'The Irishman' Review

Nominated For: Best Picture, Best Director; Martin Scorsese, Best Supporting Actor; Al Pacino, Best Supporting Actor; Joe Pesci, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, and Best Visual Effects.

Synopsis: A mob hitman recalls his possible involvement with the slaying of Jimmy Hoffa.

Runtime: 209 minutes

MPAA Rating: R (for pervasive language and strong violence)

Who should see it? Adult fans of Martin Scorsese films.

Based on Charles Brandt's novel I Heard You Paint Houses, The Irishman is directed by Martin Scorsese and features a screenplay from Steven Zaillian. Scorsese began developing The Irishman at Paramount till the studio hesitated at the substantial budget of over $150 million required to fully realize Scorsese's vision. Netflix, however, had no objections. The streaming giant's keen on being a filmmaker-friendly space, so the service may attract high profile talent and add a robust slate of original content to their library. Last year, Netflix found great awards success with Roma, receiving their first Best Picture nomination. And the studio is primed to be a significant player this awards season as well with at least four major contenders up their sleeves headed up by The Irishman and Marriage Story.

At three and a half hours long, The Irishman may seem like a daunting watch. I thought so, too, but didn't find that to be the case in my viewing. Scorsese's latest mobster picture moves at a leisurely pace, but never feels its length on behalf of Scorsese's dependable editor Thelma Schoonmaker. Though I'd recommend seeking it out in theaters for those willing and able, the power to pause The Irishman from the comfort of your own home may be more enticing and alleviate those concerns. The semantics of preferred viewing methods aside, The Irishman is a robust motion picture. As one comes to expect from a distinguished auteur, the craftsmanship is impeccable and will be dissected for years to come. In many ways, this is the culmination of Scorsese's career as a pensive meditation on life's inevitabilities.

Regarding the film's thoroughly-discussed digital de-aging effects, I'm unsure whether they'll hold up to the scrutiny of streaming. When watching The Irishman uninterrupted, as intended, I didn't notice any glaring effects that fell into the uncanny valley. However, when a viewer can pause, the flaws may be much more noticeable. It did take me a while to adjust to De Niro's blue eyes. Still, I don't know if that was due to my familiarity with the actor or the quality of the effect (whether it be colored contact lenses or a digital adjustment). Nevertheless, the de-aging effects were very convincing.

While given far less attention in the film's promotional material, the makeup and vfx used to age up the actors are equally effective. Other noteworthy technical elements include Bob Shaw's intricate production design, era-appropriate costuming from Christopher Peterson and Sandy Powell, and captivating cinematography by Rodrigo Prieto. A curated soundtrack of pop and rock hits and Robbie Robertson's transfixing main theme propel things forward nicely.

As for the ensemble, Scorsese's got Robert De Niro, Al Pacino, and Joe Pesci at his disposal, need I say more? Par the course, this trio of legendary actors turn in exceptional performances. De Niro's the most subdued of the bunch while Pacino's got the showiest role, and Pesci effortlessly wavers between friendly and menacing. Otherwise, I was pleasantly surprised to discover Ray Romano, Jesse Plemons, and Bobby Cannavale amongst the supporting cast. 

Regarding the controversy about the lack of female characters with prominent speaking roles, it is true that women are mostly sidelined. Be that as it may, there's more nuance to this debate than detractors would have you believe. The amount of lines given to an actor doesn't determine the value of their performance. Dialogue isn't necessary for a character to leave an impression, and I thought Anna Paquin's solemn silence spoke more volumes than any words possibly could. It's a deliberate choice, but reducing the controversy to declare Scorsese sexist is an absurd notion.

More Silence than Goodfellas, Scorsese's hushed contemplation of morality and mortality may seem at odds with the general perception of mobster movies. Yet Scorsese still manages to reinvent himself at 77-years-old, traversing familiar ground with a fresh perspective. The Irishman finds an acclaimed filmmaker still at the top of his game in spite of age. Only age is not actually the detractor, but rather the driving force behind this changed point of view. 

Film Assessment: A+

'Ferdinand' Revew

Nominated For: Best Animated Feature.

