Western Stars

Every time I notice a documentary being released I simply beam, considering they are one of my favorite art forms when it comes to films. I've seen many amazing documentaries including "Murderball", "Fed Up", "The Corporation", "Supersize Me", "Capitalism: A Love Story", "Life Itself", and the recent "Won't You Be My Neighbor?" to mention a handful. So, when I saw my first trailer of "Western Stars", it simply looked amazing and it was in spades!

 

Backed by a band and a 30-piece full orchestra, Bruce Springsteen performs all 13 songs from his new album "Western Stars" touching on themes of love, loss, loneliness, family and the passage of time. Before each song, Springsteen narrates, with different footage, what and where the idea or theme would come from so as to convey to the audience that nuance and reality of where Springsteen was going with each song. His long-standing wife, Patty Scialfa is right at his side as singer and is a music arranger. This is a personal film for both Bruce and Patty as this performance is played out in their late 1880's old barn which gives certain warmth to the documentary.

 

This was directed with expertise and thoroughness by veteran to documentaries, Thom Zimmy ("The Promise: The Making of Darkness on the Edge of Town" (documentary) '10, "Bruce Springsteen & the E Street Band Houston '78 Bootleg: House Cut" (documentary) '10, "The Ties That Bind" (documentary) '15, "Bruce Springsteen & the E Street Band: The River Tour, Temple 1980" (documentary) '15, "Elvis Presley" The Searcher" (documentary) '18, "The Gift: The Journey of Johnny Cash" (documentary) '19) plus TV movie documentaries and video shorts, and Bruce Springsteen (video shorts) plus tons of soundtracks. Obvious, not only is Zimmy right in his comfort zone as a documentarian, but he has collaborated with Springsteen more than once before. This, in and of itself, is enough to realize that this documentary is going to as fluid as water. And it being quite the personal film for Springsteen makes this work that much more appealing. The film was poignantly written by Bruce Springsteen as well, ("Springsteen on Broadway" (TV movie documentary). The different visages that Springsteen wrote which preceded each song was heartfelt, personal and incredibly well thought out. The writing was concise, cohesive and so poignant that I had a tear or two in a couple of places. His writings delve into love, redemption, lies, self-loathing, faith, God's divinity, marriage and family, and all constructed in a loving, empathetic way emphasizing the importance of community and compassion toward one another.

 

This is a film which needs to be seen by one and all! It is all about people in Springsteen's life and about people in general. This is his 36th album, so he's been around for a while, and with this fact he has learned and has appreciated those around him, whether it be family, friends and co-collaborators and fellow musicians in his life. The message he is wanting us to grasp is to be grateful and appreciate those around you and see that we, each of us, are worthy of love and being happy which was performed through these amazing new songs. I certainly will be looking for the soundtrack! Kudos to this incredible artist and person. After the credits, there is a short segment of how the film was made which is very interesting as well.

 

Out of 4 Stars: 4       Rated: PG          88mins. & 9mins. how the film was made at end

 

Black and Blue

In this day and age of the 'black lives matter' era, Hollywood offers us a film that cmbines the complexities of what it's like to be not only black, but a cop as well. In the film "Black and Blue", the question of the day becomes: is it better to be black or a cop given the dire straights this civil servant must endure?

 

This is a fast-paced action thriller about a rookie cop, Alicia West (Naomie Harris) who inadvertently captures the murder of a young drug dealer on her body cam. After realizing that the murder was committed by corrupt cops, namely Terry Malone (Frank Grillo), Smitty (Beau Knapp) and Deacon Brown (James Moses Black), she teams up with the only one person from her community who, at first is reluctant, but then is willing help her, Milo 'Mouse' Jackson (Tyrese Gibson) as she attempts to escape both the criminals, namely Darius (Mike Colter) who are out for revenge and the police who are desperate to destroy the incriminating body cam footage.

Others to round out the cast are Reid Scott as Kevin, Nafessa Williams as Missy, Michael Papajohn as SRT Leader, Deneen Tyler as Captain Regina Hackett and Frankie Smith as Tez.

