It originally came out in May 2019 on Netflix, but it wasn’t until this past summer of 2020, during the confinement when I finally had the chance to sit down and binge on seasons 1 & 2. The show runs for roughly 30 minutes at 10 episodes per season, making it very easy to binge through the whole thing in a few sittings.
It’s essentially a dark comedy but with a lot more drama than comedy; the humor and comedic moments are hilarious, but when the drama arrives, the show gets dark pretty fast.
We have Jenn (Christina Applegate), a widower searching for her husband’s killer, who was the victim of a hit and run driver. She spends most of her time obsessively looking for speeding cars passing through the scene of her husband’s death, with the hopes of finding a lead to the hit and run driver who killed her husband. She theorizes that perhaps the killer might be living in her neighborhood. Christina Applegate was nominated for an EMMY for this performance, probably her most intense performance ever. She is remarkable here.
While attending a grief support group, Jennifer meets Judy (Linda Cardellini). Judy is an upbeat, positive-minded person but seems to be hiding a secret. Her interest in befriending Jenn is suspicious. Linda Cardellini made this character likable — at first, I was taken aback by her decision to get close to Jenn, but as the show progresses, you cannot help but root for Judy.
On a dual role, playing twin brothers Steve and Ben, James Marsden adds a unique dynamic to the plot. Katey Segal’s addition to the cast was an excellent choice; her character has a manipulative, sinister vibe to it. I’m looking forward to seeing more of this character in season 3, especially when she gets to interact with Jenn, which will feel like an unofficial Married with Children reunion of sorts.
The acting is what makes this type of material work. The entire ensemble cast is excellent—lots of drama, emotions, and heavy emotional content. The writing feels real and raw. The acting and the writing come together naturally and organically. The dialogue is sharp and witty. Once the two female leads are established as characters, their personality traits remain consistent. The rest of the female characters, like Detective Perez and Jenn’s mother-in-law, are well written — all the supporting characters are compelling and exciting.
There is this unique display of affluential, upper-class living portrayed by the luxury and flawless appearance of the houses inhabited by most of the central characters. They present this illusion of perfection, which is a mirage of the chaos, misery, and overall unhappiness in their personal lives. There is a particular scene when Jenn is crying her eyes out while an immaculate-looking kitchen surrounds her; A perfect example of the facade her character exhibits.
Season 1: It is mostly about Jenn’s grief and her family dynamics.
Season 2: We get to know more about Judy and explore her backstory further. There are many layers to Judy’s backstory, and season 2 gives you a more in-depth look at her life.
Netflix announced in July 2020 that a 3rd and final season would be coming, but there have been rumors of a possible cancellation, which would be sad and unfortunate. This show deserves to come full circle and bring Judy and Jenn’s story to a conclusion.
The legend of El Cucu finally gets a spot on mainstream TV — Based on a Stephen King novel and adapted for TV by best-selling crime novelist Richard Price — The Outsider is not a straightforward murder mystery like I initially imagined; it is a detective crime drama with a huge supernatural component.
The premise is not as simple as it seems: A kid has been murdered in a small town, and all of the forensic evidence points to the local little league coach Terry (Jason Bateman) as the killer. But coach Terry seems to be well-liked by all the town locals. However, plenty of evidence points to him being miles away from town at a conference when the murder happened.
Detective Ralph Anderson (Ben Mendelsohn) is a grief-stricken cop who has tragically lost his kid recently. Ralph is hell-bent on solving this crime and is convinced coach Terry is guilty.
The paradox of being in two places at the same time becomes, at first, the main obstacle our protagonist must solve. This is a dark but slow and steady show. It can be a bit frustrating if you are not into slow-moving plots. Nevertheless, there are some solid elements to The Outsider that merits watching it.
There are some weird but pretty cool camera shots and angles. We have different and exciting characters that feel real; they seem like regular people confronted all of a sudden with the supernatural, and we get to see how they attempt to rationalize things that they cannot explain rationally. The entire ensemble cast of supporting characters is excellent.
The character of Holly Gibney (Cynthia Erivo) is the best thing about this show; she adds a particular dynamic and energy to the plot. Stephen King fans will immediately recognize this character from the novel Mr. Mercedes (2014). This show introduces her as this quirky, weird private investigator who has this extraordinary ability to see things from a unique perspective.
El Cuco (The Coco) is a shape-shifting supernatural entity, primarily known in Hispanic cultures, but there are versions of this entity in just about every culture worldwide. It is also known as El Cucuy, El Cucui, and Coca. However, the lore of El Cuco was mildly presented and loosely explored in the show. Nonetheless, they explained that this entity feeds on the suffering, grief, and sorrow people feel after a tragedy and how it copies the identity of people it has come into contact with by scratching them.
If there is a second season, I would love to see them tackle more of the folklore of El Cuco and expand on this entity and its connection to similar cases all over the world.
First of all, I’m a true O.G. fan of this series — I watched the first season the same week it initially dropped on YouTube Red way back in 2018. I think it took me a couple of nights to watch the whole thing; I would watch it late at night after getting home from work — I pretty much did the same thing when the second season moved over to Netflix.
Needless to say, I binged the fuck out of season 3 the same day it dropped on Netflix. I watched the whole thing in one sitting on New Years Day — it was an excellent way to start 2021.
