'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+

'Joker' Review

Nominated For: Best Picture, Best Director; Todd Phillips, Best Actor; Joaquin Phoenix, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Actor; Joaquin Phoenix and Best Original Score.

Synopsis: Arthur Fleck struggles to find his way in Gotham's fractured society. A clown-for-hire by day, he aspires to be a stand-up comic.. but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.

Runtime: 121 minutes

MPAA Rating: R (for strong bloody violence, disturbing behavior, language and brief sexual images)

Who should see it? Adult fans of DC Comics and the Joker.

Directed by Todd Phillips with a screenplay from Phillips and Scott Silver, Joker is a standalone film removed from the baggage of a shared cinematic universe. Audiences should prepare themselves for an unsettling, artistic character piece about DC Comics' preeminent villain. While not necessarily a faithful iteration, the representation of Joker put forth by Phillips and Phoenix encapsulates the character's essence to a tee. Arthur lashes out with no particular ideology in mind, choosing to instead relish in the ensuing chaos he's caused. There's no rhyme or reason to his actions. He's crazy. Drawing inspiration from the work of Martin Scorsese (notably Taxi Driver & The King of Comedy), Joker depicts a troubled individual surrendering to his darkest impulses and retaliating against society.

For the past few months, Joker has been a hot topic of conversation as many speculated whether the film might incite real-world violence or not. Frankly, I find this controversy to be absurd and grossly overblown. If anything, the media coverage over the controversy is more likely to inspire acts of violence than the movie itself. Phillips doesn't glorify Arthur's disturbing behavior in the slightest and makes it very clear that he is unhinged. Not to mention, onscreen violence and mentally ill protagonists are nothing new for Hollywood. With that said, I understand this isn't a film for everyone. The violence and subject matter will undoubtedly add to its polarizing reception among other things. 

However, I was riveted and spellbound by an increasingly twisted turn of events. Evocative imagery from cinematographer Lawrence Sher coupled with Hildur Guðnadóttir's nerve-wracking musical score and Mark Friedberg's grungy production design forms an enticing and dread-inducing atmosphere. That maddening sensation festers in a slow-burn leading towards the film's inevitable chaotic conclusion, ideally embodying the Clown Prince of Crime's manic mental state. All the while, Arthur's status as an unreliable narrator further contributed to the insanity.

The Joker is a notoriously challenging role which has enabled all-time great performances and a few not so memorable ones, but Joaquin Phoenix proved to be well up to the task as he commands the screen for the film's entire two-hour duration. His portrayal's not only mentally and psychologically taxing, but physically transformative as well. An emaciated and unhinged Phoenix skillfully contrasts Arthur's sinister nature and naivety to match the profile of a potential serial killer. Phoenix's intensity lends a layer of realism to the role that makes his incarnation all the more frightening when all is said and done. Scattered amongst the supporting cast, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, and Brian Tyree Henry are noteworthy, but this is Phoenix's showcase through and through. 

In a year filled with lighthearted comic-book adaptations, Joker is a refreshing change of pace. It dances to the beat of its own rhythm. Uninterested in appeasing the masses, it offers an uncompromising glimpse into the origins of an iconic antagonist. For better or worse, it's what Joker would have wanted. So stop clowning around and go see Joker!

Film Assessment: A+ A-

'Joy' Review

Nominated For: Best Actress; Jennifer Lawrence.

Joy is the third film directed by David O. Russell starring both Jennifer Lawrence and Bradley Cooper that tells the underdog story of a woman who rose in an industry creating many household inventions. I was taken aback by Joy because I wasn't expecting too much upon entering the film but I really enjoyed it. I've noticed that this film's Rotten Tomatoes score as well as it's other reviews are somewhat low for a film that is obviously trying to be an Academy Award contender and I can say that's due to a clunky beginning and a few minor flaws. Some little nitpicks I noticed took me out of the experience were the lack of attention to Joy's son and one little awkward lip-sync that wasn't dubbed over very well. There was one moment where Joy was supposedly speaking to her son but he was hidden behind a door and didn't really say much that I just sat and thought to myself "Hmm I guess they didn't want to pay a child actor for this?" and I would have rather the film makers just ignored the fact she had a son and written him out of the film rather than try to force him into the story. However despite its' flaws, the final two-thirds of Joy are very enjoyable and really hooked me as the story becomes much more engaging. David Russell wrote and directed Joy and nothing he provided quite stood out to me as impressive or noteworthy but rather very reserved in his style. Joy s strength is that it bolsters many great performances. Jennifer Lawrence is terrific stepping into the role of the everywoman struggling to find their true self and really comes across as a strong, independent female character, which leads to some feminist undertones amongst the film's message. These messages don't overtake the film and rather help to service the story. The supporting cast were all serviceable but only a few slightly stood out to me in Joy. Bradley Cooper doesn't have too much to do in the film but is quite serviceable and does well in his role. Robert De Niro gives a great performance as well adding quite a bit of comedic relief to the film. I also enjoyed Edgar Ramírez's interpretation as Joy's ex-husband. As a whole, I can say the cast in Joy are all effective but primarily function as a support system for Jenifer Lawrence boosting her performance. Overall, I can say that Joy is a great film that really surprised me and I would strongly suggest it for those who have already seen Star Wars Episode VII: The Force Awakens and are looking for a new film to watch this weekend.

Film Assessment: A-