This was grittily and delineated well by director Deon Taylor ("Dead Tone" '07, "The Hustle" '08, "Nite Tales: The Movie" '08, "Chain Letter" '09, "Tony Roberts: I'm Different" '13, "Supremacy" '14, "Meet the Blacks" '16, "Traffik" '18, "The Intruder" '19) plus TV and shorts. Being an obvious message film, this filmmaker brings these characters to life using fear, intimidation and politics to extract that element of grit to convey what he needed to toward his audience. He is a social filmmaker with a crime side to him, and this can be an effective combination. This director is very busy considering he has three films in post-production. It was effectively written with a social bent by Peter A. Dowling ("Flightplan" '05, "Stag Night" '08, "Reasonable Doubt" '14, "Sacrifice" '16) plus TV. With all the crime dramas and, more to the point, all the crime films that have a racial implication to it, this certainly pushes the envelope where it puts both blacks and cops being able to empathize here. So much of the time films are about blacks being treated horribly by white cops, or visa versa, but this film has an obvious message where the two scenarios meld together. This, in my opinion, is a much better film for any possible healing that can come from a film like this, whereas some other similar films seemingly perpetuate the racial tension. Now, is this film without issues. Not at all. There were several places where certain events couldn't or wouldn't have happened given a certain situation, and a bit of choppiness. Other than these few indifferences in script, this screenplay was riveting, gritty and conveyed a much needed racial message that films haven't attempted successfully in the past.

Crime dramas are a typical fare in the Hollywood community, but this film goes way beyond this. The racial tension in this country is spiraling, and if people saw more films like this, maybe, just maybe there may be a true discussion about the tension where we all can learn from it.

Out of 4 Stars: 3                                      Rated: R                                       108mins.

 

The Current War

We have seen numerous films and documentary shows about the wide array of inventions that different innovators graced our nation with. Think about the inventions some of us has seen come to pass: cars, telephone, telegraph, light bulb, phonograph, gramophone, airplane, TV, radio, cell phone/smart phone, computers--the list is endless. So when I read about "The Current War", the history buff that I am, I felt this film would be interesting and it was indeed.

 

Three brilliant visionaries set off in a charged battle for the future in "The Current War", the epic story of the cutthroat competition that literally lit up the modern world. Benedict Cumberbatch is Thomas Edison, the celebrity inventor on the verge of bringing electricity to Manhattan with his radical new DC technology. On the eve of triumph, his plans are upended by charismatic businessman George Westinghouse (Michael Shannon), who believes he and his partner, the upstart genius Nikolai Tesla (Nicholas Hoult), have a superior idea for how to rapidly electrify America: with AC current. As Edison and Westinghouse grapple for who will power the nation, they spark one of the first and greatest corporate feuds in American history, establishing for future Titans of Industry the need to break all the rules. This 1880's battle all culminates at the beginning at the 1893 Chicago World's Fair.

 

Others to round out the cast are Katherine Waterston as Marguerite Westinghouse, George's wife, Tom Holland as Samuel Insull, Thomas' secretary, Matthew McFadyen as J.P. Morgan, Tuppence Middleton as Mary Edison, Thomas' wife, Damien Molony as Bourke Cockran, Celyn Jones as Sherman Quincy, Louis Ashbourne Serkis as older Dash Edison, Thomas' son and Simon Kunz as Womack.

 

This was directed with crispness and sharpness by Alfonso Gomez-Rejon ("The Town That Dreaded Sundown" '14, "Me and Earl and the Dying Girl" '15) plus TV. Obviously this filmmaker has learned his craft being involved in as much TV he has done. This speaks volumes, and, of course, the films he has directed were eclectic, fresh and original. This film follows suit with a sharp and clear picture of the electric titans that this film involves. Both Cumberbatch and Shannon were superb in their respective roles. Shannon's performance as this staid, yet charismatic mogul was unlike a lot of roles he has done, and this is pure directing genius. Hoult's dialect as Slavic Tesla was stunning as well. It was written by virtual newcomer to feature films, Michael Mitnick ("The Giver" '14) plus TV and a short. Although the flow of the film was a bit choppy in some places, this film still was an interesting expose of the battle, including financial and political battles of who owns the electricity. Interesting that I had seen recently an episode on the History Channel about Men and Their Inventions, and part of it was about this battle between Edison and Westinghouse. I feel like I was being prepped for this film review, and assuming that the documentary was accurate, this film, based on true events, was spot on, and this calls for talented writing. I believe that given more work, Mitnick could be an extremely focused and riveting writer. I would be interested in seeing his next project which is in pre-production, "The American".