Season 2 ended with this insanely well-choreographed High School fight scene between the rival Dojos of Miyagi-Do and Cobra Kai. Which ended on a cliffhanger with Miguel (Xolo Maridueña) going over a stairwell down a few stories and landing on a railing, leaving him paralyzed and in a coma.
Robby (Tanner Buchanan) is on the run from the cops for kicking Miguel over the stairwell and leaving him in a coma. Robby is more of an outsider in this season; He feels betrayed by all the people he once trusted.
Season 3 is darker than the first two seasons, and all of our favorite characters are in a state of disarray, but the rivalry between the two Dojos is the one true constant throughout season 3. Johnny Lawrence (William Zabka) and Daniel La Russo (Ralph Macchio) are still beefing with each other just like in the previous two seasons.
Here is where our three main characters and the rest of the Karate Kids find themselves:
DANIEL LA RUSSO:
Daniel is in a tough spot with his car dealership — His top competitor is making deals with Daniel’s Japanese business partner, threatening to shut Daniel off from his Japanese car importer. And in a desperate attempt to save his dealership, Daniel goes back to Japan to try to work things out with his car distributor, Doyona International. While in Japan, Daniel decides to visit Mr. Miyagi’s Tomi village in Okinawa. Tomi village has completely changed to how it looked in Karate Kid II, and now it resembles a typical American town center, full of name-brand American retail shops.
Here Daniel reunites with Kumiko (Tamlyn Tomita) and Chozen (Yuji Okumoto). This Karate Kid II reunion perfectly nails the Karate Kid franchise’s essence, and it filled me with warm nostalgia for these characters. Chozen teaching Daniel new techniques and pressure points was one of the highlights of season 3. Chozen should return in season 4; maybe this time around, he can visit Daniel in the States.
Season 2 ended with Jon Kreese (Martin Kove) taking back control over Cobra Kai Dojo, casting out Johnny and leaving him in a bad spot. Also, Johnny received a notification on Facebook that Ali Mills (Elizabeth Shue) had accepted his friend request….more on her later.
Johnny is still trying hard to make amends with Robby, but Robby wants nothing to do with him. The relationship between Miguel and Johnny continues to be central to developing his character and the overall plotline, especially as Johnny attempts to help Miguel with his recovery— Johnny’s rehab techniques are ridiculous and outlandish. Still, you have to suspend disbelief and go along with it for the sake of the story. There are some bizarre scenes, like when Johnny sets fire to Miguel’s feet to see if he feels anything or when he dangles an old porn magazine from the 80s over Miguel’s head so he can reach out and grab it.
We also get more of Bobby (Ron Thomas) in this season. Bobby’s expanded role in season 3 is great; he provides a bridge to the original Karate Kid film and to Johnny Lawrence.
Johnny’s relationship with Miguel’s mom Carmen (Vanessa Rubio), continues to grow this season. Carmen begins to sees that Johnny is a good man underneath it all. However, Ali Mills (Elizabeth Shue) returning to the Valley and to Johnny’s life throws him for a loop. He seems conflicted between Ali and Carmen — I think this whole love interest conflict stuff is critical for the growth and development of the Johnny Lawrence character and his road to redemption.
I’m happy to see Carmen given more screen time this season — I still believe that she might be connected to Mike Barnes (Sean Kanan) or Terry Silver (Thomas Ian Griffith) from The Karate Kid III movie. She did say that Miguel’s father was “a very bad man.” And those two are both very bad dudes indeed.
Now back in charge of Cobra Kai Dojo, Kreese reverts to his original philosophies of the Karate Kid Movies with “Strike Hard, Strike First, No Mercy,”…. and the whole idea of the “Enemy” is out there type of stuff.
However, Kreese gets his moment in the sun here — he gets to be humanized a bit with flashbacks to his younger days. We get to see John Kreese’s origin story and his time in the Vietnam War. We learned that his mother was an alcoholic and committed suicide. We get to see where Kreese got his initial Karate training and philosophies and how those philosophies are rooted in his military experience. We get hints of a young Terry Silver as one of the members of his military team. The whole Vietnam flashback stuff is full of easter eggs and teasers for season 4… I think.
Also, Kreese is planting seeds of deception with Robby, turning him against both Daniel and Johnny. This plot twist is setting us up for something big on season 4.
The return of Ali Mills is beyond crucial here…She brings both Johnny and Daniel together beautifully. She tells them hard truths, like telling them that they are both very much alike and that they have a hard time admitting it. It was pure magic watching Ali return to the Karate Kid extended universe.
MIYAGI-DO VS COBRA KAI:
The power of mentorship continues to be the central theme here. We see how the passing of wisdom and knowledge can have both negative and positive influences on all these young karate pupils’ lives.
Samantha (Mary Mouser) continues to grow and develop as a character. In season 3, she is dealing with a rollercoaster of emotions and personal conflicts. This Samantha character is a compelling one, and I feel like the Miyagi-Do legacy rests on her shoulders.
Eli/Hawk (Jacob Bertrand) has some dark scenes but seems conflicted throughout this whole season. His rivalry with his former best friend Demetri (Gianni Decenzo) is still going strong.
