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. 

TheNorm's Top 5 Potential New Bonds

 

    Ian Fleming's James Bond, aka 007, has lived a fascinating life on the silver screen for nearly sixty years. While technically his first appearance was on an episode of the TV show Climax, played by Barry Nelson, the one (and only) Bond will always be Sir Sean Connery. He portrayed 007 in the first adaptation of Ian Fleming's Dr. No in 1962. 

    Since then, Bond has been portrayed by seven talented and incredible actors, including David Niven from Casino Royale (the funny one, not the other one). Now that the latest Bond, Daniel Craig, has retired from the role, it's natural to wonder who might take it over now. The current rumor is Nomi (Lashana Lynch) is set to take over the franchise as a recently instated Double "0" agent. This sounds like a neat idea, in theory; however, it feels less like passing the torch and more like "we're handing the franchise leftovers to a woman." Keep in mind, I love the idea of casting a woman to play Bond, as it's an idea long overdue. Plus, Lashana Lynch has shown herself capable of carrying the franchise, both as an actress and an action star. 

    Even so, I have a few people in mind to potentially take over the role of Bond. So I thought I would share them with you all. 

    This is TheNorm's Top 5 Potential New Bonds. 

#5 

Ewan McGregor 

    After surviving the Star Wars prequels as arguably the best aspect, Ewan McGregor has enjoyed a career as a solid leading man with character actor-level talent. Though he hasn't had much of an opportunity to play a character as suave as Bond, he has shown that he can handle the role. His experience with action-oriented roles and conviction as an actor make him an ideal candidate for the role of 007, at least in my book. 

    Probably the only thing that might turn him away from considering the role is his age. Having turned fifty this year, he would be the oldest to potentially take on the role. Depending on the direction the franchise goes from here, perhaps that could be just what is needed. An older Bond with experience to share and maybe a few points about old age to make towards the younger recruits. Just a thought. 

    In any case, if he was offered the role right now, I'd hope he would consider it. But maybe not as much as the next person on my list. 

#4 

Tom Hiddleston 

 

    Best known as Thor's mischievous brother Loki, Tom Hiddleston has the charisma, talent, and charm needed to portray 007. His experience with Marvel shows he can handle action scenes, his work in Shakespeare productions conveys his acting chops, and his rather stunning looks make him a perfect candidate. 

    Probably the only thing that might make him difficult to cast is his schedule. His commitment to occasionally reprising his role as Loki for Marvel, not to mention the second season of Loki's show in the works, might make his availability a bit more crowded than ideal for playing Bond. Maybe once he finished filming all of his Loki requirements for the year, his schedule would open up. That is, of course, if he's interested in taking on the role. 

#3 

Clare Dunne 

    Like I said, I like the idea of casting a woman as Bond. It would make for a fascinating and exciting dynamic that has not yet been explored with the character. While some of you might be thinking, "Why not Emily Blunt or Carey Mulligan?" and you would be right to ask. My answer: because Clare Dunne is an extraordinary talent and deserves a big break. 

    Some of my beautiful readers may recall a film I reviewed back in April called Herself. A heartwarming story of a single mother building a house for herself and her two kids. Clare Dunne was the star and screenwriter. It's a film that shows her talent and ability as a genuine artist, and while casting her as Bond would likely require a fair deal of training for the role, I have no doubt that she could deliver a fantastic performance. 

    Plus, she's Irish, and so far, Bond has only been played by one other actor of Irish descent (Pierce Brosnan). Maybe it's time for another opportunity for Irish representation. I'm just saying. 

#2 

James McAvoy 

    Aside from having one-half of the name already, James McAvoy is a remarkable actor with unbelievable range and screen presence. He can be calm, calculating, suave, assertive, and emotionally vulnerable. All qualities required to play 007. Not to mention his stunning good looks, and I say that as a heterosexual man. 

    Probably the only thing that might interfere with his potential casting is his role in the television series, His Dark Materials. Last I checked, no official plans for another season have been announced, despite the latest season leaving a rather large cliffhanger. Plus, the implication that his character will have a more significant presence in the third season if they ever get around to making it. Which I really hope they do. 

    Maybe he will have some free time to play 007, if only once, while HBO finds the money for season 3. Only time will tell. 

#1 

Idris Elba 

    Not only does he have the acting chops and action movie experience for the role, not only does he have the charm and charisma for the role, and not only does he have the best sounding voice that just oozes suaveness, but fans have been begging for him to consider the role. Obviously, Mr. Elba is not obligated to play Bond, but there is an incredible demand for him to at least consider it. 