 

If you're a history buff like me, you'll revel with this film, but even if you're not, the acting by this superb ensemble cast along with exquisite production values: photography, costumes and visuals will keep one riveted. When giving the audience a follow up of the different people the film included, it was mentioned that when Thomas Edison died, all of America dimmed their lights for a complete minute. That's quite the honor to this titan!

 

Out of 4 Stars: 3.5                                  Rated: PG-13                                  102mins.

 

Maleficent: Mistress of Evil

I realize that I must sound like a broken record, however Hollywood pushes me to that point. Point is, why does Hollywood keep rafting out sequels and franchises, etc, as if there are no other ideas in which to give the audiences forms of entertainment? Simple. Money or tons of box office receipts. It's called creating as little as possible to maximize your profits. And Disney is the king of this, hence their offing yes, a sequel--"Maleficent: Mistress of Evil".

 

In this sequel of the 2014 global box office hit, Maleficent (Angelina Jolie) and her goddaughter Aurora (Elle Fanning) begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies and dark new forces at play. The years have been kind to Maleficent and Aurora. Their relationship, born of heartbreak, revenge and ultimately love, has flourished. Yet the hatred between man and the fairies still exists. Aurora's impending marriage to Prince Philip (Harris Dickinson) is cause for celebration in the kingdom of Ulstead and the neighboring Moors, as the formidable Queen Ingrith (Michelle Pfeiffer), out of hatred of the Moors, attempts to pit Aurora against Maleficent to rid her kingdom from these Moors and fairies once and for all.

 

Others to round out the cast are Sam Riley as Diaval, Chiwetel Ejiofor as Conall, peacemaker of the Moors, Ed Skrein as Borra, Robert Lindsay as King John, David Giyasi as Percival, Jenn Murray as Gerda, Juno Temple as Thistlewit, Lesley Manville as Flittle and Imelda Staunton as Knotgrass.

 

This was amazingly well staged and paced by director Joachim Ronning ("Bandidas" '06, "Max Manus: Man of War" '08, "Kon-Tiki" '12, "Pirates of the Caribbean: Dean Men Tell No Tales" '17, "Doomsday" (TV movie) '17) plus TV and shorts. Considering that the original "Maleficent" was directed by Robert Stromberg, a less experienced director than this film, it's no surprise that Disney opted for Ronning to direct. But, who knows, perhaps Stromberg was already committed to another project. It truly takes a talented filmmaker to convey similar character development from a previous film in which they didn't direct to a follow up a film. This takes true professionalism. If you like his brand of directing, his "Origin" has been announced. Even though there were as many as three writers, Linda Woolverton, Noah Harpster and Micah Fitzerman-Blue, to write this, it was still written in an entertaining way. This is certainly Woolverton's baby considering she wrote the original, but honestly both Harpster and Fitzerrman-Blue are no slouches in the writing category themselves, since they both have credit in the writing of the upcoming "A Beautiful Day in the Neighborhood" which stars Tom Hanks releasing at Thanksgiving time. Usually when a screenplay exceeds more than two writers, the storyline can become convoluted--too many hands in the pot mentality, but this certainly keeps the attention of its audience which is tough today considering a fair many filmgoers simply want or need to be stimulated when they enter the multiplex. Heaven forbid that a filmgoer would appreciate art more than stimuli. Even though there was talent here, it wasn't without issues--there was a bit of choppiness and lack of cohesiveness, but all in all, the entertainment factor kicked in well so the few issues became forgivable. And the visual effects predominantly designed by MPC (Moving Picture Company) were seamless and actually enhanced the production.

 

Certainly if you liked "Maleficent" you'll love this. This isn't as fresh and conveyed as well as its predecessor, buy hey, it's a sequel which usually is never as well thought as the original, but this a close second. Will there be a third Maleficent? Who knows, but as long as these films keeps raking in the box office receipts, Disney will undoubtedly keep churning them out. It's also in a nifty IMAX format as well to choose from.

