'The Irishman' Review: Scorsese Contemplates a Lifetime of Crime
At 3 hours and 29 minutes long, with an estimated $159,000,000 budget, and boasting a legendary cast led by one of the greatest living directors of all time, the epic nature of Martin Scorsese's latest film, The Irishman, is nearly unfathomable. Quite literally, it's a film with the scope and ambition of being a masterpiece. Scorsese's mob saga is a tour-de-force that leaps through decades to tell a story that is cinematically brilliant and surprisingly, one of his most emotionally introspective films.
The Irishman, inspired by true events, is told through the point of view of the film's protagonist, Frank Sheeran (Robert De Niro). Confined to a nursing home and facing his mortality, Frank begins to recount his life's story, which Scorsese shows through an expertly intercut series of flashbacks. Starting with Frank's earliest days, we see him driving trucks as a typical blue-collar worker. After unexpectedly linking up with crime lord Russell Bufalino (Joe Pesci) and delivering on personal "jobs" for the mobster, Frank finds himself in his inner circle, quickly climbing the ranks from family man to hitman.
Loyalty and discretion – the traits Bufalino admires so dearly in Frank – are also precisely the traits that union boss Jimmy Hoffa (Al Pacino), President of the International Brotherhood of Teamsters, is looking for in a right-hand man. The hot-tempered and theatrical Hoffa and the cool and collected Frank are on opposite sides of the "composure" spectrum, yet they take to each other instantly and build trust as the years go by. However, good times in the world of organized crime don't last long, and the organization's corrupt inner workings, shady political connections, and dangerous rivalries continue to keep Frank and Hoffa on edge, all leading to the infamously unsolved mystery of Hoffa's disappearance.
While the film evokes all of the incredible period-piece imagery and superb direction that audiences have come to love and expect from Scorsese, The Irishman is also surprisingly introspective, as he examines death and isolation in a closer way than ever before. Of course, plenty of humor is incorporated into the script – which is fantastically acted through further performances by Harvey Keitel and Ray Romano (although I wish the women had more than just a couple scenes with even fewer lines) – but it's the film's quieter moments that make it so unique. De Niro's performance – or performances, plural, as he plays Frank through many years of his life with the help of CGI facial mapping – is sublime.
For Netflix, The Irishman is last year's Roma: a big-budget picture helmed by one of the most respected artists of our time, and at the moment, an obvious front runner for nominations across the board come awards season. If you're able to see this film in theaters, I highly recommend it. On the big screen, it's much easier to immerse yourself into the film for its entire duration (I fear an at-home Netflix watch will lead many to pause the film and interrupt the experience). But either way, Scorsese's latest is undoubtedly among his best and deserves to be seen in any way possible. – Morgan Rojas
THE IRISHMAN (2019)
Starring: Robert De Niro, Al Pacino, Joe Pesci
Directed by: Martin Scorsese
Written by: Steven Zaillian
Distributor: Netflix
Running time: 209 minutes
Playing: In select theaters on November 1 and on Netflix November 27
https://www.youtube.com/watch?v=WHXxVmeGQUc
In 'The Kill Team', Not All Soldiers Are Saints
In 2013, writer/director Dan Krauss's The Kill Team won Best Documentary Feature at the Tribeca Film Festival. Six years later, Krauss returned to Tribeca to debut his cinematic interpretation of the documentary's jarring events – the execution of innocent Afghan civilians by a group of U.S. Military soldiers – in his narrative feature film of the same name. The Kill Team may not uncover new information about these horrific stains on our military's past, but the star power attached may help this story reach new audiences in hopes that history doesn't repeat itself.
Impending deployment to Afghanistan, Andrew Briggman (Nat Wolff) is a born leader ready to join the front lines. Shortly after arriving at base camp, his squad is introduced to Sergeant Deeks (Alexander Skarsgård), a commanding figure who makes his goal very clear: "We kill people, that's what we do." Deeks is blunt when it comes to stating his position, riling up the soldiers and creating a tense, testosterone-filled atmosphere. This is far beyond fraternity bullying as the squad members unleash their aggression by killing innocent civilians with actions that were encouraged by Deeks himself. Troubled by his association with the murders and burdened by guilt, Briggman begins to have second thoughts about the intentions of his commander and the purpose of the mission at large.