Tory (Peyton List) gets a lot more screen time, and we get a small but better glimpse of her background. I initially thought that she was connected in some way to Terry Silver or maybe even Mike Barnes (the villains from Karate Kid III). We got to hear Tory’s mom speak off-screen, but we never got a chance to actually see her or find out her name. There is a good chance that Tory might be related to Julie Pierce (Hillary Swank) from The Next Karate Kid movie or Jessica Kennedy (Robyn Lively) from Karate Kid III. And now that we know a little more about Tory and her home life, I get the sense that she is in some way related to a character from Karate Kid III…. In any case, Tory is slowly becoming the primary and lone villain of the series.
Of course, there are some insane, hard-to-believe things going on in the plot, like the idea that in 2020-2021, we have rival karate Dojos running around fighting each other with no government or authority figures present….it is straight-up escapism at its best.
As I said earlier, Season 3 is a bit darker than the previous seasons. Most of the comedic parts are centered around Miguel’s rehab and Ali’s return.
All the characters continue to be massively compelling and appealing. Especially Johnny’s sentimentality and references to the 80s…. the 80s and 90s are near and dear to my heart, so I can directly relate to Johnny.
Cobra Kai is slowly becoming the Daniel LaRusso slash Johnny Lawrence buddy dramedy show. The chemistry between these two is terrific. I cannot get enough of them every time they share some screen time.
I get the sense that in season 4, they will take this whole concept of mentors and students to a higher level, especially with the potential return of Terry Silver and Mike Barnes.
This entire three seasons of Cobra Kai has provided a brilliant blueprint for how a successful revival of a series or franchise should be put together.
The Mandalorian First season was excellent, but the second season is unbelievably fucking good. Here is the thing, if you are a hardcore Star Wars fanboy like myself, you are going to love season 2. if you disliked the sequel trilogy or barely stomached them as much as I did, then you are in for a special treat.
In this season, we continue to explore other parts of the galaxy. Also, the western sci-fi elements are still there, as well as some Eastern philosophical vibes. The show’s episodic nature makes it a lot more exciting to watch; I was impatiently waiting each week for a new episode to drop. And after the whole season was done, I binge through the entire thing in one sitting, well, almost in one sitting; I had to go to work at some point.
Season 1 brought forward everything we love about Star Wars, especially the original trilogy’s tone, but there really wasn’t any direct connection to the Skywalker saga. However, In this season, the Easter eggs begin to drop early on. The nostalgic nods are sprinkled brilliantly throughout each episode, and things are put in place for established characters to show up at some point.
The structure for every episode is nicely executed, and the side quests on every episode worked well for me. We get to explore new systems, new characters, new villains, and new heroes in each new episode.
Episode 1 — THE MARSHALL (Episode 9, In chronological order from season 1): Written and Directed By Jon Favreau.
Din Djarin AKA Mando (Pedro Pascal) has been tasked with reuniting “The Child” with the Jedi — he seems skeptical and somewhat reluctant at first, but as we all know; This is the way.
Mando goes to a Tattoine mining town searching for a fellow Mandalorian to assist in his quest to reunite Baby Yoda with the Jedi. The mining town is called Mos Pelgo and is run by the local Marshal Cobb Vanth (Timothy Olyphant), who shows up wearing Bobba Feet’s armor. Cobb explains he bought the armor from some Jawas. Mando wants Cobb to give up the armor since it doesn’t belong to him. Cobb makes a deal with Mando to surrender the armor if Mando teams up with him and with some Tusken Raiders to destroy an underground Krayt Dragon.
Some of my favorite and most memorable highlights from this episode are Gor Koresh (John Leguizamo) playing this underworld crime figure type and the scene-stealing Pell Motto (Amy Sedaris). But Temuera Morrison showing up in the last scene was fucking amazing. Is he supposed to be Bobba Fett? Has he been living in the outskirts of Tattoine all these years? or is this mysterious character a member of the original clone army who has survived all this time living in hiding in Tattoine? Whatever the case might be, this was an extraordinary scene.
Episode 2 — THE PASSENGER: Directed By Peyton Reed — Written By Jon Favreau.
Mando’s mission in this episode is to transport a passenger to another planet safely. This passenger is referred to as “frog lady” who carries a jar of eggs to be fertilized and save her species from extinction. The main plot conflict here is that Mando’s ship cannot use the hyperdrive because it would jeopardize the eggs. She is putting them in a tough spot and making them vulnerable to pirates and space criminals.
There are a bunch of cool space chase scenes all over this episode. We get to see the Razor Crest battle and outmaneuver new Republic X-wing patrols. The idea of including the X-wing patrols in this episode was a rad decision. Probably the weirdest and most awkward episode of the season, but lots of fun and lots of cool visuals.
Episode 3 — THE HEIRESS: Directed By Bryce Dallas Howard — Written By Jon Favreau.
This episode has a lot to digest; Mando ends up in a compromised position and needs urgent assistance — when three Mandalorians show up to rescue Mando. They immediately removed their helmets, revealing their faces, which we know is believed to be forbidden by the Mandalore way.
The rescuers’ leader is Bo-Katan Kryze (Katee Sackhoff), who is on a quest to capture the DarkSaber, which is currently in possession of Moff Gideon (Giancarlo Esposito). Important to note that Katee Sackhoff initially voiced the character in the animated series.
We learned that Mando belongs to a fundamentalist faction of Mandalorians who follow an ancient creed called “The Way.” On the other hand, Bo-Katan belongs to a different faction of Mandalorians called “The Watch.” We hear about a past war between followers of The Way and members of The Watch due to their conflicting ideologies. The Way stood against more progressive changes to their ancient creed, and thus division and infighting began.