 

Out of 4 Stars: 3                                      Rated: PG                                        119mins.

 

Zombieland: Double Tap

In the last decade, probably longer, the amount of sequels and retakes have grown exponentially. With the scads of franchises and incarnations of different films, audiences are definitely hard-pressed to find a film that is original or fresh. Surely "Zombieland" '09 was a brilliantly funny film, but can they hit pay dirt again ten years later with "Zombieland: Double Tap"?

 

A decade after "Zombieland" became a hit film and cult classic, the lead cast, Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Wichita (Emma Stone) and Little Rock (Abigail Breslin) have reunited for this next incarnation. In the sequel, through comic mayhem that stretches from the White House and through the heartland, these four slayers must face off against the many new kinds of zombies that have evolved since the first film, as well as some new human survivors, including Madison (Zoey Deutch) and Nevada (Rosario Dawson). But most of all, they have to face the growing pains of their own snarky, makeshift family.

 

Others to round out the cast are Avan Jogia as Berkeley, Luke Wilson as Albuquerque, Thomas Middleditch as Flagstaff, Victoria Hall as Babylonian Gatekeeper and Victor Rivera as Civil War Bearded Guy.

 

This was directed with the same grit and hilarity of the original by Ruben Fleischer ("Zombieland" '09, "30 Minutes or Less" '11, "Gangster Squad" '13, "The List" (TV movie) '13, "Spaced Out" (TV movie) '17, "Venom" '18) plus TV, shorts and video shorts. Considering the same director that directed this and also directed its predecessor has everything to do with the crispness this reached in causing these characters to come alive. Any other director probably couldn't have pulled it off. It's interesting how this filmmaker can take an otherwise drama and turn it into a satirical romp that isn't a belly-laugh type of film, but one that is bizarre yet funny. It was also written by two of the three writers of its predecessor. The writers of this are David Callaham, Rhett Reese and Paul Wernick. All of these writers have a good deal of experience, however the two that wrote the original were Reese and Wernick. Other than a couple of very small places of choppiness, this storyline soared. Again, it certainly helps to bring back the original writers so as to keep the whacky characters consistent and fresh. As with the original, this was like a 'how to kill zombies 101' type of format replete with tags in the air like one might see on a blackboard. The dry, but whacky comedic style of this, as with the original, is simply hilarious and with this, in my opinion, makes this film far more interesting than just a straight up drama. The special effects makeup by Tony Gardner also added to the realness of the zombie killing.

 

Whether you like zombie films or not, this is one fun flick replete with humor, gore and all designed in a fun way. I'm not a huge zombie film fan, but this, as with its predecessor were both entertaining and was a great escape film. Grab the popcorn and have fun with this.

 

Out of 4 Stars: 3.5                                   Rated: R                                        99mins.

 

Gemini Man

We've seen a plethora of films that could actually have happened under various circumstances, and we've equally seen many sci-fi films where the premise is clearly unattainable, but "Gemini Man" has a storyline that hinges between both these aspects which, in my opinion, creates an original and fresh idea in filmmaking.

 

This action-thriller centers around an elite assassin, Henry Brogan (Will Smith), who is suddenly targeted and pursued by a mysterious young operative that seemingly can predict his every move.

It turns out that after Brogan finished an assassination, Gemini, the company in which his boss Clay Verris (Clive Owen) is head of puts out a hit on him for nefarious political reasons. The plot thickens when Brogan's friends, Danny Zakarweski (Mary Elizabeth Winstead) and Baron (Benedict Wong) and himself suddenly realize that this mysterious operative is actually Brogan's clone--just at an entirely much younger age. Certainly Verris knew that taking Brogan down wouldn't be easy, but who better to finish the job but Brogan himself?

 

Others to round out the cast are Ralph Brown as Del Patterson, Brogan's handler, Douglas Hodge as Jack Willis, Brogan's friend, Linda Emond as Janet Lassiter, Ilia Volok as Yuri Kovacs, E.J. Bonilla as Marino and David Shae as Bicycle Messenger.