Ferdinand frolics inside a Spanish bullfighting camp alongside a young bull named Ferdinand. Ferdinand isn't like the other bulls in the training camp because he's not interested in the sport of bullfighting. All Ferdinand wants to do is sit around and smell flowers. One day, Ferdinand gets his wish when he escapes the camp and is adopted by a young farm girl, Nina. Ferdinand grows up under Nina's care and the two become friends who relish in nature's beauty together. After a massive misunderstanding, Ferdinand is captured and taken from his new home to train at a bullfighting camp. Fueled by an innate desire to reunite with the family and avoid ending up in the ring against legendary bullfighter El Primero, Ferdinand forms a motley crew of critters and sets out on an exciting adventure.

Ferdinand is steered by director Carlos Saldanha, featuring a screen story from Ron Burch, David Kidd, and Don Rhymer as well as a screenplay by Robert L. Baird, Tim Federle, and Brad Copeland that adapts the classic children's book written by Munro Leaf and Robert Lawson. If you're at all familiar with The Story of Ferdinand, you'll know that it's quite short and straightforward. It's generally agreed to contain valuable messages as it encourages kids to be themselves and takes a commendable stance in supporting pacifism.

However, as much as Ferdinand wants to champion those worthwhile themes, it also can't help but MOOO-ve around the creative pasture a little too much. Like most mediocre animated works, Ferdinand is all over the place and shoehorns as many needless jokes as you can possibly imagine. For every clever incorporation of tasteful humor like an literal interpretation of the age-old idiom "Bull in a china shop," Ferdinand has a dance-off featuring twerking bulls. Why? Because that's exactly what every kid is dying to see, right? Probably, but I just wish they hadn't stooped so low. 

Elsewhere, the animation in Ferdinand is adequate and well-constructed while the music incorporated in the feature helps to maintain Ferdinand's fast pace. I just wish the filmmakers had been more focused in their efforts to translate what could have been an endearing story because what they brought to the table was a half-baked attempt. 

In the wide stable of voice actors, Ferdinand features the likes of John Cena, Kate McKinnon, Bobby Cannavale, Anthony Anderson, Peyton Manning, David Tennant, Gina Rodriguez, Daveed Diggs, Gabriel Iglesias, Flula Borg, Sally Phillips, and Boris Kodjoe as Ferdinand and his merry band of animals. The supporting caricatures include an assorted band of bulls, a kooky calming goat, three troublesome hedgehogs, and some haughty German horses. They all factor into the narrative somehow though, whether it be for the purposes of a quick one-off joke or a running gag.

I'm someone who has always been bothered when others refer to animated films as "kid movies" when there are so many exemplary animated films out there with depth and substance, but then you have family films like Ferdinand that remind you where that idea originated from. Ferdinand had potential to be a sweet adaptation of a beloved children's book, but is okay at best. It's fine for young children, and will keep their attention for about an hour and a half, but parents may have their patience tested rather quickly. All I can really say is "Well, at least it wasn't a load of bull crap!"

Film Assessment: C+

'Jumanji: Welcome to the Jungle' Review

In Jumanji: Welcome to the Jungle, four high schoolers discover an old video game console while in detention. They plug in the game and select their avatars, only to find themselves teleported into the game as those avatars. It's then up to the studious Spencer, athletic jock Fridge, self-absorbed popular Bethany, and insecure Martha to beat the game by returning the sacred jewel of Jumanji to its rightful place in the forms of the daring explorer Dr. Smolder Bravestone, meek zoologist Moose Finbar, accomplished map-reader Sheldon Oberon, and formidable fighter Ruby Roundhouse.

In all honesty, I have not been looking forward to this film at all. I was first skeptical at the very idea of rebooting the revered 1995 Jumanji, and then the trailers did nothing to ease my concerns due to the seemingly forced humor. It just seemed like a needless reboot produced and distributed for the purposes of making a quick buck.

However, I must report that I was pleasantly surprised by everything director Jake Kasdan had in store for audiences! I'd liken it to my experience watching last year's Ghostbusters, where I went in with enormously low expectations to discover a surprisingly enjoyable film instead of the cringeworthy mess I had imagined. Perhaps, it was because I had low expectations that I wound up enjoying either, but I'd like to think they're both entertaining action-comedies. 

