

    Earlier today, Disney released a few trailers on YouTube for their latest gimmick, "IMAX enhanced presentation," claiming to replicate the theatrical experience of IMAX right inside your own living room. While this sounds like an incredible achievement of home entertainment, in reality, it is just plain stupid! It seems to be primarily for some of their Marvel movies, as some of them were captured with digital IMAX cameras, which, while excellent, does not translate well on even the grandest of 4K home televisions. 

    The majority of Marvel films, even those shot on IMAX, are mastered in a 2:35 aspect ratio. Meaning they have those black bars on the top and bottom of the screen, creating a rectangular-shaped frame for the intended presentation. When filming a movie with a 2:35 aspect ratio in mind, filmmakers will monitor their images with a digital overlay marking where the frame will ultimately be. In Marvel's case, they frame their movies to best accommodate both the directors intended 2:35 ratio and IMAX presentation since the black bars are only added to the image after filming. 

    In other words, the only way to imitate the IMAX experience at home is to merely remove the black bars on the top and bottom of the frame, allowing the image to fill the entire screen. Which, despite what Disney would have you believe, is not IMAX but merely an unmatted presentation cosplaying as IMAX. 

    

    While the prospect of watching some of your favorite Marvel films filling the whole television screen sounds like a neat idea, you must understand that it is not IMAX. The complete and authentic IMAX presentation requires significantly more than merely filling the whole screen with an image. It requires a large-format screen, super complicated sound systems, and a proper projector to accommodate the epic format. Last I checked, nothing you can find online (not even Amazon) has the potential to meet those demands. This is like selling a Honda Civic claiming to be a Jaguar by merely removing the signature "H" from the vehicle's body. 

    Before you spend a fortune to needlessly upgrade your home theater system, remember that the magic of IMAX only works when you're in a large room with a massive screen sharing the experience with total strangers and loved ones. Rather than trying to fully replicate that experience at home, never forget that the home viewing experience is an entirely different one and can be just as magical (if not more so) than a genuine IMAX presentation. 

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