    After the third movie with Daniel Craig, Skyfall, he wanted out of the franchise and wasn't interested in making more bond films. Sony was so desperate to keep him on and was too afraid to consider anyone else. They offered Craig a ridiculous amount of money (one hundred and fifty million dollars) for two more movies. That is more than what Robert Downey, Jr made for playing Iron Man in nine films. 

    Meanwhile, fans were suggesting Idris Elba, people within the Hollywood system were recommending Idris Elba, and, to my knowledge, Idris Elba himself was expressing interest in the role. 

    In my humble opinion, Idris Elba has been passed over for the role of James Bond far too often. It is time to finally allow him the chance to don the tux and let him do his thing. If he's no longer interested in it, then that's okay. But at least give him a chance. That's all we're asking for. 

    And before you say anything, yes, I know he's fifty, but he's Idris *fricking* Elba! Does it really matter? 

Ladies & gentlemen, the name's Norm...TheNorm; thank you all for reading. 

No Time To Die - A Fond Farewell to Craig

 

Playing in theaters. 

    Daniel Craig's time as Ian Flemming's beloved character, James Bond, has seen its share of ups and downs. Ranging from profound nuances in the spy genre to pretentious overstuffed messes. Through and through, Daniel Craig has succeeded in reaching the finish line with grace and pride in most cases. While he has proven himself as a worthy Bond, his expressed desire to step away from the role makes it clear that it's time to move on, and the incredibly well-crafted latest offering, No Time To Die, couldn't have been a better send-off. This may very well be the most thoughtful conclusion to Craig's run as 007. 

    Taking place after the events of Spectre, the story follows James Bond (Daniel Craig) enjoying his retirement from active duty on her majesty's secret service. Sadly, it's not too long before a terrible situation arises demanding 007's expert handling. It turns out a terrorist named Lyutsifer Safin (Rami Malek) has stolen a secret experimental biological weapon that has the potential to wipe out entire continents. Not only that, but his former girlfriend, Madeleine (Léa Seydoux), is somehow involved. Bond must now dig up his troubled past to save the future, and in doing so, come to terms with where his ultimate sense of duty may lead him. 

    The film is not perfect, but it's a genuine blast. It successfully maintains all of the best aspects of past Bond films with Craig while minimizing (if not ignoring) the issues with the less-than-stellar outings. It also does a decent job at something that I wish more Hollywood movies would do: subverting expectations. 

    A perfect example (minor spoilers) would be Paloma (Ana de Armas), a supporting character who seriously deserved much more screentime. While on a mission, Paloma is one of Bond's contacts, who initially comes off as dorky and naive. Immediately, you think to yourself, "Oh no, not another bumbling unfunny comic relief sidekick, please!" Then, as the scene progresses, when the time for action arrives, Paloma not only kicks all sorts of ass, she does so with agency and complete competence. All while wearing a rather revealing dress and high heels. Then you start thinking, "Yes, more of this, please!" only to be disappointed when you realize she only has, at most, five minutes of screentime. At the very least, there is plenty of room for expansion in the future. 

    Speaking of the action, it's probably some of the best I've seen. Avoiding tired and headache-inducing gimmicks like shaky-cam or rapid-fire editing, the action scenes are fluid and have weight: both physically and emotionally. The chase scenes are inventive, the fight scenes feel visceral, and they all make excellent use of space. This is one Bond film I would gladly put on par with the action scenes from Ronin, and I do not make that statement lightly. 

    The cast is quite remarkable all around, but special mention must go to Rami Malek as the villain. Malek has shown to be a capable and versatile actor on par with the likes of Oscar Issac and Leonardo DiCaprio. Apparently, he's stated that he wanted to make his character for the film as unsettling as possible, and he nailed it! Every second he's on-screen, you feel uneven with everything he says and does. The best part of his performance is his genuine conviction. Unlike other actors I could mention, he's not putting on a performance for attention outside of what is needed for the story.

    I look forward to seeing what he does next. 

    My only gripe with the film is its runtime. There were times when I thought scenes could have been a little shorter, and maybe a few plot points could have been tightened or removed altogether. Even so, a movie should be as long as is needed to tell the story, and while I might have preferred it if it was a little shorter, I never felt like my time was wasted. 

    Also, not a fan of the theme song. Though it's still better than the one from Spectre. 

    No Time To Die is a delicious bottle of champagne that's just perfect for a glorious send-off. It's a fun experience of a film and an elegant farewell to Daniel Craig as 007. If you can do so safely, absolutely go see it. 

    Now, I wonder who might be up to the task of taking over the role? I might have a few ideas. Tune in next time, and I'll share my thoughts. 

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