There are so many well-executed action sequences all over this episode. The battle scenes in tight corridors within the imperial ship are excellent, pure Star wars fan service. The Razor Crest is left in bad shape by the end of the episode and literally falling apart
Episode 4 — THE SIEGE: Directed By Carl Weathers — Written by Jon Favreu.
The first thing I have to say is that Carl Weathers should direct more episodes. I was very impressed with how he put this episode together and the choices he made.
This episode’s side quest is for Mando and friends to break into an old and almost abandoned imperial base operating in Nevarro. The thing is that this imperial base is not entirely abandoned and is full of Stormtroopers. There are also Speeders and Tie fighters, which are direct throwbacks to the original Star Wars trilogy.
Mando returns to the planet Nevarro from season one to perform emergency repairs on his ship. We get to see Cara dune (Gina Carano) and Greef Karga (Carl Weathers) return to the story. Also, we have the return of Mythrol (Horatio Sanz) from the first episode of season one.
Episode 5 — THE JEDI: Written and Directed By Dave Filoni.
Man, this episode kicks some major asses. Mando arrives at a forest system called Corvus, where he is supposed to find a Jedi. He finds Ahsoka Tano (Rosario Dawson), who I guess has been living in hiding for all these years. In the way this episode is presented, I get the sense that Ahsoka has been living like a Ronin warrior.
We learned Baby Yoda’s name (Grogu), and we have a small cameo by Michael Biehn, but most importantly, the foundation for the Ahsoka Tano spinoff series is set in motion.
Episode 6 — THE TRAGEDY: Directed By Robert Rodriguez —Written By Jon Favreau.
I loved this episode — where things move at a fast pace, and we get to see Robert Rodriguez execute some of his trademark action sequences; Rodriguez fits Star Wars like a glove and should be involved in future Star Wars projects for sure.
The monster size revelation here is that Bobba Fett (Temuera Morrison) is alive and back in the middle of things. They decided to make Bobba Fett’s armor look small and tight-fitting, which I do not have any issues with; let us remember that Bobba is older, and it makes sense that he has somewhat outgrown his armor. I wasn’t a big fan of Bobba Fett growing up, but this series got me overly excited about the idea of Bobba Fett being back in the Star Wars Universe. He still remains fresh and exciting, as we have so much more to explore about this character.
Baby Yoda goes to an ancient Jedi temple and sits on a rock that serves as a medium to connect with other Force-sensitive beings throughout the galaxy. We get to see Dark Troopers introduced, and they are AWESOME.
The only small beef I had with this episode was trying to understand a continuity issue regarding Mando’s jet pack. Maybe I need to watch this episode again and see if it makes sense.
Episode 7 — THE BELIEVER: Written and Directed by Rick Famuyiwa.
This episode is pretty intense; Migs Mayfield (Bill Burr) is back and teaming up with Mando this time to access a base that holds information on Moff Gideon’s coordinates. Bill Burr shines bright here. Mando taking off his helmet for a good chunk of this episode is pretty compelling stuff.
Episode 8 — THE RESCUE: Directed by Peyton Reed — Written By Jon Favreau.
This is where everything comes together beautifully. Some of the most exciting and suspenseful moments in all Star Wars history happens in this episode.
The Mando fight scene with the Dark Trooper is terrific. Moff Gideon is creepy as fuck, especially when he delivers this epic line; “Assume I know Everything.” Gideon and Mando dueling it out was also a pretty fantastic scene. We learned that the DarkSaber could only be taken by winning it in combat.
Then we have the build-up to the most astonishing surprise in recent Star Wars history. We see a lone X-Wing showing up, then a cloaked figure emerges from the X-wing, lights up a green lightsaber, and awesomeness ensues.
By now, the whole world knows that Luke Skywalker was the mysterious figure arriving on the X-Wing. Luke’s battle scenes were out of this world, similar to Vader’s Rogue battle scene. Also, R2D2 showing up was glorious, and of course, the emotional scene between Mando and Baby Yoda was very touching. All in all, this was a special episode and a gift for hardcore Star Wars fans such as myself.
I was not too impressed with Luke’s de-aging. This is the same company behind Nick Fury’s de-aging in Captain Marvel and Michelle Pfeiffer in Ant-Man. So I assume that those productions had bigger budgets, and higher emphasis was placed on CGI effects. Hopefully, as we advance, we get to see an improvement in Luke’s de-aging special effects.
MANDALORIAN SEASON 2 FINAL THOUGHTS:
I have to say that this season opens up the door to fix what Rian Johnson and Disney did to Luke in a big way. The timeline of his arrival in the show makes sense since Luke is supposed to be starting a Jedi Academy, and Grogu could become the star pupil.
The Book of Bobba Fett is coming out in December 2021, and I’m beyond excited to know that Robert Rodriguez will be behind this project.
When it comes to Star Wars, There is no such thing as too much fan service. Mandalorian has delivered two unforgettable seasons. This is precisely what we hardcore fans have been hoping for all along, unlike the sequel trilogies that lacked a singular vision. The Mandalorian under Jon Favreau and Dave Filoni seem to be organically following a singular vision in terms of knowing exactly where the show is heading and what the endgame will be.
I am looking forward to more Star Wars content from Disney+.
