A family’s serenity turns to chaos when a group of doppelgängers begins to terrorize them.
Rarely do I prepare myself to see a film, but Jordan Peele’s Us is one of those rare movies I didn’t need to see more than one trailer for, nor did I need the hype of other critics. I also wanted to judge this film off its own merit rather than comparing it to his freshman standout, Get Out (which made my #1 film of 2017). Comparisons will be made, but I’ll try to keep them as minimal as possible.
The stand out feature is that this film is beautifully shot. The cinematography of this movie adapts to its environment seamlessly whether it’s a vibrant beach scene or a dark setting where just enough of the characters faces needs to be made out.
Also, I thought Lupita Nyong’o as Adelaide’s doppelganger, Red was a terrifying character. Everything from her awkward pantomimes to her unhinged voice was the thing of nightmares.
Now, there were a few (lots of) issues I did have with the film. I left the theater with more frustrating questions than fulfilling answers. It felt like too many ideas where in the plot and too much symbolism was forcefully wedged in to satisfy the expectations of the Get Out fans, but it came out as a jumbled mess of psychology that I didn’t want to spend my viewing time deciphering.
A lot of the horror that was built up for this film was also very deflating as the Wilson family was spared instant death and provided a background story by their doppleganger’s while others were swiftly killed before they knew what hit them. Halfway through the film, you pretty much knew they were safe from any death or violence which takes away all tension as a viewer.
The connection between the characters and their dopplegangers wasn’t fleshed out enough. Some things came off as inconsistent and driven for plot convenience, rather than a solution. I didn’t get many of the motivations and the decisions that drove the actions of our protagonists. I didn’t understand why the dopplegangers wore red jumpsuits and just one fingerless driving glove. The one symbolism I understood was the scissors, which if you look at the handle on the poster, looks like mirrored heads. This was the weapon used to cut the connection between themselves and their other half. Otherwise, I may need to see some other folks interpretations of the film.
Also, the editing was not good. There were scenes that were waaaay too long and could’ve used a few chops. The opening credit scene reminded me of an old horror movie from the 70’s (think the Amityville Horror ’79) where the title card has nothing going on, and as a viewer I felt stuck looking at a bunch of rabbits for what I assume was 3 minutes just waiting for the movie to get started.
Overall Grade: C-
There’s just too many questions, and too many inconsistencies to feel comfortable giving it anything higher. Maybe in the upcoming weeks certain plot revelations might come to fruition, but I’m not looking for Kubrick levels of hidden meaning, and this is not Kubrick-esque. I’ll chalk this up to a sophomore slump by Peele and the pressures of following up to such an acclaimed film. I just got hints of M. Night Shyamalan in this movie, meaning a Director/Writer who is owning a genre and gets type-casted to that medium. Let’s hope Jordan Peele doesn’t head down that same road.
The Mandalorian Gets Star Wars Right
Star Wars is pretty silly, and that’s okay. If we want Shakespeare, we already have it. I don’t expect some fantasy silliness to ever take the place of nutritious art. Still, I like candy, too, and that’s what we get from those films whittled from the paper-thin mythologies of the original.
Enter The Mandalorian, like some nameless Sergio Leone anti-hero through a planked saloon door, stopping the piano player and all conversation in its tracks. There’s a stranger in town. Could be Clint Eastwood, could be Charles Bronson. In this case, it’s Pedro Pascal, a Chilean actor best known for Game of Thrones and Narcos. You’d never know it, though, since as of episode 7 we’ve yet to see “Mando” sans helmet. This only adds to a coolness originally displayed by another famous Mandalorian, Boba Fett. Boba actually debuted between Star Wars and The Empire Strikes Back in a hastily produced Christmas cartoon.
Not everyone likes it when silly wants to be taken seriously. Still, there’s a way to do it that’s not as jarring as Adam West v. Christian Bale.
Jon Favreau, whose Iron Man truly kicked off the Marvel Cinematic Universe, acts as executive producer and showrunner of The Mandalorian, and he knows just how to balance the whole thing with an aesthetic more Alex Ross than Jack Kirby. As head writer, Favreau successfully walks that tightrope between nostalgia and the now. He tempers seriousness with one of the most adorable little puppets you ever did see. I’m talking about “The Child,” better known via recent memes as “Baby Yoda.” In the same way that the Mandalorian isn’t Boba Fett, the Child isn’t Yoda – yet both have those original characters baked into their DNA.
At 15 million clams an episode, you get some excellent production value. Cinematography, music, and special effects are all on point, as are cameos from the likes of Amy Sedaris, Bill Burr, Werner Herzog, Nick Nolte, Carl Weathers, Giancarlo Esposito, and Taika Waititi. Waititi also directed the final episode of Season 1, to be released December 27th.
The Mandalorian may be the best byproduct of the original series. Check it out on Disney+.
Aaron Paul Breaks Bad Once Again
Vince Gilligan brings us the further adventures of Jesse Pinkman as only he can, and the results are pretty entertaining.
Released on Netflix and in theaters on Friday, El Camino: A Breaking Bad Movie steps back and forward in time to resolve Pinkman’s story in two tension packed hours. Thankfully, Gilligan doesn’t bite off more than he can chew, and manages to pack more action into this story than in four frickin’ seasons of Better Call Saul.
You know that feeling you get when an episode of Saul ends and you feel like you’ve just been tricked into watching lawyers talking for an hour? You won’t have that with El Camino.
Now, if they could just spin off Jonathan Banks the same way.
Some familiar faces show up here and there, and they thankfully don’t chew up too much of the scenery. Worth noting that Robert Forster does a fine job in El Camino, and he unfortunately passed away the day the film was released. Peace out, Mr. Forster.
No villain in comic book history has been more praised, dissected, and interpreted than the Joker. His enigmatic past has given several authors opportunity to give their take on his origins, yet never stapling him down to any legitimate background. This film is another folklore to add to the potential rise of a mad man.
If you’re expecting a superhero movie, you have definitely come to the wrong place. This film is a character study of a man suffering from trauma, abuse, and mental illness. It relates less to the Batman comics and more to a blend of Martin Scorsese‘s Taxi Driver & King of Comedy which ironically both star Robert De Niro. It dives deep into the descent of a delusional man pushed to his absolute limits as he begins to find his ultimate self in the bowels of a maddening society.
Joaquin Phoenix was spectacular in the role, embodying the look and characteristics of the villain we are all familiar with, yet adding a twisted perspective that humanizes his actions and roots it in many forms of anguish. His body twisting in macabre movements added to a tone which conflicted its viewer between rooting for him or slowly separating ourselves from his bizarre antics.
The environment of the movie is perfect for this character: New York City in the early 80’s, which is how we’ve been conditioned to stereotype Gotham. It’s dirty, dreadful, ugly, and cultivated all the elements needed to allow sickness to thrive.
The supporting cast added value to the movie without standing out more than Joaquin, who is impossible to outshine.
Only two big flaws I found with the movie:
1. It was very slow-paced. Just surpassing two hours it felt like it dragged during certain scenes and some tighter editing could’ve cured some of that.
2. I would’ve love to have seen more of the clown make-up. Even though Arthur Fleck was interesting on his own, there was a certain level of superhuman strength he dawned with the clown paint. He was evil, he was scary, and inhuman, and that would’ve been just as intriguing to observe.
Other than that. It was a pretty solid movie.
Overall Grade: B+
Joker was more fascinating than I anticipated, and strikes a good balance between comedy and tragedy. I recommend it to anyone that is happy cringing through some really foul human behavior.