'I'm Thinking of Ending Things' Review

If you missed my Tenet review, then welcome back! I'm writing once more, and hope to catch up on reviewing everything I've seen and neglected these past six months. I'll prioritize recent releases starting with Mulan, The New Mutants, and The Personal History of David Copperfield before doubling back to share Reel Recaps for March-August.

''I'm Thinking of Ending Things' Review

Synopsis: Full of misgivings, a young woman travels with her new boyfriend to his parents' secluded farm. Upon arriving, she comes to question everything she thought she knew about him and herself.

Runtime: 134 minutes

MPAA Rating: R (for language including some sexual references)

Who should see it? Adult fans of  Iain Reid's novel and Charlie Kaufman.

Adapted from Iain Reid's bestselling novel, I'm Thinking of Ending Things was written and directed for the screen by Charlie Kaufman. Before I continue, I feel it's worth noting that I haven't read the novel or seen Kaufman's prior work. Therefore, I may feel differently after doing so and revisiting IToET. This review is written without the benefit of that hindsight. Regardless, I anticipate a polarizing reception as more and more Netflix users discover the film. 

I rarely consider films to be profoundly pretentious, but can't help labeling IToET as such. Between the drawn-out car conversations and microscopic font size of the opening/closing credits, there's an air of superiority that grows old quickly. In the dialogue between Jake and the Young Woman, the two reference an abundance of obscure literature. It comes across as Kaufman condescending the audience who may be unfamiliar with such things. The story's ambiguous nature doesn't help matters either, as Kaufman presented seemingly contradictory details, and I was often left second-guessing my interpretation. After scouring IToET explained articles, I discovered I was on the right track. 

In of itself, ambiguity is a potent storytelling tool, but in this instance, it was very frustrating and didn't service the story. Kaufman communicates his message in such a way that it can only be fully understood by those familiar with the source material or willing to undergo some online research afterward. By the time you've done this, you've wasted nearly three hours. I arrived at the conclusion that Kaufman's script seems better suited for the stage due to the minimal locations and lengthy dialogue scenes between a tight-knit ensemble. That said, I'll admit the story occasionally benefited from cinematic flourishes such as cross-cutting, intimate framing, and a particularly hysterical visual gag. While I was frequently irritated by Kaufman's methodology, I admired the filmmaking which supported it. 

Though the core quartet of Jessie Buckley, Jesse Plemons, Toni Collette, and David Thewlis, fluctuating from understated to exaggerated, best elevate the material. Buckley and Plemons lend ample nuance to the fragile burgeoning relationship between their characters. In contrast, Collette and Thewlis operate on the other end of the spectrum as cooky parents excited to meet their son's girlfriend. In particular, Buckley's performance works wonders to ground the increasingly uncomfortable atmosphere. Plemons also enhances this aspect through Jake's lacking self-confidence and secondhand embarrassment introducing his parents to the Young Woman (how she's credited).

With only a passing familiarity of Charlie Kaufman's previous work (I hope to soon resolve this), I didn't know what to expect of I'm Thinking of Ending Things. Ultimately, I found myself at odds with the complexity of Kaufman's tangled narrative web. Perhaps I'd come around with subsequent viewings, but the film's bleak outlook and inflated sense of self-importance don't inspire such a desire. One thing's for sure, it left me thinking of writing things.

Film Assessment: B-

'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+

'Vice' Review

Nominated For: Best Picture, Best Director; Adam McKay, Best Actor; Christian Bale, Best Supporting Actor; Sam Rockwell, Best Supporting Actress; Amy Adams, Best Original Screenplay, Best Film Editing, and Best Makeup and Hairstyling.

Won: Best Makeup and Hairstyling.

Vice explores the epic story about how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today. 

Written and directed by Academy Award-winner Adam McKay, Vice is McKay's seventh directorial feature. Before 2015, McKay was mostly known for writing and directing mainstream comedies starring Will Ferrell such as Anchorman, Step Brothers, Talladega Nights, and The Other Guys. Then he made The Big Short and wound up winning the Oscar for Best Adapted Screenplay while the film received a total of five nominations including Best Picture and Best Director. Tasked with explaining the housing market crash of the late 2000s, McKay simplified matters via fourth wall breaks, symbolism, celebrity cameos, and so much more. Clearly, the switch-up worked well for McKay though, so it's not surprising he'd carry that style over to Vice. However, this time he's wholly demolished the fourth wall and dialed everything up to an eleven. So, chances are, you'll hate this film if you weren't a fan of The Big Short. Vice is already proving to be quite divisive amongst critics and audiences alike, but that should be expected given the political subject matter. Some may feel offended by McKay's twisted satire while others may think he didn't go far enough. 

