Wednesday, December 8, 2021

Fargo S4 Ep 7: Lay Away



What did you miss? For a review of the last episode, click HERE


from Ew.com: https://nerdiestkidyouknow.blogspot.com/2021/11/the-girlfriend-experience-s3-ep-2.html

Fargo S4 Ep 7: Lay Away


By Nick Schager
November 01, 2020 at 11:01 PM EST


Kansas City remains up for grabs in Fargo’s seventh episode, “Lay Away,” but that’s not to say that criminals aren’t trying to seize control of the city. On the contrary, double-crosses abound, as both sides in the brewing gangland war attempt to gain the upper hand through duplicitous means.

Fulfilling her promise, Oraetta bakes up a batch of Dr. Harvard’s beloved macaroons and delivers them to his office. Though he’s not hungry, he acquiesces and tries a vanilla one, which he finds delectable. Unfortunately for him, it’s poisoned (per Oraetta tradition), and as he collapses in a chair, gasping for air, she pilfers from his desk drawer the anonymous letter (signed, “a concerned citizen”) accusing her of past professional misconduct. Before leaving, she lets out a fake scream so Harvard’s secretary will rush to his rescue.

Josto and Constant stare at the dead body of Antoon. Josto blames this on Rabbi (correctly) and orders Constant to “hunt him down. You alone.” More importantly, he also wants Constant to execute Satchell. Josto is setting Constant up for a big fall, but the hitman doesn’t realize it and agrees. They leave Antoon lying in the snow “for the birds.”

For daring to advise Loy that he should kill Gaetano in retaliation for Doctor’s assassination, Leon is mocked as “Mr. I See Myself as Managerial” and then punched and belt-whipped by his boss. Opal stops Loy from doing further damage to Leon. Loy then takes a phone call, telling the person to meet him at his place at 3 p.m.

Watching Loy’s headquarters, Weff is joined in his car by Defy, who lectures him about the Mormon concept of “blood atonement,” which stipulates that those who disobey God’s commandment “Thou Shalt Not Kill” will receive no forgiveness in this world or the next, and can only have their sins wiped clean by being killed themselves in a sacrificial manner. Defy dissuades Weff from storming Loy’s warehouse and reveals that he knows Weff is on the take and resents being manipulated by him. Weff lashes out by stating that if he knew the whereabouts of Defy’s Mormon God, he’d murder him. This ends their partnership, and Defy leaves Weff with a parting warning: “Careful how many sides you play, palomino. Even a gold coin’s only got two faces.” Alone, Weff smacks himself in the head.

Buel’s grammar lesson to her kids (including Zero) is interrupted when Constant appears on her doorstep. He asks how many children are home; she responds by rhetorically asking if he thinks mama lions are in cages at the zoo for their own protection — at which point she raises a loaded shotgun to his chest. He tips his hat and leaves. Later, he investigates Satchel’s room. In the boy’s bedside bible, he finds a newspaper clipping with an ad for Uncle Jack’s Feed & Seed.

Ethelrida encounters a handsome African American boy delivering boxes of American brand cigarettes to the funeral home. Flustered, she runs back upstairs. He checks out the main parlor, and when his back is turned, the coffin begins to open from the inside. Not seeing this, the kid approaches the coffin, knocks on it, and asks, “Anybody home?” Upon receiving no answer, he gets back to work.
Following a car ride in which he recalls his recent conflicts with Gaetano, Josto arrives at Loy’s for a meeting (which he initiated with the earlier call). Accompanying Josto inside, Ebal apologizes for the murder of Doctor, who was his friend. He says that Gaetano is — according to New York — an untouchable man. He offers Loy a trade: Gaetano for control of all the east side slaughterhouses and the trucking routes to Cleveland and Dallas. Ebal promises that should Loy accept this offer, Gaetano will be shipped back to Italy.

At this, Josto sets his Machiavellian plan in motion. Ignoring his consigliere's stern looks, he tells Loy that Gaetano is responsible for Doctor’s death and the attempt on Lemuel’s life, and that Gaetano’s right-hand man Constant has done something even worse (“a sin. A horror”): he’s murdered Satchel. Earlier in this conversation, Josto remarked that Gaetano is “more animal than people” and likened him to Cain, and he now begs Loy to react to this atrocity by killing Gaetano, rather than Zero. Loy demands to see Satchel’s body as proof (Josto says Constant hid it somewhere). He squints intently at his Italian adversary, trying to ascertain if he’s being played or not, and then screams at them to get out.

That night, a grieving Loy remembers promising Satchel that he’d come home one day. He thinks about strangling Zero when the boy exits the bathroom but reconsiders. He informs Buel that Satchel is dead (she lets out a bloodcurdling scream). Awake in bed, he revisits his last conversation with Satchel at the playground meet, when he told the boy, “Where we’re going, the smartest man wins — to the top.”