The idea of the "hero soldier" that Briggman once aspired to be, turns into an illusion before his eyes. Instead, he now finds himself in a moral tug of war between what he knows is right vs the consequences of betraying the trust of his military brothers. Briggman questions: should he do the right thing and put himself in danger or shut up and deal with it? This hypothetical question further illustrates that the effects of war aren't just from physical battles, but mental ones as well.
Nat Wolff's portrayal of a young soldier fighting through his worst-case scenario creates an emotionally deft performance. His vulnerability remains at the surface throughout the film's entirety, making him easy to root for despite his conflicting behavior. Alexander Skarsgård's dark charisma is frightening as we can easily understand how these impressionable soldiers fell under his macho spell. The Kill Team is not just another war movie; this time, the enemy is the home team. The biggest takeaway here is an awareness of the awful, yet real-life events, that took place not that long ago, and the harsh realization that not all soldiers are saints. – Morgan Rojas
THE KILL TEAM (2019)
Starring: Alexander Skarsgård, Nat Wolff, Adam Long
Directed by: Dan Krauss
Written by: Dan Krauss
Distributor: A24
Running time: 87 minutes
Playing: In Theaters and On Demand October 25
WWII Satire 'Jojo Rabbit' is Undeniably Brilliant
If I were to tell you that a story about a young aspiring Nazi whose deepest desire is to fight for Germany on the front lines during WWII could be funny, would you believe me? It's understandable for one to assume that it would be impossible to find humor in this plotline, but leave it to Taika Waititi to portray Hilter as hilarious in the colorfully off-color satire, Jojo Rabbit.
Jojo (Roman Griffin Davis) is, on one hand, a typical ten-year-old boy; he's susceptible to propaganda and peer pressure – specifically that which supports the war. He also does his best to take care of his single mother, Rosie (Scarlett Johansson). But, on the other hand, Jojo is also a lonely empath with an imaginary friend who just so happens to be Adolf Hitler (Taiki Waititi). Jojo's Hitler plays both devil and devil's advocate; whether it's encouraging Jojo to participate in wild acts or teaching him how to "properly" annunciate "Heil Hitler," this imaginary sidekick is obviously not a great influence on young Jojo. When Jojo unexpectedly discovers that his mother has been hiding a Jewish girl (Thomasin McKenzie) in their home, his allegiance to the Nazi party holds strong, and he threatens to turn her in. But Jojo quickly discovers that, despite being brainwashed into believing that all Jews are evil, he is starting to fall in love with the Jewish girl in the attic. Something that both the real and imaginary Hitler disapprove of.
Waititi, who himself grew up a Māori Jew, plays Hitler as a caricature, a larger than life goof with narcissistic tendencies who is mesmerizing to watch on screen. Roman Griffin Davis, in his first-ever film role, should be praised for multiple scene-stealing performances while going head to head with some of today's top comedic talent. Davis' co-stars include Johansson, Sam Rockwell, Rebel Wilson, Alfie Allen, and Stephen Merchant, all distinguishable talents who make the film memorable.
Jojo Rabbit is based on Christine Leunens’ novel Caging Skies, and the script is full of powerful one-liners and sharpshooting dialogue. However, the strongest accomplishment of the narrative is the amount of call back jokes that come full circle for complete satisfaction. The seeds that were planted at the beginning of the story are slowly watered throughout the film, and seeing them bloom in the third act is a reminder of how strategic and methodical the script actually is. Jojo Rabbit is like watching a game of chess, and the final scene is its checkmate.
Aside from the provocative jokes, nestled just beneath the surface, this is a story about tolerance and acceptance. There are plenty of moments that are unexpectedly heartfelt and emotional, it strikes a perfect balance between silliness and solemnity to create a meaty, well-rounded film. It's been said that '"Children are not born with hate, they are trained to hate," and Jojo Rabbit uses an unconventional and unforgettable approach to prove that point. – Morgan Rojas
JOJO RABBIT (2019)
Starring: Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson
Directed by: Taika Waititi
Written by: Taika Waititi
Distributor: Fox Searchlight
Running time: 108 minutes
Playing: Opening 10/18 at ArcLight Hollywood and The Landmark
'Parasite' is an Arthouse Masterpiece
PARASITE (2019)
Starring Song Kang Ho, Lee Sun Kyun, Cho Yeo Jeong, Choi Woo Shik
Directed by Bong Joon Ho
Written by Bong Joon Ho, Han Jin Won
Distributed by NEON. 132 minutes. Opening 10/11 at ArcLight Hollywood and The Landmark.