 

This was directed with incredible grit and suspense by veteran Ang Lee ("Pushing Hands" '91, "Sense and Sensibility" '95, "Crouching Tiger, Hidden Dragon" 2000, "Hulk" '03, "Brokeback Mountain" '05, "Lust, Caution" '07, "Taking Woodstock" '09, "Life of Pi" '12, "Billy Lynn's Long Halftime Walk" '16) plus others and shorts. As with this filmmaker's other projects, he is a very eclectic director which indicates the inability to pigeon-hole this artist. His direction is always crisp, concise and distinct in his style, this film being of no exception. The characters are real and truly emit the emotions that are needed. If this brand of directing is to your liking, his "Thrilla Manilla" has been announced. It was written by seasoned writers, David Benioff, Billy Ray and Darren Lemke, based on the story by Lemke and Benioff. Considering the feature film experience here--Ray having the lion's share, it should be no surprise that this would have such an intriguing premise. Other than a couple of places of choppiness in some scenes, this storyline was compelling as it was entertaining. As stated in past reviews, at least this film is original and not an over-baked reboot, remake, sequel, prequel, continuation or franchise. In this day and age, this aspect speaks volumes. Another effective aspect of the film was the way the visual effects, predominantly designed by Weta Digital, and stunts brilliantly orchestrated by J.J. Perry, Brad Martin and Justin Yu, melded together seamlessly. Kudos to the make-up artists for being able to make Smith look as young as he's supposed to be--approximately 23. Wow! Who thought that could happen?

 

Certainly if you're a Smith fan, you'll love this, but even if not, the direction, premise and visuals will keep one riveted for the 2 hour running time. It is also presented in a nifty IMAX format so you can be up close and personal. Original and fresh it is, and this is what I yearn for these days, because it is difficult to find.

 

Out of 4 Stars: 3                                         Rated: PG-13                                    117mins.

 

The Addams Family

As we now start the 'end of the year' film season, we are offered the first of the animated films which is a freshly adopted approach of "The Addams Family". There have been many incarnations of this franchise--both live and animated, and both TV series and feature films, but this certainly holds true to the original look Charles Addams gave us in 1938.

 

Get ready to snap your fingers! The first family of Halloween, "The Addams Family", is back on the big screen in the first animated comedy about the kookiest family on the block. Funny, outlandish, and completely iconic, "The Addams Family" redefines what it means to be a good neighbor.

Members of the mysterious and spooky Addams Family--Gomez (Oscar Isaac), Morticia (Charlize Theron), Pugsley (Finn Wolfhard), Wednesday (Chloe Grace Moretz), Uncle Fester (Nick Kroll) and Grandmama (Bette Midler), are readily preparing for a visit from their even creepier relatives. But trouble soon arises when shady TV personality Margaux Needler (Allison Janney) realizes that the Addams' eerie hilltop mansion is standing in the way of her dream to sell all the houses in the new neighborhood.

 

Others to round out the cast are Snoop Dogg as Cousin It, Martin Short as Grandpa Frump, Catherine O'Hara as Grandma Frump, Tituss Burgess as Glenn, Jenifer Lewis as Great Auntie Sloom, Elsie Fisher as Parker, Conrad Vernon as Lurch and Chelsea Frei as Bethany.

 

This was wittily and dryly directed by Conrad Vernon ("Shrek 2" '04, "Monsters vs. Aliens" '09, "Madagascar 3: Europe's Most Wanted" '12, "Sausage Party" '16) plus TV and a short and Greg Tiernan ("Thomas & Friends: Misty Island Rescue" '10, "Thomas & Friends: Pop Goes Thomas" '11, "Thomas & Friends: A Very Thomas Christmas" '12, "Thomas & Friends: Muddy Matters" '13, "Sausage Party" '16) plus others, TV and videos. These filmmakers had to have done their homework in that the feel of these characters were so reminiscent of the actual original that it was like looking at a New Yorker cartoon strip back in the day. Charles Addams' The Addams Family was published for years in that iconic magazine. Certainly these two directors are not foreign to an animated process--see their resume, so they were able to pull off this film's original feel with ease. It was equally dryly written by a relative newcomer to feature films, Matt Lieberman, based on a story by Lieberman, Erica Rivinoja and Conrad Vernon, which is based on characters created by Charles Addams. Unlike the previous incarnations, including the TV series "The Addams Family" in 1964 and two feature films, "The Addams Family" in 1991 and "Addams Family Values" in 1993, this rendition of the kooky family was eerily reminiscent of the powder dry humor and look of the original which started in 1938. Because of the dry humor, some filmgoers might not get the humor, especially if all they have seen is the aforementioned films. I believe this is the realistic humor Charles Addams was attempting to emulate to his audiences, and it truly shows in this incarnation. The cast was brilliantly chosen, especially that of David Isaac as Gomez. He portrayed him perfectly. Nick Kroll as Uncle Fester was also effective, but considering his exhaustive work on animated films performing different voices, it should be no surprise. This actually starts with Gomez and Morticia getting married and having to leave yet another town being chased out only to eventually find an abandoned old, creepy mansion to reside. Then it skips to 13 years later where their lives continue. There are a couple of small areas of choppiness, but otherwise a rock solid storyline.