The next morning, Loy has Opal pull their car over. With anger, frustration, and resignation over the fact that he’s once again been exploited and screwed over, he stares at a billboard for the new Diners’ Club Credit Card.

Entranced by a memory of laying his head in the lap of his fiancĂ©e, Weff packs up his apartment. Before he can skip town, Opal picks him up and brings him to Loy’s gym. In the locker room, Swanee and Zelmare deliberately make Weff anxious. Loy enters, has Weff close his ears, and gives the women 10 p.m. train tickets to Philadelphia; they’re never to return. Although they don’t want to go, Loy threatens to hurt Dibrell, which convinces Zelmare to obey.

Loy turns his attention back to Weff. He explains to the cop that the Italians are trying to make him behave like an animal. Describing the Faddas’ strategy, he seethes, “You get in the dirt yourself and you show ‘em how to be an animal. You show him how to hate. You show him how to be cruel. You kill his friends. Murder his child…They can’t rise to our level, so they gotta drag us down to theirs. But it’s a trap.”

Opal believes the solution to their problem is simple: “Kill or be killed. Win or lose. It ain’t complex.” Loy thinks differently. He says America’s favorite type of criminal is the confidence man who tricks you into robbing yourself, “because in America, people want to believe. They got that dream. And a dreamer, you can fleece.” Loy won’t be fleeced by Josto, and he lets Weff know he’s going to help him defeat the Italians.

Shortly thereafter, Loy visits Gaetano, who’s reciting the names of the many men he’s killed, and how he did the dirty deeds. Loy tells Gaetano that his brother has offered the stockyards in exchange for Gaetano’s life. Loy intends to keep the stockyards, but he frees Gaetano, saying “This thing is done.” Outside, Loy sends Omie to murder Constant. By Loy’s side, Opal sighs, “I sure hope you know what you’re doing.”

Oh Geez!

The Smutney funeral home ghost continues to be the series’ biggest mystery. It also feels like a device similar to the UFOs in season two – namely, inexplicable otherworldly phenomena that speak to the cosmic forces at play in this story.

The shot of Oraetta from Harvard’s perspective – drenched in radiant light that turns blood red – further marks her as an angel of death.

We don’t see Dr. Harvard perish on-screen, but one presumes he’s a goner, since otherwise, Oraetta has doomed herself.

Tuesday, December 7, 2021

The Girlfriend Experience S3 Ep 3: Deepfake

What did you miss? For a review of the last episode, click HERE


From Showsnob: https://showsnob.com/2021/05/09/the-girlfriend-experience-season-3-episode-3-recap-deep-fake/



The Girlfriend Experience S3 Ep 3: Deepfake


by Mads Lennon
6 months ago 

In The Girlfriend Experience Season 3, Episode 3, Iris prepares for her next meeting with a client named Brett (Tobi Bamtefa), a US Major League Baseball player with a penchant for angry sex. On hiatus and recovering from a shoulder injury, he has a relaxed vibe and humor with a “typical bro” side to him. When Brett makes a comment about not wanting to hook up with American chicks, Iris, as Cassie, adapts an accent and she listens to him talking about football.

Iris gets better at simulating the perfect experience, but struggles with her new client Brett who wants to have sex without a rubber (which she doesn’t like doing) and then wants her to make him angry so they can fight and make up.

After a quick visit to the bathroom, Iris returns to start a fight berating him for leaving the game on when she got there and then she starts berating him for whatever she can and it doesn’t seem to be working until she tries to leave and Brett notices her phone is on and recording and gets pissed, but of course, it was all part of Iris’s ruse and the night gets back on track.
The Girlfriend Experience Season 3, Episode 3 recap: Iris & Hiram continue training their AI

At work, Iris and Hiram start analyzing their speech patterns for their AI project as they begin training their AI. On the way out, cassie notices a political broadcast with Georges speaking and she notices it’s a deep fake.

In the car with Leif, Iris gets some tips on refining her posh accent and then gets an update that Brett’s review has come in — he only gave her two stars.

Back at the tech company, Iris says they have a lot of Brits, they need to diversify and they need their AI lady to have more emotion rather than making it sound like she’s just reciting lines. Hiram asks Iris if she can work late but she says she can’t that night and asks Hiram just to send her the stuff to work on over the weekend, which isn’t really allowed necessarily.