Nomadland is a beautiful piece of cinema. A haunting film that feels like it is part-fictional film and part-documentary.
Based on a non-fiction book of the same name by Jessica Bruder about a new economic sector of primarily middle-aged and older people who have taken to the road as modern-day nomads — they live their lives out of their vans, campers, and cars. They follow seasonal work, like farms, restaurants, amazon warehouses, and recreational areas.
Living like nomads, going from place to place, as a form of self-sufficient living for these people, they find low-wage work that allows them to live and support themselves. For some, this nomadic lifestyle is their preferred way of living. There is a sense of freedom for them while they get to see the country and make friends along the way. But for most of these nomads, this lifestyle is the only chance for any meaningful life and the only option to support themselves.
Fern (Frances McDormand) is a fictional character who is grieving the recent loss of her husband. They lived in a company town, where all businesses and homes are owned by one company. When the company decides to stop operations and eliminate its entire workforce, all of the town residents are left jobless and have no choice but to relocate. There is a sad and tragic reality with these types of company towns built entirely around corporations and factories. When these companies folded or left town, entire cities were disseminated, leaving their population with nothing.
Fern abruptly goes from a comfortable life to hitting the road and joining these communities of nomads. She remains positive throughout her ordeal while maintaining that “she is not homeless, she is houseless.”She joins and befriends an established nomad culture who also goes from town to town looking for work. Real-life nomads featured heavily in this film, like Bob Wells.
Frances McDormand is exceptional here; Her most intense scenes are when she is all alone with no dialogue. She holds and commands the screen like no other.
Nomadland is an unapologetic modern American Western that shines a light and exposes a way of life in the United States. It is a framing device to the economic realities of the working-class people of this country and the failures of the American Dream. My only issue with the film is that it doesn’t really show all the intricacies and the everyday challenges of the nomadic lifestyle. Nevertheless, this film is an outstanding achievement by Director Chloe Zhao — capturing a powerful story of survival, grief, and the fragility of time and our human existence.
Some movies need time to settle in your mind to fully digest and reflect on what you have seen… maybe even watching them a couple of times is required. For me, Sound of Metal is one of those movies.
Ruben (Riz Ahmed) and Lou (Olivia Cooke) are rock musicians touring the United States — they live and drive from show to show in an RV. It seems like their whole life is in their RV.
Pretty soon into the story, Ruben notices that his hearing is weakening, and all of the sounds around him are beginning to sound muffled. He hides this fact from Lou and continues with concert gigs, hoping things will return to normal at some point.
Ruben consults with a doctor who breaks the bad news that his hearing is deteriorating rapidly — the doctor tells him that his first responsibility is to protect the hearing he has left. Ruben completely disregards this advice and continues playing another concert gig.
During their next concert, his hearing deteriorates to the point where Ruben can no longer keep up with the show and rushes off the stage. He now has no choice but to come clean to Lou and explain the situation regarding his hearing loss.
Ruben’s life and his entire sense of self are completely changed almost overnight. He has to face some complex decisions moving forward. Playing the drums and continuing with the rest of the concert dates are no longer an option. Ruben believes he can still manage and work around his deafness; however, Lou disagrees and urges Ruben to get some professional help.
Here is where Joe (Paul Raci) enters Ruben’s life. Joe is a Vietnam War vet who runs a community home for deaf people. In this community, they do not see deafness as a disability or as something to be fixed. They see deafness as a concept of empowerment.
Joe has very strict rules for joining his community home. Ruben has to move in, learn ASL and begin the process of learning how to live with his new reality. Ruben also has to give up the keys to his RV, his cell phone and be completely away from Lou during his time in the program.
Ruben’s whole life is turned upside down; his music, lifestyle, and relationship have all fallen apart. He is now forced to look deep within himself in the wake of this trauma. He is holding on to the hope of regaining his hearing. The prospect of receiving implants through surgery is his last hope for things to go back to normal. And he is willing to risk it all for the return of his old way of life.
Riz Ahmed is exceptional here, delivering a soulful performance. He conveys so many emotions with his eyes and face — through his eyes, you can see this tortured, wounded soul. Riz Ahmed brilliantly portrays the rage and bewilderment of Ruben losing his livelihood. I heard that Ahmed actually learned to play drums and learned American sign language preparing for this role.
Paul Raci is outstanding here, delivering an authentic and human performance. Joe provides tough love and raw honesty to Ruben in every scene they are in together. A well-deserved Academy Award nomination for best-supporting actor. I am excited to see where the success of this performance takes Paul Raci next.
This movie is a fascinating exploration about a person attempting to put his life back together after losing his reason for living. The film takes you inside the central character’s experience while crafting a world where the details are as accurate as possible. The subtle things done with the sound effects are remarkable. The specific details of the deaf community are well executed.
The Sound of Metal is essentially a story about identity and loss. One of the most thoughtful, well-made movies of the year. An extraordinary achievement by Director Darius Marder, showing us what cinema can still do when passionate, creative filmmakers are allowed to put forth their vision.
Here is another socially and culturally relevant film that shines a spotlight on a recent time in our history that we all should be aware of.
Judas and the Black Messiah is the true story of a disciple’s betrayal; in this case, Judas is William “Bill” O’Neal (Lakeith Stanfield), and the Messiah is Fred Hampton (Daniel Kaluuya).
