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Film reviews

A Different Man Review

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There is the thought of solitude. It weaves heavily in the introduction of A Different Man. Written and directed by Aaron Schimberg, A Different Man keeps its dramatic depths shallow. The writing is structured to make the audience feel sorry for the main character. It does well with this because of its frequent tunes of lighting of question throughout its continuity of dramatics. The writing of a man hoping for a change, and then it all goes down the opposite direction. The path of faith is set toward someone else and not in the path of its predecessor. There is lots of resentment and tension that boils inevitably and explicitly.

The film gears on Edward (played by Sebastian Stan). Edward is a struggling actor. His face has uninviting traits. The looks of it look like a retired Frankenstein on acid.  His neighbor Ingrid (played by Renate Reinsve) comes around. She is neighborly with Edward (despite his appearance). From the looks of the interiors, it is a clever portrait. Edward is depressed (due to his uninviting facial traits).

There is a sense that change can make a difference. In Edward’s situation, it is not so life changing. Edward goes through procedures to have a regular (human) face. When this starts, all bets of joy (for Edward) are off. Schimberg’s writing is a continuous rejection. What Edward has hoped for all goes wrong. There is a man named Oswald (played by Adam Pearson). Oswald is playing a role in a play, and it is based on Edward’s sad life. Edward finds himself in a mental state of agitation.

There is jealousy and curiosity in A Different Man. The play is in the direction of Ingrid. What does Ingrid see in Oswald over Edward? Why is Edward losing it? Who is more of an asset to the dramatics of the film itself? The dynamics of jealousy, love, disconnect, and the theatricals boil high in A Different Man.

It is like misery is made to be taken advantage of (through the eyes of Stan’s performance as Edward). Edward sees his procedure as a light to a new beginning. The “new beginning” just fell into the eyes and attention of somebody else. A Different Man is an envious journey that is gradual of a dark and comedic track. The situation (in the film) is not happy. A Different Man does maintain a steady mode of characterizations, however.

Edward assumes he will get attention (by getting surgery on his face). Edward continues the process. He feels this gives him the chance to get closer to Ingrid. This tactic (kind of) does, but that is until Oswald comes in. Oswald has taken the image of Edward’s life. Instead of Edward finding fame, he finds misery. Is there a new path for Edward to not feel a strong sense of rejection?

The focus of one dreading loneliness finds unique misdirection. A Different Man plays out the jealousy vibe well. With clarification, A Different Man is not accomplished realistically. It is the clever direction (of the film) which is inviting. Two-and-a-half out of four stars for A Different Man.

Film reviews

Saturday Night Review

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There is always organized chaos surrounding any production whether it’s a play, a musical, a sketch show or a movie set, but the show must go on. Writer and director Jason Reitman shines the light on the creative process in Saturday Night which is a satirical gem of historic value. It is a true story filled with many moving parts. As a fan of Saturday Night Live, all the history came back to me during Saturday Night even though some of it happened before my time. This movie took me to back to memories of old skits involving George Carlin, Chevy Chase, and others. The story highlights how since the early days of the show the essential direction of Saturday Night was fueled by the pressure for laughs.

The film takes place in October of 1975. Many writers and comedians are together to put on a live performance a half-an-hour before midnight. The man running the show is Lorne Michaels (played by Gabriel LaBelle), and his co-workers are Dick Ebersol (played by Cooper Hoffman) and Neil Levy (played by Andrew Barth Feldman). The studio is in chaos. The show has loads of potential with many running skit ideas. The ultimate question is, “Will it work?” The budget and structure are still all over the place, and time is of the essence. 

As the chaos behind the scenes move swiftly, a unique array of writers and comedians come into the mix. From Jim Henson (played by Nicholas Braun), Gilda Radner (played by Ella Hunt), Chevy Chase (played by Cory Michael Smith), Dan Aykroyd (played by Dylan O’Brien), John Belushi (played by Matt Wood), Garrett Morris (played by Lamorne Morris), and so many more. An image is painted of where many of these artists were standing before they took the stage on Saturday Night Live. The picture that emerges makes it clear that this show was not easy, but the energy and the political atmosphere made Saturday Night a masterpiece.