With Paul, Iris plays the dom/sub game again. He’s the only client who she’s okay playing the dom role This time she berates him for not performing adequately in oral sex.
The Girlfriend Experience Season 3, Episode 3 recap: Iris finds out her dad is sick

On the car ride back from Paul’s, Iris gets confirmation from her sister, Leanne (Jemima Rooper) that her dad has early-onset Alzheimer’s. Leanne tells Iris she wants to get tested too, because if she has it, she doesn’t want to have kids. Iris doesn’t see why a test would make things better but her sister says she has already had her blood taken, “the bucks gotta stop somewhere.”

At home, Iris takes her recording of Brett and her’s argument and subsequent sex and labels it “Athlete Session 1” instead and then uses it in the NGM emotion detection AI program to analyze. I’s definitely crossing a line and blurring the lines between her life at The V and NGM, she slowly starts transforming their voices and parsing for the emotional beats.
The Girlfriend Experience Season 3, Episode 3 recap: Iris’ two worlds begin merging

Then Iris meets with another V client, a powerful man named Rupert (Daniel Betts) who owns a newspaper empire. Iris and Rupert attend a private event for tech aficionados, it’s a BIONIC LIMB showroom. While at the event, we also see Iris at work discussing the AI and their new plan is to make something like a deep fake via adversarial training like pitting one AI against a copy of itself, let it play with itself and see what happens.

At the gallery, Rupert tells Iris “I love you” and of course she says it back. And then she runs into NGM’s CEO, Sean, at the gallery. Uh-oh.

Monday, December 6, 2021

The Expanse S3 Ep 4: Reload

What did you miss? For a review of the last episode, click HERE


From Den of Geek: https://www.denofgeek.com/tv/the-expanse-season-3-episode-4-review-reload/



The Expanse S3 Ep 4: Reload


By Michael Ahr|
May 3, 2018|

It figures that it would take a common enemy, even one as temporary as the MCRN squids who try to take over Holden’s ship, to bring the divided crew, including Bobbie and Avasarala, closer together in this week’s The Expanse. Although the events unfolding on Io hold the most intrigue in “Reload,” the emotional journeys and enjoyable reactions of Amos, Bobbie, Naomi, and the others are what ultimately make this a successful episode. Giving Pastor Anna a part to play in the larger story as a new character who is struggling to gain audience sympathy couldn’t have come at a better moment either.

That’s not to say that Anna doesn’t deserve sympathy — she certainly does! We already got the sense that her earlier speech-writing stint with Esteban Sorrento-Gillis was an experience she wasn’t particularly proud of, and for her to be coaxed once again into believing the dream of changing the world through her words must have been devastating when it ended in spectacular disappointment. The problem is we don’t know Anna well enough to care about her humiliation on a personal level, even though Elizabeth Mitchell excels at portraying quiet indignation; therefore, the fact that she receives Avasarala’s evidence against Errinwright gives us hope that her character will gain importance, redemption, and audience investment.

That being said, it was satisfying to see Errinwright put in his place, and we look forward to more of that now that Holden has decided to help Avasarala. Despite continued friction between Naomi and the others, it was enjoyable to see her realize the change in James, saying “This is how it starts, you know.” Yeah, Naomi, we know. Trust us, no one believes Holden’s insistence that, “We’re sending a message, nothing more.” Meanwhile, Shooreh Aghdashloo wears the Razorback jumpsuit well as she spots Anna on the newsfeed and decides the pastor is the one to trust. Can’t wait to see where that goes.

It’s an interesting dynamic that has arisen on the Rocinante (yes, we’re back to calling it that for clarity’s sake). An atmosphere of casual prejudices that surround morally complex situations like scavenging the debris field near Jupiter as well as simple social interactions like eating Naomi’s red kibble. As the Martians begin to outnumber the Earthers, the distrust and differing levels of discipline make themselves known, especially once the survivors of the Kittur Chennamma realize they’re on the salvaged Tachi in the presence of the now infamous James Holden. And speaking of the Martian ensigns, Kelly McCormack and Atticus Mitchell were a nice bit of casting for fans of Killjoys, one of Syfy’s other space drama offerings on which they feature.

Their ill-advised attempt to take over the ship makes sense on its own, but it also serves as a catalyst for the other new Martian on the crew, Bobbie Draper, to become part of the voice of reason. Alex’s honorable discharge and Naomi’s negotiation tactics aside, Bobbie commands the room in her power armor skinsuit with a simple, “What’s all the ruckus?” and the reassurance that, “The hardest part of this game is figuring out who the enemy really is, and these guys aren’t it.” Her persuasion is even more powerful a deterrent than Holden’s general alarm which calls Amos to the fray, sadly but hilariously too late.