Fred Hampton was the Chairman of the Illinois chapter of the Black Panthers and one of the most notorious figures in the civil rights movement of the late ‘60s. He was a leader in the fight for Human rights and a prolific community organizer, attempting to make life better for Black Americans, minorities, and poor people. Fred Hampton believed that uniting with other race groups was crucial for the movement to succeed. He also started things still instituted today, like the Free Breakfast program. Feeding the poor earned him a Folk hero status in the community. This film, however, only covers a short period of his life, focusing primarily on Fred Hampton’s last days alive.
Bill O’Neal was a petty criminal caught by the police for impersonating an FBI agent. He was coerced into helping the FBI to keep tabs on Fred Hampton’s activities and to infiltrate the Black Panthers as an informer for the government. O’Neal eventually becomes close to Fred Hampton and has to choose between his freedom and betraying his friend.
FBI director J. Edgar Hoover believed that Fred Hampton could unite a coalition of oppressed minorities into working together towards one unified goal. Hoover saw this potential union as an inherent threat to the National Security of the United States; thus, declaring war on the Black Panthers and stopping Hampton at all costs became one of the top priorities for the FBI under Hoover.
The performances alone make this movie a must-watch. Daniel Kaluuya transforms completely into Fred Hampton; he delivers a powerful performance. He captures the complexities and magnitude of this real-life character convincingly. We get to see how charismatic Hampton was in public and how reserved and measured he seemed in private life.
However, the narrative centers mostly around William O’Neill. And how he was equally a victim of the system. We see how he was coerced into becoming a reluctant informant. This character’s inner conflict and the constant struggle between opposing allegiances are at the center of this story. O’Neill is pulled in many different directions, which is the central idea of all undercover stories; A character that goes into a world, and then the character becomes a part of said world. Lakeith Stanfield is excellent here — He establishes a strong physical performance, where the facial gestures anchor most of the core emotions of Bill O’Neill.
The relationship between Fred Hampton and his girlfriend, Deborah Johnson (Dominique Fishback), is exceptionally depicted. Their love story was complex, and it was superbly dramatized. Dominique Fishback has been on my radar ever since I saw her in the outstanding HBO series the Deuce. She is fantastic here.
Kudos to director Shaka King. I dig everything about this film — how it was shot, the dialogue, and the acting. The shootout and the raid scene were pretty intense and well-executed. My only issue is that we don’t get a real sense of how young Fred Hampton was when he was murdered. Fred Hampton was just a kid, barely 21, and Bill O’Neill was 17 when all of this went down in 1969. I feel that the movie needed to emphasize this fact better.
Nevertheless, Judas and the Black Messiah is a bold and thought-provoking film. It is not one of those movies that romanticize the FBI as the good guys vs. the bad guys while completely ignoring their dark history and shady tactics, especially during its early years under Hoover. The fact is that Fred Hampton was murdered by his own government, executed in his own home. There is solid historical value here — We get to see how the FBI used shady and perverse tactics to hold people like O’Neill under their control in their ruthless pursuit of Black Panthers, minority revolutionaries, and anyone who displayed any progressive or radical ideologies. This film unapologetically exposes the dark history of the FBI brilliantly.
There is a direct connection between Judas and the Black Messiah and The Trial of the Chicago 7. Both films have been nominated for Academy Awards, and both movies tackled similar and relevant issues. Both stories parallel each other, and both stories are centered around government oppression, corruption, Police brutality, freedom, human rights, and social-economic issues. Their significance cannot be understated.
The timing and arrival of this movie at the tail end of 2020 was perfect. Written and Directed by master screenwriter Aaron Sorkin, The Trial of the Chicago 7 is one of the most politically relevant movies I’ve seen all year.
It was initially supposed to be released in theaters, but because of the global pandemic, Paramount sold it to Netflix for both direct streaming and theatrical release.
The movie starts with actual news footage from the late ‘60s, including a Walter Cronkite clip at the beginning of the film, similar to how Spike Lee did it in Blackkklansman and Da 5 Bloods. The movie doesn’t waste any time and gets right into the meat of the story right away.
1968 was one of the worst political years in the history of the United States. Both MLK and Bobby Kennedy were assassinated in the same year. The draft and the unpopular Vietnam war were still going on—and 8 prominent leaders of progressive movements were brought to trial. They were accused of conspiracy to cross state lines to commit violence at the 1968 Democratic National Convention in Chicago — where violent clashes did indeed broke out between protesters and police.
Under President Lyndon Johnson, the justice department investigated these clashes. It concluded that the Chicago Police department was as much to blame for the violence as the protesters and declined to seek any legal prosecution. Then, Richard Nixon comes into office and decides to send a message to all young idealistic protesters by putting all these prominent progressive leaders in a criminal trial, which was evidently, pure political theater with potentially dire consequences for the accused.
Riveting performances from the entire cast. Sacha Baron Cohen (Abbie Hoffman) is excellent in a captivating performance. Eddie Redmayne (Tom Hayden) adds a unique and believable sensibility to this role. The conflict between Abbie and Tom — and all of their philosophical differences regarding how to move their progressive causes forward is a crucial component of this movie. There is also great chemistry between Jeremy Strong (Jerry Rubin) and Sacha Baron Cohen’s Abbie Hoffman. John Carrol Lynch (David Dellinger) gives a solid performance as the anti-war pacifist leader. Alice kremelberg (Bernardine Dohrn) shows up as a younger version of the future and infamous leader of the Weather Underground organization.