  

This is not to say Jumanji: Welcome to the Jungle surpasses the original by any stretch of the imagination (except perhaps in regards to effects), but it puts an interesting spin on the premise of Chris Van Allsburg's classic children's book. One reason I think the original is better, in actuality, is that it feels like a generational family-friendly classic that will be probably passed down for quite some time. I simply can't imagine parents sitting their kids down to introduce them to Jumanji: Welcome to the Jungle twenty years from now, but who knows, my generation is kinda weird.

Anyways, screenwriters Chris McKenna, Erik Sommers, Scott Rosenberg, and Jeff Pinkner make great use of the video game setting and body-switching premise to poke fun at the typical tropes found in most video games and the stereotypes associated with high school students (jock, nerd, popular girl, and the insecure reserved girl). On paper, it would probably seem pretty thin, but it works thanks to the charming cast and efficient execution from Kasdan.

I also distinctly remember an outpouring of internet users making a fuss over Karen Gillan's skimpy outfit in a jungle setting making no sense, because what's the internet without complaining? Well, this is addressed fairly quickly with the rationale female video game characters are typically designed that way. Just look at Laura Croft.

 

Kasdan also handles the action sequences quite well, considering it's his first time to direct an action film. The action's fun and over-the-top, just like it would be in an actual video game. Would any of it be up for contention alongside the best action sequences of the year? No, but they're all entertaining to watch. One weakness would be that some of the CG doesn't quite look authentic (namely the animals), but I suppose one could reason that was purposely done because of budgetary restraints and to match the video game setting. Plus, this is Jumanji... Not War for the Planet of the Apes... I'm not expecting ground-breaking, realistic visual effects from every single frame of this film.

As for the core cast, they're truly the ones who made it all work. It was incredibly entertaining to watch Dwayne "The Rock" Johnson, Karen Gillan, and Jack Black play against their traditional type-casting. Watching "The Rock" and Karen Gillan play awkward, insecure teenagers trapped inside practically perfect adult bodies was amusing to say the least. Though, it's Jack Black who stands out most as a superficial, social media obsessed teenage girl. I'd provide examples of the way his character's written, but I'd rather not giveaway the funniest moment of the movie that hasn't been abused in the trailers already. Kevin Hart, on the other hand, continues to seemingly act like himself and just run around screaming as the stock, slapstick comedian or whatever. That is admittedly one of the more grating elements of the film, but you probably won't have a  problem with it if you like Kevin Hart in other movies.

Alex Wolff, Ser'Darius Blain, Madison Iseman, and Morgan Turner play the real-life versions of the stereotyped teenagers characters a little on the nose, to the point that the high school bookends feel rather cliché, but they're all serviceable when used. You won't leave saying these four are the breakout stars of the movie because they're not in it all too much, but they're not grating either (which could have easily become a problem).

Nick Jonas is also in the film, and he's... fine, I guess... His character's probably the least interesting of the bunch because audiences are introduced to him quickly, and don't spend nearly as much time with him, but he's not really a hinderance or an asset. It seems like he's there mostly to have teenage girls swoon.

The one weak link would be Bobby Cannavale as the film's antagonist, Van Pelt (who's realy not at all like the version from the 1995 original). It's largely due to the screenplay, but Cannavale doesn't really do much of anything and his motivations are unclear. He kinda just has a menacing, foreboding presence and creeps you out because bugs are crawling all over him while he remains completely unbothered. He's just another forgettable, two-dimensional villain.

To me, Jumanji: Welcome to the Jungle is a fun, disposable action-comedy that will probably be completely forgotten in a matter of months. Is it a fun time at the theater worth a matinee? Yes. For parents, should you bring kids? I'll leave that up to you, because I think that depends on your leniency for language. I'll just inform you that there were some jokes said about the male anatomy I personally wouldn't want my children to hear if I were a parent. Nothing encroaching R-rated vulgarity, but still rather risqué for a PG-13 rated film and not exactly kid-friendly. 

In this crowded week at the box office leading up to the holidays, I've yet to see many of the films opening, but I can at least assure you Jumanji: Welcome to the Jungle is an entertaining use of two hours. Jumanji: Welcome to the Jungle is that surprising sequel that manages to successfully revitalize the original's premise for contemporary crowds.

Film Assessment: B-