As these characters evolve, the show does a stellar job managing egos and personalities. This is particularly true with big characterizations of Belushi, Aykroyd, and Chase. They give off a vibe that they feel the show they are about to do has the potential of being below them. Show business is a tough business today and Saturday Night showcases how it was much more complicated back then.

At times, Lorne is practically losing his mind. He keeps thinking about everything that could go wrong and what will be said. There are many layers of real and potential complications. Saturday Night is bonkers! The quirkiness of the actors adds to the craziness. Braun as Henson brings creativity to the character as well as a dose of well-written absurdity. The recurring question is, “Which sketches fit best for the upcoming show?”The big dogs of the business are Dave Tebet (played by Willem Dafoe) and Milton Berle (played by J.K. Simmons). They know the business and how ugly it gets. Their desire for success is portrayed vividly in Saturday Night. It’s a mad world of trying to “nail it” from the beginning.

Reitman’s direction makes the audience feel the sense of urgency in Saturday Night. The lighting is perfect for the nostalgia of the era and the studio in Radio City Music Hall shines with 70s jams that are mesmerizing. The night is young, but can Lorne and Dick pull this off as they hit plateaus with writers, business people, and comedians? The writing offers athought-provoking look back at the early days of Saturday Night Live that is not to be missed. Four out of four stars.

Film reviews

Joker: Folie a Deux Review

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Five years later, Joaquin Phoenix is back as Arthur Fleck/Jokerand Todd Phillips is back as the director. I found this much-anticipated continuation lacking. Not in a completely negative way, but more because it is totally opposite from what many might expect. It is like the evil and terror from the first Jokeralmost never happened. Joker: Folie a Deux feels like a circus…in a prison cell and legal suits.

In this film, Arthur is amid legal proceedings for his violent crimes from the previous film. This time, however, he has made his prison environment feel like home. Nothing has really changed in his characterizations of an absurd mental illness. Despite all his troubles, he has become quite famous due to his criminal behaviors. His attorney is Maryanne Stewart (played by Catherine Keener). She tries to convince Arthur that he should not present himself as the Joker which is difficult for him because he believes he is so special. This does not help his case nor does taunting a police guard, Jackie Sullivan (played by Brendan Gleeson).  He despises Arthur’s presence with passion. With all the hatred, fame, and bizarre attention that Arthur loves, there is one special person who has a bad influence that comes into the picture. That lady is Lee Quinzel, and her stage name is Harley Quinn (played by Lady Gaga).

The criminalities abound for Arthur, and he cannot dismiss his Joker persona. He finds happiness when he falls in love with Lee Quinzel (when she uses her stage name Harley Quinn). Together, they create a world of boiling evil and catastrophe. Their vengeance is daring, but the presentation is flat. Too many moments they share on screen transition to them singing so don’t expect a lot of action or suspenseful violence in Joker: Folie a Deux.  

With performances from Phoenix and Gaga, I was expecting some real eye-openers during the movie.  Although the writing is not too bad, there seems to be misdirection which causes thestory to not vibe all that well in Joker: Folie a Deux. With Arthur’s new love and his various trial dates, the film does not have a clear path to balance out its stressors.  Instead, Phoenix’s character creates a circus of wonders, but is unsuccessful in finding meaning or presenting the big picture. The halting point is that Arthur/Joker is in prison. Therefore, the story relies too much on the fascination of the ridiculous love between Arthur and Lee/Joker and Harley Quinn. Their bizarre tangos fueled by their unique brands of crazy make for a weird ride.

In the end, this sequel relies too much on Arthur finding ways to feel powerful. While he has some success, the film is a sub-par continuation in a theatrical setting. Joker: Folie a Deux does manage to hit the bar of mediocrity. It isn’t terrible but is simply lacking in far too many areas and is not nearly as compelling as the first one. Two out of four stars.