I didn't know it was humanly possible to hold your breath for two hours, but after seeing Parasite, let me tell you, it is. South Korean director Bong Joon Ho's highly anticipated thriller has been hot on the lips of many cinephiles for most of 2019; the five-minute standing ovation after its world premiere at the Cannes Film Festival concurred that its hype is fully deserved. Thematically darker that Okja and more realistically unnerving than Snowpiercer, Parasite is a fantastically satirical and biting look at the economic divide, ethics vs. morals, and social commentary on privilege that, in my opinion, is the best film of the year.
Living literally below the poverty line in an underground basement apartment, the Kim family – Ki-taek (Song Kang Ho), his wife, Chung-sook (Chang Hyae Jin), their smart (and smart aleck) daughter Ki-jung (Park So Dam), and college-age son, Ki-woo (Choi Woo Shik) – struggle to make ends meet, as evident by their desperation when they're no longer to freeload off of their neighbor's free wifi. The Kims are used to taking the path of least resistance, barely getting by with contract work folding pizza boxes for a local shop. Unexpectedly, a friend presents Ki-woo with an opportunity to work as an interim English tutor for the daughter of the very affluent Park family. Hesitant at first – Ki-woo is unsure if his street smarts will translate into academic smarts – he eventually agrees to meet with the family. Almost immediately, he wins over the affection of the naive Mrs. Park (Cho Yeo Jeong), who welcomes Ki-woo into their high-class world.
No good can come when gullibility meets greed, as Ki-woo's family sees his employment as an opportunity to score for themselves. What follows is a comedic and thrilling unraveling – with Ocean's 11-style forethought and mechanics – that makes every moment feel like a white-knuckle thrill ride. Bong Joon Ho captures societal issues and human crises in pitch black tones, exposing them in a way that is both shocking and thought-provoking. It's a fantastic example of a perfect film, from script to screen and beyond.
"If you make a plan, life never turns out that way," Ki-taek tells Ki-woo during one of the Kim family's lowest points. Brutally honest life advice (that I agree, should be taught to the young), this is also the perfect sentiment to summarize Parasite: expect the unexpected. Original and authentic arthouse films as good as Parasite don't come around often, and we're all lucky we are here to witness its big-screen release.
A Beginner's Guide to: Bong Joon Ho
South Korean director Bong Joon Ho is having quite a successful 2019.
He was awarded the Palme d’Or at the Cannes Film Festival for his latest feature, Parasite, a family drama/thriller that explores the social and economic divide between the rich and the poor. As of posting this article, the film currently sits at 100% on Rotten Tomatoes. Many are calling it the best film of the year and I fully endorse that statement.
The current attention on Bong Joon Ho's artistic vision has come at the perfect time. He is a director not afraid to take risks, and not just for shock value. His stories serve a purpose. Since his first directing credit in 1994 (the short film White Man), Bong Joon Ho has become known for mixing darkly disturbing black humor with political and social consciousness, all rooted in a form of reality; whether it be in this universe or a parallel one. Sometimes it's easier to watch one of Bong Joon Ho's films and believe that the character conflicts and torturous situations are movie make-believe, but it's hard to deny that unjust police interrogations, devastating effects of manmade environmental abuse, and hunger crises aren't happening in real life. All of these things and more are still issues today.
In celebration of one of contemporary cinema's boldest filmmakers, here are three classic Bong Joon Ho films to check out before you watch Parasite, in theaters this Friday.
Snowpiercer
In his first English-speaking feature film, Snowpiercer is a tour-de-force, a uniquely-crafted powerhouse of a movie that, like the fast-paced train it’s named after, charges ever-forward with such uncompromising force and vision that it leaves behind any semblance of what you might expect from a typical action flick.
Based on the 1982 French graphic novel Le Transperceneige, Snowpiercer tells the story of a failed global-warming experiment (performed in the year 2014) that turns the planet into a frozen icebox. We are introduced to the last of the human race, the poorest of which eat gelatin-like “protein blocks” and live under guard by the utilitarian government-state in the back of the train. This train has been making the same cyclical trip for the past seventeen years. Of course, this being the day that the lower class finally has had enough, they set in motion their plan: to charge through each car to make their way to the front of the train and free themselves from their enslavement. Snowpiercer's untraditional, stylized storytelling combines sci-fi expanse and art house intimacy, and will certainly entertain by making your head spin as it rockets past you.