 

Whether you've seen the old TV series or had seen the films, or not, this is a must see. It's not what you're used to seeing, but it is the one that was made according to the way that Charles Addams would've wanted it made. It shows this kooky, macabre and dark family that is being accused of only being different. This is a great expose of we are all different in one form or another.  

 

Out of 4 Stars: 3.5                                    Rated: PG                                        87mins.

 

Rambo: Last Blood

Action films have been prolific for decades--probably since the '70's, so surely there is an audience for them. Between Arnold Schwarzenegger and Sylvester Stallone, the two of them have been involved in a vast majority of them. "Terminator", "Rambo", "Rocky", "The Expendables"--shall I go on? I had trepidation about viewing "Rambo: Last Blood, but since Stallone co-wrote this, I figured it should be a fairly well written yarn.

 

Almost four decades after they drew blood, Sylvester Stallone is back as one of the greatest action heroes of all time, John Rambo. Now, Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission. A deadly journey of vengeance, "Rambo: Last Blood" marks the last chapter of the legendary series.

John Rambo lives on his ranch in So. Arizona with his niece, Gabrielle (Yvette Monreal), and before she heads out to college, finds out, through her friend in Mexico, Gizelle (Fenessa Pineda), that her father lives near her. Gabrielle had been wondering where her father was, so she confronted her uncle John about going. He warned her not to go since he was no good. Anyway, she left without his knowledge and is now caught up in a sex trafficking situation where she was kidnapped. Enter Rambo! He leaves for Mexico, where he plans on bringing her back, but not without adversaries at his heels.

 

Others to round out the cast are Paz Vega as Carmen Delgado, Sergio Peris-Mencheta as Hugo Martinez, Adriana Barraza as Maria Beltran, Oscar Jaenada as Victor Martinez, brother to Hugo, Joaquin Cosio as Don Manuel, Pascacio Lopez as El Flaco and Jessica Madsen as Becky.

 

This was rivetingly directed by virtual newcomer to feature films, Adrian Grunberg ("Get the Gringo" '12) plus a ton of TV. Although the characters represented here aren't extremely complex individuals, it still takes someone who knows their way behind the camera. Plus, this filmmaker has not only directed TV projects, but also a ton of 2nd unit director and assistant director work to his credit. This speaks volumes. And considering this was co-produced by Stallone's production company, Balboa Productions, I'm sure Stallone had his input. Grunberg already has a couple of films in pre-production. It was effectively written by Matthew Cirulnick ("Paid in Full" '02) plus TV and videos, and Stallone ("Rocky" '76, "F.I.S.T." '78, "Paradise Alley" '78, "Rocky II" '79, "First Blood" '82, "Staying Alive" '83, "Rocky IV" '85, "Cobra" '86, "Rocky V" '90, "Driven" '01, "Rocky Balboa" '06, "The Expendables" '10, "Creed" '15, "Creed II" '18) plus many others and a video short and game, based on a story by Dan Gordon and Stallone, which is based on the character created by David Morrell. While this story was riveting and a real nail-biter, it was also fairly predictable and formulaic, however, one would have to realize this before you entered the theater. Obviously Stallone has the lion's share of the experience here, however I'm sure Cirulnick had effective input. The obvious reason one would watch this is to see just how Rambo 'gets back'. The fact that he exacts revenge is a given, and the body count only increases as the film unfolds. Also it's way he kills the bad guys is unique, considering his extreme combat skills he brings into the fray. This, among many other action hero films are perfect for the 18-24 year old single male population demographically. The stunts and the amount of blood would satisfy any red-blooded American young man.

