The Irishman (2019)

Director: Martin Scorsese
Writer: Steven Zaillian (screenplay)/Charles Brandt (source material)

It’s like a beautiful paint by numbers picture. It looks exactly like what it’s supposed to look like. Pretty, to be sure, but safe. There’s everything you would expect, but very little you wouldn’t. And for me, that’s what made it just a bit disappointing. It was long, although that in and of itself isn’t a reason to malign a film. Here, though, I just felt like we had seen all of this before from Director Scorsese and his merry band of gangsters in earlier films. What draws me to crime films is that glimpse into a world so unfamiliar, so if you want me to invest three hours, you’ve got to give me something a little different. I will say that it was worthwhile to see Joe Pesci cast against type as the calm, circumspect one. And Al Pacino FINALLY gets to play the loud boisterous guy for a change! (I kid, I kid!)

IMDb voters give it an even 8.0. I’ll go with a 7. There’s nothing really wrong with it, and maybe my expectations were too high going in, but it just didn’t “wow” me in the way that his previous films have. If you can spare the three-plus hours, it’s definitely worth a watch, but I don’t see myself going back to it again and again, like I do with, say, Goodfellas. (running time 3:29)

Dragged Across Concrete

Director: S. Craig Zahler
Writer: S. Craig Zahler

This is what I like to call a film of convergence. We’re introduced to two separate storylines, with the knowledge that at some point, those lines are going to meet, and—in this case—bad things are going to happen. The first storyline has to do with two cops, Ridgeman (Mel Gibson) and Lurasetti (Vince Vaughn) who get caught on camera roughing up a drug dealer and get suspended without pay. They both need money, so they decide to rob another drug dealer, an “out-of-towner.” Needless to say, in this genre of film, things don’t always go as planned. The second storyline introduces us to Henry Johns (Tory Kittles), a smart, small-time crook who just got out of prison to find his mom working as a prostitute to support herself and his wheelchair-bound little brother, Ethan. Also needing money, he lets an old neighborhood friend, Biscuit (Michael Jai White) talk him into signing on with a gang of psychotics looking to steal a bunch of gold.

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Knives Out (2019)

Director: Rian Johnson

I love a good, old-fashioned cozy mystery. Knives Out isn’t a good one, however. It’s a great one. Writer/Director Rian Johnson channels his inner Agatha Christie to bring us the story of a dysfunctional family who discovers, the morning after the family patriarch’s birthday party, that said patriarch lies dead, his throat cut, in what appears to be a gruesome suicide. But this is no ordinary patriarch; this is Harlan Thrombey, multi-millionaire mystery writer, played by Christopher Plummer. And it soon becomes evident that it may not be a suicide, thanks to the presence of Consulting Detective Benoit Blanc (Daniel Craig, doing Sherlock Holmes, by way of Hercule Poiroit, by way of…well, someone with an outrageous southern accent).

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Summer of 84 (2018)

Summer of 84, directed by the team of François Simard, Anouk Whissell, and Yoann-Karl Whissell, has many of the elements of an ‘80s teen movie: a Tangerine Dream-like score, a clubhouse where the guys hang out, the archetypal group of friends including the troubled friend with the shitty home life, who puts up a tough exterior (Judah Lewis), the idyllic façade of suburban life, even the fantasy blonde girl next door (Tiera Skovbye), who always seems to be changing in front of her bedroom window. This is much darker than films from that era, though. It’s Stand By Me meets Rear Window.

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Only God Forgives (2013)

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(Originally from Facebook – August 1, 2013)

I’m not sure what I just watched. Talk about your polarizing films. I noticed that this film has been the subject of a back and forth online, with people either loving it or hating it. For the life of me, I can’t figure out why anyone would love it. I thought maybe I missed something, misunderstood something, so I spent the better part of an hour reading through reviews (pro and amateur), trying to figure out why those who thought it was great thought it was great. The truth is, there was nothing in those reviews that was revelatory to me. Nothing I hadn’t seen in the film. The (unintentionally) funniest one was Richard Roeper’s review for the Chicago Sun-Times. His review is almost entirely a list of all the things I found awful about it, and yet his last sentence? “This is one of the most shocking and one of the best movies of the year.” Well, he’s half right, anyway. Continue reading

West of Memphis (2012)

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(Originally from Facebook – August 11, 2013)

There’s nothing new in the presentation, but this is a must-see because of the content. Nearly 20 years ago I watched the HBO documentary Paradise Lost: The Child Murders at Robin Hood Hills. The documentary West of Memphis serves as a coda to that film, the tragic tale of the murder of three young boys, further compounded by questions about the official story of events. West of Memphis, produced by Peter Jackson revisits the three teens, now adults, convicted of the crime. Due in large part to the influence of celebrities such as Eddie Vedder and Johnny Depp, who believe the men are innocent, the case has remained in the forefront. Continue reading

Lawless (2012)

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(Originally from Facebook – August 13, 2013)

I’m not sure why I missed this one the first time around. It’s got a great cast. Maybe the advertising? I should know better than to listen to them anyway. It’s the true (although I’m always hesitant to use that term) story of three brothers who run moonshine in 1930s Virginia. Continue reading

The Iceman (2012)

(Originally from Facebook – August 16, 2013)

This should have been a no-brainer win for me. I like Michael Shannon (and most of the rest of the cast, which includes Robert Davi, James Franco, and David Schwimmer), and I had seen the HBO documentary with the real “Ice Man” years ago. Something just didn’t quite gel for me, though. The performances were good, and for me the surprise was Chris Evans, whom I didn’t even recognize until well on into the film. The mood was effectively tense. I even laughed at the “disco dancing” scene. Ultimately, though, it just felt a little flat. Continue reading

Seven Psychopaths (2012)

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(Originally from Facebook – August 20, 2013)

SEVEN PSYCHOPATHS is Martin McDonagh’s 2012 dark comedy/thriller. It’s really an intriguing name, but I’m not sure the film lived up to it. It’s not that there weren’t seven psychopaths actually in it. (I’m pretty sure there were more than seven.) It’s that it seemed a little disjointed to me; an interesting title, with a not-as-interesting follow-through. In some ways it’s a “meta”-film, about the film within a film that Colin Farrell’s character, Marty, is writing. And after a while, I thought it was just a touch intrusive. Continue reading

Now You See Me (2013)

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(Originally from Facebook – August 3, 2013)

Sigh. I wanted to like this one. A caper film. With magic. Should have been right up my alley. But I forgot about the Eisenberg Principle, which is that whenever I see Jesse Eisenberg in a film, I have an overwhelming desire to punch him in the face…repeatedly. Here, he was at his face-punchingly worst. Add to that a lack of verisimilitude, a twist that you ought to see coming well before it arrives, and a completely unnecessary (and undeveloped) romantic subplot, and I was underwhelmed. It did have potential, but to my mind, the final third went off the rails. It’s getting a good score at IMDB (7.4), but maybe that’s just misdirection. 😉 I’m giving it a 4.5, with the expectation that many people are going to disagree. (running time 1:55)