Snowpiercer is available to stream on Netflix or Amazon.
Mother
This 2009 crime drama opens with a breathtaking wide shot of a woman (Hye-ja Kim) in an expansive wheat field. Her frail body starts to move in interpretive dance, a range of emotions running through her body and face. This woman is the titular Mother, and her story is one of perseverance. When her mentally delayed twenty-eight-year-old son, Yoon Do-joon (Won Bin), is framed for the murder of a local schoolgirl, his mother becomes his biggest and at times, only, support. Her quest for justice won't stop until she proves he didn't do it.
Her son's unjust police interrogation and mental abuse echo situations we've seen in the media, with TV shows like "Making a Murderer" and "When They See Us" as prime examples of young men being taken advantage of by authority figures in their most vulnerable moment. Mother's unwavering determination to protect and save her son takes her on a journey throughout the underbelly of South Korea, and she is willing to do whatever it takes to get him back.
Mother is available to stream on iTunes or Amazon.
Okja
Swedish teenager Greta Thunberg commanded the world's attention when she delivered an impassioned speech at the UN Climate Summit on September 23, 2019, speaking about the dire effects of climate change and how its consequences are going to be very terrible, very soon. Thunberg has been praised by many for her wiser-than-her-years prognosis of the future but others, including the President of the United States, continued to downplay and even mock Thunberg's compassionate pleas. The world needs to pay attention to young women with something to say, and Bong Joon Ho knows this. His protagonist in Okja is a preteen named Mija (Seo-hyun Ahn), a headstrong girl who stops at nothing when her best friend – a genetically-modified, government-loaned super piglet named Okja – is taken away from her to face an unknown future.
Super piglets were thought to be the answer to the global hunger crisis, a revolution in the livestock industry. The brainchild of the Mirando meat corporation's CEO Lucy Mirando (Tilda Swinton), the super piglets were to be loaned out to farmers across the world and in 10 years' time, returned to Mirando to be reproduced and ultimately slaughtered. At a time when environmental activism and ecological awareness is at an all-time high, Bong Joon Ho's Okja is a powerful look at the true cost of consumer greed and capitalism.
Okja is available to stream on Netflix.
'Villains' is a Stylish and Savage Battle of the Bad Guys
VILLAINS (2019)
Starring Bill Skarsgård, Maika Monroe, Jeffrey Donovan & Kyra Sedgwick
Directed by Dan Berk & Robert Olsen
Written by Dan Berk & Robert Olsen
Distributed by Alter/Gunpowder & Sky. 89 minutes. Opening 9/20 at Regal LA Live.
The allure of the "bad boy" has long been a cinematic staple, regardless of gender. From Jim Stark in Rebel Without a Cause to Miranda Priestly in The Devil Wears Prada, audiences are equally fascinated and terrified by the suavity and unpredictable behavior of these characters. And when the bad guys are Bill Skarsgård and Maika Monroe, we're practically begging for these small-time crooks to break into our house just so we can be in their presence. In Villains, writer/directors Dan Berk and Robert Olsen pit this charming duo against an equally charming, yet much more disturbed, couple in a dark comedy that's pure savage.
Jules (Monroe) and Mickey (Skarsgård) are the millennial versions of Bonnie and Clyde, robbing gas stations to acquire just enough money to escape to Florida and live out their wildest fantasies: a life without rules and responsibilities. After yet another successful robbery, Mickey and Jules encounter a hiccup when their getaway car runs out of gas, stranding them on the side of a highway. They spot an isolated, and more importantly, a vacant, house nearby and decide to break in and steal their car. What starts off as a simple con job turns into much more when the duo realize the homeowners' fruit is fake, appliances are out of date and find a little girl (Blake Baumgartner) chained up in the basement. Clearly, some discoveries are more shocking than others.
The tension comes to a crescendo when the homeowners, George (Jeffrey Donovan) and Gloria (Kyra Sedgwick), return home. What transpires is a darkly hilarious game of cat and mouse between the equally kooky couples. Sexual electricity mixed with mental instability provides plenty of twists to the high stakes our protagonists find themselves in. The laughs outnumber the scares, and Villains is all the better for it.