Whatever the case may be, I'm not easily offended or all that interested in political rhetoric, so I personally wasn't bothered by any of McKay's creative decisions. In fact, I can't help but respect McKay's ambition due to the twisted, subversive route which Vice explores alongside its audience. Vice has little in common with traditional biographical pictures, and that was so refreshing to witness. Usually, bio-pics are a favorite of the Academy, so I wind up watching a few every year, but they rarely surprise me or differentiate from what's come before concerning narrative structure and style. There's nothing wrong with following a formula or abiding by a proven approach, but I'll be much more likely to admire bolder technique than something I've seen a thousand times before. McKay really swings for the fences with lacking subtlety, risky comedic gags, and some very inspired editing choices. While I wouldn't necessarily say every risk paid off, I found the dark comedy to be hilarious and the film to be more entrancing as it went on. 

McKay's method of presentation maintains a brisk momentum to what could have otherwise been a dull look at the life of Dick Cheney and his rise to unprecedented power. Just when you're expecting drawn-out dialogue, McKay cuts away. In spite of breezy pacing and humor, McKay upholds a degree of seriousness and grounds his depiction of Cheney somewhere between the extremes of caricature and a sympathetic lead. He's humanized to an extent but still seen as evil by the camera. In one particular fourth-wall break, Cheney provides his own justification for his actions, though the film doesn't concede to his viewpoint. One audience member left at that point, and if you're thinking this film seems to skew far too left, don't worry... McKay's well aware and calls himself and the audience out in a bonkers post-credits scene that I considered a riot (this will contribute to the film's polarized reception more than anything else). 

Regarding production quality, cinematographer Greig Fraser makes effective use of shadows and low-lighting, Nicholas Britell offers a varied set of compositions in his score, and the production design's excellent while the hair and makeup work is extraordinary, going a long way to transform the illustrious ensemble convincingly. Also, as a brief side-note, the events in Vice are clearly embellished and exaggerated for comedic effect so don't expect a historically accurate glimpse into Cheney's life. The filmmakers acknowledge as much with an opening title card that informs the audience Cheney was a secretive man so they "tried their f*cking best." I just went along for the ride with an open mind.

Elevating Vice from an experimental passion project to a serious awards contender, Christian Bale's once again committed wholeheartedly to physically transforming himself for a role. Over the years, Bale has gone through cycles of intentional weight loss and gain to better embody his characters, just look to The Machinist, The Dark Knight Trilogy, and American Hustle for evidence of this. It's surely an unhealthy practice, and Bale's recently acknowledged that it's beginning to catch up with him as he enters his late forties. Bale slips into the guise of Cheney like it's nothing and perfectly replicated his vocal mannerisms, steely gaze, and cold composure. Matching Bale beat-for-beat is counterpart chameleon actress Amy Adams. As Lynne Cheney, Adams only gained about 12-15 pounds in comparison to Bale's approximated 40-pound pack-on, but she wears the conniving Lynne Cheney persona like a glove. Their devious dynamic and calculated scheming behind-the-scenes in Washington D.C. was a fascinating and unnerving background element which enhanced the film's shady atmosphere. Both performances are well deserving of their current awards buzz, and I hope the momentum translates to Oscar nominations for the two of them at the very least. 

Amongst the stellar supporting cast, Sam Rockwell, Steve Carell, Tyler Perry, and Jesse Plemons all put forth solid performances. Rockwell channels the dopier side George W. Bush to great comedic effect, and Tyler Perry plays Colin Powell as very straight-faced. It honestly took me a while to view Donald Rumsfeld as anything other than Carell in extensive makeup, but as the film went on, that notion disappeared. Lastly, I wouldn't dare spoil Plemons role, but that will prove divisive to many as well. As for me, I personally dug it and considered it to be an interesting framing device. 

Vice is without a doubt the 2018 release vying for the title of the most creative feature, brimming with nuanced black comedy most filmmakers wouldn't dare poke with a twenty-foot-long stick. Not every component sticks the landing, but those which do, further contribute to the film's fascinating storytelling approach in a satisfying manner. 

Film Assessment: A

'Game Night' Review

Max and Annie are a competitive couple who hold weekly game nights with their close friends. One day, Max's brother Brooks decides to kick things up a notch by arranging a murder mystery party involving fake thugs and federal agents. When Brooks is kidnapped, everyone assumes that it's a staged part of the game and they quickly set out to solve the clues. However, they quickly discover the situation is much more serious then they could have ever imagined... 

John Francis Daley and Johnathan Goldstein co-directed Game Night while Mark Perez wrote the screenplay, and I must say I was quite impressed by their work considering how little I was expecting from the film. If I'm being completely honest, I had no intention of watching Game Night when I went to the theater as I actually went to see Annihilation... However, the showing I planned on watching was sold out so I settled for Game Night as a last minute stand-in and you now have the pleasure of reading a review I probably wouldn't have written otherwise. 

For me, the crucial component of a comedy is whether it made me laugh consistently or not, and Game Night definitely delivered in that department. Perez's script is full of zingers and the cast comedic timing is spot-on, so I cackled on several occasions. I was also rather impressed how Daley and Goldstein didn't simply take the "R" rating as a liberty to steep into the lazy territory most raunchy comedies traverse these days. My main source of criticism resides with the marketing for showcasing some of the funnier bits in trailers, but I suppose the studio has gotta do what it takes to get butts in seats. Other than that, I'd say the characters are rather simple and not too compelling. They're very paint-by-numbers with cliché archetypes, but I honestly wasn't expecting much else considering it's a comedy.