Frank Langella (Julius Hoffman) should have been nominated for an Academy Award for best supporting actor with this performance of the disgustingly corrupt Judge Hoffman, who turns this trial into the most unfair shit-show of a trial that I have ever seen in a movie. We get to see how the defendants and their lawyers feel powerless against his tyrannical behavior. Langella’s portrayal wasn’t exaggerated; Judge Hoffman actually behaved in that exact manner during the trial. The mixture of dialogue straight out of court transcripts and Sorkin’s dramatization work beautifully.
Mark Rylance (William Kunstler) is outstanding as the famous ACLU lawyer. Yahya Abdul-Mateen II (Bobby Seale), the renowned leader of The Black Panther Party, has a handful of scenes but completely takes over the screen in every single scene that he is in. He was actually bound and gagged for days during the trial — insane to realize that this actually did happen in a courtroom of the United States of America. My only issue with this part of the movie is that it doesn’t clarify how long Seale was bound and gagged. I feel like the movie had plenty of opportunities to amplify this fact but ended up minimizing it a bit by not focusing on how long he was restrained.
Joseph Gordon-Levitt (Richard Schultz) is convincing as a conservative federal prosecutor who takes on the case but disagrees with his own Attorney General John N. Mitchell (John Doman) on the merits of the criminal charges against the Chicago 7. Although surrounded by extreme right-wing types in the Nixon administration, Schultz manages to show empathy, integrity, and support for the defendants’ rights to protest.
It is fascinating to view the events of the trial of the Chicago 7 through the lens of our current times and to see the parallels between today and 1968. it is hard to believe that this trial actually did happen in the not so distant past. The cultural and generational divide is comparable to our current timeline. Today’s relevant issues are expressed brilliantly in this movie, like the power and right to protest—liberalism vs. extreme right-wing ideologies.
The villainization of the Black Panther Party and the Black Lives Matter movement is similar in the way media outlets attempted to negatively portray BLM protests all over the world this past summer (2020). The need for police reform is also pointed out. This film explores government and media power themes and how they can be used and abused to silence voices of progress.
The ending felt a bit abrupt, mostly because I wanted to watch a bit more and see the defendant’s eventual vindication instead of reading about it at the end. Nevertheless, the Trial of the Chicago 7 is an important movie to watch and should already be a strong candidate to win a bunch of awards in the upcoming Awards season. I was moved and inspired by this movie.
Four out of Five Popcorn Bags 🍿🍿🍿🍿
The Trial of the Chicago 7 (2020). Streaming on Netflix.
I noticed that most people dismissed this movie even before it was released. Most of the negativity surrounding Hillbilly Elegy was due to the political influence of the source material, which was cited as a sort of benchmark in understanding how Trump won the “white working class” vote in 2016.
Based on the controversial bestselling memoir of the same name by J.D. Vance — and adapted for film by Vanessa Taylor, best known for writing Hope Springs and co-writing The Shape of Water with Guillermo Del Toro. The Screenplay manages to remove many layers from the source material memoir to avoid any right-wing propaganda.
The movie is told through J.D. Vance’s eyes, using flashbacks, jumping forward and backward in time. J.D. is from central Ohio but considers himself to be from the Hill Country of Jackson, Kentucky (his family roots are from the Appalachian region). It is important to note that a significant number of people within the Appalachian community did not embrace J.D.’s memoir. Still, many people outside of this community were fascinated by it, primarily by coastal liberal elite types.
Nevertheless, without any of the book’s political stuff, the movie leans heavily on family melodrama. J.D. (Gabriel Basso) is a law student at Yale; he is attempting to navigate through college life away from his middle American upbringing. While at the same time hiding his family background from his college girlfriend Usha (Freida Pinto). Through flashbacks, we get to see young J.D. (Owen Asztalos) and his early family life. His mother, Bev (Amy Adams), is a single mom who works as a nurse but seems to be a chronic drug addict, mentally unbalanced, and violent. Bev’s eventual heroin overdose throws adult J.D.’s plans into disarray.
J.D.’s grandma, “mamaw” Vance (Glenn Close), is the rock of the family and teaches J.D. valuable life lessons. She teaches J.D. responsibility. She provides him with the structure needed for success.
The movie’s main plot point is about J.D. driving back home to Ohio to deal with his Mother’s relapse situation. J.D. has to figure out a place for his Mother to do rehab and then drive overnight to make a 10 am interview for a highly sought-after internship. The scenes between J.D. and his sister Lindsay (Haley Bennet) are very emotional.
There was a good story to be told here, but it wasn’t J.D. Vance’s story; it was his Mother’s and Mamaw’s story. Those two intertwined stories were the two most compelling aspects of this entire movie.
The performances are solid, considering there are many limitations to the development of each character. The actors do very well with what they are given within the script. Gabriel Basso portrays J.D. as awkward, whiny, and at times unlikable. Similar to how the real-life J.D. Vance comes across; He constantly whines about something on social media. Essentially, he is just another right-wing talking head nut job.
I get the sense that J.D. has contempt for his humble background, like he is almost looking down at it. We never get a clear understanding of the real reason why J.D.’s family fell so hard, it feels like that is how things are supposed to be no matter what, and J.D. has to find his way out of that environment at all costs.