Villains feels like a much bigger film than its humble scope of production. It takes place primarily in one location and lists only eight actors in its cast, but the performances are mighty fierce. Maika Monroe (It Follows) and Bill Skarsgård (It) share palpable chemistry and bring the story to life with their exaggerated delivery, a perfect counterbalance to Jeffrey Donovan and Kyra Sedgwick's more even-keeled tone. Music from Courtney Barnett (Pedestrian at Best) and Redding Hunter (Safe Travels) further adds to the film's energy. It's set to screen only at Regal Theaters, for now (assuming a VOD in the near future), so keep this one on your radar if you're looking for a fun way to spend 90 minutes.
https://www.youtube.com/watch?v=x2tGz4wDaQM
Little White Lies' 'The Movie Quiz Book' Will Even Stump Cinephiles
It's my birthday in a couple of days and I just received the most perfect present.
The UK film website Little White Lies, known for its edgy journalism coupled with unique animations and illustrations, has just released the ultimate book to test film nerds' knowledge of cinema past and present.
Coined the "greatest, wittiest movie quiz of all time," The Movie Quiz Book has over 1,600 questions, broken up into 15 color-coordinated chapters, that will put anyone’s love of the movies to the ultimate test.
Over 277 pages long (on nice, thick paper), The Movie Quiz Book will test your knowledge on the growth of the film industry and the accomplishments of female directors throughout the years, as well as the ability to recall music and lyrics, spell actors’ names, recognize famous final lines, and so much more.
Perfect for game nights, birthdays, pre-Oscar parties, and Cinespia picnics!
The Movie Quiz Book is now available to purchase through LaurenceKing.com.
Answer to front page question: Signature Cup
'Monos' Mixes the Beautiful With Barbarism
MONOS (2019)
Starring Moises Arias, Julianne Nicholson, Sofia Buenaventura
Directed by Alejandro Landes
Written by Alejandro Landes and Alexis Dos Santos
Distributed by NEON and Participant Media. 102 minutes. Opening 9/13 at ArcLight Hollywood and The Landmark.
In only his third feature film to date, budding independent filmmaker Alejandro Landes has proven himself a talent for bringing uniquely realized visions to the big screen, filled with a dazzling display of mesmerizing visuals that bring an arresting and honestly observed look at humanity to life. His latest film, Monos, depicts a group of young guerrilla soldiers as they fracture and spiral into chaotic barbarism, evoking the thrills of Lord of the Flies but pushing new cinematic boundaries.
Set high atop remote Latin American hills (filled with incredibly photographed sequences), unsupervised Colombian rebel fighters belonging to a terror group known as "The Organization" pass the time the only way they know how to: horsing around, making out with each other and recklessly firing their machine guns (blame this on their immaturity as well as isolation). The young band's sole purpose is to keep watch over their American hostage, Doctora (Julianne Nicholson), who their higher-ups harbor as a bargaining chip in their favor. The "Monos," as they call themselves, receive periodic check-ins from a senior rebel leader, but for the most part, are left alone to fend for and govern themselves. When an unexpected ambush forces the Monos and Doctora down from their hideout in the sky and into the jungle, their desperation ramps up, as childish recklessness quickly turns into primal, physical and psychological warfare.
It's a slow burn of a film that raises more questions than answers (especially in the film's first act), but that doesn't mean there is a shortage of emotional strings that won't pull the viewer into this beautifully captured world. Led by powerhouse performances from the film's younger cast, including a combination of both amateur as well as professional actors (Moises Arias and Julianne Nicholson), the ensemble's on-screen chemistry is as authentic and disturbingly beautiful as the world in which they live. Bringing this all to life is cinematographer Jasper Wolf, whose stunning camerawork gives Monos a surreal fairytale-like aura.
Otherworldly visuals aside, the score and its Oscar-nominated composer is what initially attracted me to this film. Mica Levi, whose genius can be heard in films Jackie and Under the Skin, creates a sort of sound bath-meets-trance composition as opposed to a traditional orchestral score, making for a haunting, erratic, and pitch-perfect experience. While devoid of a more traditional narrative context, instead opting for an organically captured and impressionistically felt story, the payoff in Monos comes tenfold for those who are willing to give themselves over to Landes and his uncompromising vision.
https://www.youtube.com/watch?v=disclpVzoMQ