As for the cast, everyone does a solid job and is afforded their moment to shine. Jason Bateman and Rachel McAdams prove to have a delightful on-screen dynamic and are thoroughly hilarious in numerous scenes. Lamorne Morris, Kylie Bunbury, Billy Magnussen, and Sharon Horgan are also incredibly engaging as Max and Annie's couple friends and Kyle Chandler is convincingly overconfident as Max's self-important brother Brooks. Meanwhile, Jesse Plemons is probably the one you'll be thinking about most afterwards due to the eccentricities of his creepy character. With that in mind, I'd advise sticking around through the first part of the credits for some stuff you may get a kick out of!

If you're apprehensive about seeing Game Night because you're afraid it might be a mediocre modern comedy, I can assure you that you'll be rolling some loaded dice guaranteeing lots of laughter and a great time at the theater. It's understandable that you may have a difficult time choosing what to see this weekend if you missed out on Black Panther or maybe want to even see it a second time, but Game Night certainly qualifies as a capable comedy. When contemplating what to watch this weekend, remember either will suffice and it's always better to be safe than Sorry!

Film Assessment: B

'American Made' Review

[This review was originally written in October 2017 and is now being published to coincide with the digital home media release. For an explanation of this, visit my Fall 2017 Important Update post.] 

American Made jettisons off the runway to tell the true story of Barry Seal, a TWA pilot recruited by the CIA to provide reconnaissance photos of the developing Communist threat in Central America. The covert operation quickly spirals out of control when Seal's piloting prowess catches the attention of the Medellin Cartel, and he becomes embroiled in flying guns, drugs, and Contras across borders in an operation that'd later be exposed as the Iran-Contra Affair.

American Made marks the second teaming of director Doug Liman with star Tom Cruise after Live. Die. Repeat. (or Edge of Tomorrow... just call it whichever title you prefer at this point I suppose). While I'd seen that pairing work wonders before, I was still skeptical considering Cruise's recent streak of stinkers: Jack Reacher: Never Go Back and The Mummy (2017). If there's one thing to said about Cruise though, it's that the man always gives his all, regardless of the quality of the film surrounding him. And it's the dynamic combination of Cruise's electric performance and Liman's dedicated direction that are able to charge American Made, and then some.

The film utilizes voice-over narration and visual graphics of maps to explain all the intricacies of the affair, similarly to how War Dogs and The Wolf Of Wall Street explained the logistics of gun running and the stock market. I liked this technique because it simplified the more complicated elements that would have been completely lost on me otherwise. It's also worth noting that Liman interwove actual footage of the events along with the film itself to grant the biopic a documentary-eque aesthetic. This technique is then mirrored in César Charlone's cinematography when certain scenes are shot with less discipline and underscored by rocking tunes to add further credence to this out of control narrative.

I'm glad that Linman sought to tell this story in a fun fashion, because otherwise we'd have been stuck with a boring biopic. Gary Spinelli's script playfully flies from one screwy situation to the next, ensuring audiences remember how messed up this all is by constantly reminding them of the severity of Seal's actions. Spinelli also remembers to keep things grounded and accounts for the measured details of how the entire ordeal affected Seal's personal life. This could have easily became uninteresting, but audiences will have likely been won over by Cruise's charm at this point, so they'll be reasonably invested in the characters and willing to stick around for the long haul (family and all). 

If there was one thing holding everything together though, it'd undoubtedly be the sly performance from Tom Cruise. Cruise appears to be having the time of his life making this movie, and it really shines through his captivating, roguish portrayal of Barry Seal. Every moment of Cruise's screen time is an utter delight, regardless of whether he's in the middle of a cartel shootout or riding away on a child's bicycle covered in cocaine. Very few actors could pull off such strange scenes as those, but Cruise consistently comes out on top.

At Cruise's side, Sarah Wright imbues Seal's wife with a kind, compassionate, and loving heart. Wright handles her dramatic bits quite well when push comes to shove, but for the most part is relegated to a stock supporting capacity.

Elsewhere, Domhnall Gleeson's kooky CIA operative 'Schafer' stands as a refreshing departure from the serious stint of his career (Brooklyn, Ex Machina, mother!, The Revenant, and Star Wars: The Force Awakens). Gleeson is toned down in comparison to Cruise's kookiness, but still stands out as an eccentric onscreen presence. Caleb Landry Jones, Jesse Plemons, and Jayma Mays also deserve mentions for their swell supporting roles as a dim-witted redneck, small town sheriff, and a relentless government official respectively.

So I suppose you're all wondering if American Made's outlandish true story was made for Americans... Well, thanks to Linman and Cruise, American Made is a wild ride well worth boarding regardless of where you're from!

Film Assessment: B+