 

If you fit the aforementioned demographic, this is the film for you. It's not if the body count exists as much as how much. This is rated 'R' for a reason. The blood is beyond sufficiently flowing like water, so definitely not for the kiddies. As long as there is a need for us to see wrongs righted, we will always have a need for these types of films.

 

Out of 4 stars: 2.5                                         Rated: R                                            90mins.

 

 

 

Joker

If the premise of "Joker" wasn't so bizarre and over-the-top, one would conclude that this film was a biopic--it was delineated that painstakingly realistic. As being the film to kick off the 'end of the year' film season, this was one to give you a kick in the teeth. While we have superhero films galore, this expose of the origin of the Joker is stunning as it is disturbing.

 

The year is 1981. "Joker" centers around the iconic arch nemesis and is an original, standalone fictional story not seen before on the big screen. Todd Phillips' exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham's fractured society. A clown-for-hire by day, he aspires to be a stand-up comic at night...but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty, Arthur makes one bad decision that brings about a chain reaction of escalating events in this gritty character study.

Living with his depressed, sick mother Penny (Frances Conroy) and working at a dead-end job with co-workers Randall (Glenn Flesher) and Gary (Leigh Gill), Fleck just can't seem to be in a place to succeed, until he decides to attend the talk show Murray Franklin (Robert De Niro) as an audience member. Because of an outburst of Arthur's, it catches the attention of Franklin and makes Arthur feel important. But as everything in his life that starts off promising, it soon spirals out of control into a sea of destruction.

 

Others to round out the cast are Zazie Beetz as Sophie Dumond, Brett Cullen as Thomas Wayne, Shea Whigham as Detective Burke, Bill Camp as Detective Garrity, Josh Pais as Hoyt Vaughn, Sharon Washington as Social Worker and Frank Wood as Dr. Stoner.

 

This was gut-wrenchingly directed by Todd Phillips ("Frat House" (documentary) '98, "Old School" '03, "Starsky & Hutch" '04, "The Hangover" '09, "Due Date" '10, "The Hangover Part II" '11, "The Hangover Part III" '13, "War Dogs" '16) plus others, a video short and a TV movie. This director seems to be as eclectic as his star in this. He has done it all: comedy, drama, action, documentary. He's a director that will not allow himself to be pigeon-holed hence his resume. No matter what the genre, the intensity he adds to his projects has a definite distinction to his work, this film being of no exception. The nuances of despair and desperation in Phoenix's Joker was underlying and powerful all at the same time and even though Phoenix is an incredible actor, this takes talented direction. This is also well thought out by writer Phillips (all above films except the documentary) and his co-writer being Scott Silver (""Johns" '96, "The Mod Squad" '99, "8 Mile" '02, "The Fighter" '10, "The Finest Hours" '16). This was an incredible expose of the slow-burning build of a psychopath replete with a distraught and horrendous upbringing, being the brunt and whipping post of society and not able to succeed at most anything in his life. The way that Phillips and Silver delineated this story was incredibly well-crafted and even though it was a tough sit, was a character study to beat all. This screenplay had many layers that were unpeeled like an onion and defined  exactly how Arthur Fleck became that villainous character we all have come to know as the Joker. Other than a couple of very small places of slowness, this script was rock solid. Phoenix is an actor that is like a chameleon--he never shies away to portray any role if it deems artistic and challenging, and this I respect in spades. He will undoubtedly be nominated come Oscar time. Whether he wins, time will tell.

 

Even though this is based on the DC comic, this is definitely not a 'superhero' movie. This is an all telling of what went on in the mind of a psychopath that is both revealing and chilling. It is a well-crafted American film with amazing directing, writing acting and even costume design by veteran Mark Bridges. This film can be studied by both film and psychology students--it is that exhaustive. This is not as entertaining as much as it is artistic, but I believe this was purposed.

 

Out of 4 Stars: 3.5                                  Rated: R                                        122mins.