Glenn Close ended up getting an Academy Award nomination for her performance here. Some of the best moments of the movie come from this character. Mamaw Vance is this chain-smoking, tough love granny, and Glenn Close is fantastic here. She is the mirror image of the real-life Mamaw Vance.
Amy Adams needed more screen time. I felt like we needed more time to explore her backstory on a deeper level. There was apparent emotional damage done to Bev during her upbringing. The reason for all the fights, the screaming matches, the overdoses, and the constant need to self-sabotage herself was an area that needed to be analyzed further.
My favorite thing from this movie was the cinematography by Maryse Alberti. Phenomenal stuff, as usual from her.
Hillbilly Elegy is a drama that attempts to touch on several themes like never forgetting your roots and where you come from. The inherent nature of poverty, the difficulty of escaping from it, and the importance of your ancestry. However, the story doesn’t really go anywhere within the context of the drama, and it feels rushed and condensed. It simplifies and minimizes essential aspects of the family’s troubled history. This whole story would have been better served as a limited series instead of a movie.
Director Ron Howard’s filmography is full of excellent films, some of which are American cinematic classics. And although this movie may not be one of his best works, it still manages to provide us with plenty of debate. This is precisely what films, or any form of art for that matter, are supposed to stimulate and encourage.
There is no measurable way to describe how much impact and influence the 1941 film Citizen Kane had on an entire generation of filmmakers; It continues to be one of the most celebrated films of all time. The myth of Orson Welles and the making of Citizen Kane endures to this day.
MANK is about screenwriter Herman Mankiewicz (Gary Oldman) and his intense development of Citizen Kane. The authorship of Citizen Kane has been widely disputed — It has been the subject of documentaries and many articles throughout the years.
MANK depicts Herman Mankiewicz as the sole writer of Kane and not Orson Welles. Mank initially agreed not to be credited for writing Citizen Kane. But eventually, he changed his mind and received a writing credit and shared an Academy Award with Welles for Best Original Screenplay.
This movie is structured similarly to Citizen Kane, told in a non-linear manner, mostly through flashbacks, and shot in Black and White, resembling many of Kane’s artistic styles.
We see Mank bedridden, recovering from a car accident while writing and dictating the story that will become the basis for Citizen Kane. We see Orson Welles (Tom Burke) visiting Mank at the hospital and recruiting him for his upcoming project with RKO pictures. Tom Burke is dead-on in his portrayal of a young Orson Welles.
The story flips back and forth in time, with most of the flashbacks set to the backdrop of the great depression, between 1933-1940. We get to see Mank’s political leanings and all the personal and professional struggles Mank experienced during that particular decade. At one point, we see how Mank socialized and mingled with elite Hollywood circles and how those same Hollywood elites turned away from him.
The casting is remarkable. Charles Dance (William Randolph Hearst) commands the screen on every scene. Amanda Seyfried (Marion Davies) captured the essence of a 1930s Hollywood starlet brilliantly. Arliss Howard (Louis B. Mayer) was fantastic; Howard steals every scene he is in. There is a noteworthy hallway sequence where Mayer explains his rules of Hollywood to Mankiewicz….. outstanding scene.
Even Bill Nye, the Science Guy, makes a cool cameo as the author and political activist Upton Sinclair.
Gary Oldman is superb as usual; He is very convincing, pulling off all the drunk scenes. Mank, the real-life person, was also a gambler and an alcoholic, and Oldman embodied this character’s complexities exceptionally.
The relationship between William Randolph Hearst, Marion Davies, and Herman Mankiewicz is crucial to understanding how Mank ended up framing Citizen Kane’s story. Hearst was one of the most powerful and influential characters during the first half of the 20th century, comparable to someone like a Rupert Murdoch of our time. You get the sense that writing Citizen Kane was a big Fuck You to Hearst.
It seems like this was a passion project for director David Fincher. On a technical level, this movie is excellent. It takes great skills and ingenuity to make a film like this. The glamour and corruption of the golden era of Hollywood are depicted beautifully. The cigarette burns between reels, the muffled dialogue, the sound, and the vintage vibes make for a stylish-looking film. Interestingly enough, Mank was written by Fincher’s late father, Jack Fincher, over 30 years ago, and I read that David Fincher had been trying to get this movie made since at least 1997.
There are direct parallels between the events of this movie and our current political climate. In the 1930s, Upton Sinclair was running for Governor of California. He was calling for social reforms, and some of the wealthiest California capitalists joined up and mounted a propaganda campaign to discredit Sinclair. William Randolph Hearst, Louis B. Mayer, and other elite members of their inner circle used Hollywood’s power to paint Sinclair as a radical socialist who was going to destroy California. They used movie theaters and the radio as a medium to spread disinformation and propaganda. Similar to how social media is used today to seed mistrust and division.
The real-life Herman Mankiewicz was a highly regarded writer. In fact, he was the first theatre critic for the New Yorker and member of the Algonquin Round Table. His contributions to cinema were significant. However, today his name is not well known outside of film buffs and movie historians. Hopefully, this movie will generate new interest in his work.
Mank is a movie for legit Cinephiles and anyone who enjoys the golden-era of Hollywood. It is the portrait of a complicated artist clashing with the establishment. But above all, Citizen Kane’s profound influence on generations of filmmakers is precisely what makes this movie so compelling. You may need to watch it a few times to grasp the whole thing fully.