Amos is such fun with his black and white, no-nonsense approach to life, but while no one can accuse him of being unprincipled, some of his interactions this week are pleasantly puzzling. We’re not surprised, for example, that he sees no problem taking PDC rounds from the derelict ship; after all, they’re not using the ammo anymore. So why is he surprised when Prax coldly dismisses a Martian corpsicle when looking for more supplies to steal? And when Naomi does minor repairs on the Kittur Chennamma and observes metaphorically, “It’s nice to be working on something that’s easy to repair,” why does Amos still holding a grudge when he says there are things you can’t fix? Perhaps he’s more complex than we give him credit for.

On the other hand, maybe we gave Mao too much credit for pulling the plug on the hybrid project once he learned kids were getting hurt last week. Both his willingness to shut the facility down in preparation for the Agatha King’s arrival and his admiration for Mei’s feistiness with one of the scientists initially reinforced our belief that Mao could act in a moral fashion. But when Katoa begins to speak in the analytical speech of the protomolecule saying things like, “Disassembly reveals useful pathways,” Mao’s fascination with the alien organism returns with a vengeance, enough to ignore the dismembered, disemboweled scientist on the floor of the medical bay. Despite his somewhat expected return to villainy, the possibilities do excite speculation about what will happen next.

Even readers of the Corey novels have new territory to enjoy in these plot departures for Anna and Errinwright, for Katoa and Mao, and for Holden and crew. With the amazing opening sequence of the drones repositioning the Nauvoo for its return to Tycho, everything about this episode reminds us of why we love The Expanse. Its keen sense of the massiveness of space, its intricately woven and complicated relationships and personalities, and its deeply mysterious underlying alien mythology all create a unique blend of great storytelling, raw action, and the hard sci-fi elements that make this show like no other.

Sunday, December 5, 2021

You S3 Ep 3: Missing White Woman Syndrome

What did you miss? For a review of the last episode, click HERE


From Decider: https://decider.com/2021/10/15/you-season-3-episode-3-recap/


You S3 Ep 3:
Missing White Woman Syndrome


By Tara Ariano @TaraAriano Oct 15, 2021 at 12:00pm

As the news spreads about Natalie’s disappearance in You Season 3 Episode 3, Joe is trying to make like Scout Finch and believe that “Things are always better in the morning” — he’s reading Henry To Kill A Mockingbird now — and seems not only to have convinced himself, but is also keeping Love relatively calm. He can, after all, point out that most people assume when a wife is victim of foul play, the husband did it, and Matthew isn’t helping himself by refusing comment to the news crews that have congregated on his lawn. Evidently when Natalie checked out Gone Girl from the library in the first episode, it wasn’t for Matthew to read, or he would have learned from Nick’s mistakes.

Sherry may have hated Natalie for “stealing” Matthew from his ex-wife, but she makes her living on social media and would never let the truth deprive her from creating content, starting by pumping Natalie’s closest neighbor for gossip. Love remains decorous, but does take advantage of Stella’s need to ingratiate herself to Love by selling Stella and her minions some keto vanilla bean scones.

So Joe and Love decide they should act as normal as possible, and go to work. The former gets a hard time from judgmental librarian Marienne (Tati Gabrielle); meets his de facto boss Dante (Ben Mehl), who’s both completely blind and gay; and gets another visit from the detectives, who have photos of Joe talking to Natalie in the supermarket parking lot; he explains them away by telling the embarrassing (partial) truth that he’d driven there to jerk off. Meanwhile, Love gets a surprise visit from Theo. But then both parents are pulled away by an emergency call from Dottie. Theo offers to keep the bakery open while Love deals with it, and she hastily agrees, telling him where to find the spare key to lock up. Not sure I would so readily leave a near-perfect stranger whose stepmother I had recently murdered alone in my bakery, with its weird solitary-confinement cube in the basement, but I’m different.

It turns out Henry has the measles. Love is shocked that anyone still gets them, I guess because she doesn’t keep up with the news; the theory is that Henry was exposed, at the birthday party, to the unwitting offspring of anti-vaxx parents. Love’s just finished her contact-tracing duty when Dottie appears with an exciting update: Dottie’s bought a vineyard, so those Quinn family funds that were recently in flux are now just spent. Love screams at Dottie for letting her down — Love keeps trying to win Sherry’s approval because she’s recreating her relationship with Dottie — but she’s already fighting a battle on two fronts and can’t add a third. Love’s professional relationship with Natalie is now a matter of public record, thanks to Sherry telling TV news reporter Ryan Goodwin (Scott Michael Foster) about the lease on A Fresh Tart, and acting normal isn’t going to help her and Joe once it comes out that Love was the last person to see Natalie alive. Love and Joe agree that they need to frame Matthew for the murder, and fortunately Joe still has her bloody scarf…

…but when he goes home to do it, Joe swoons, and realizes he hasn’t been sweating all day because he’s guilty: he also has measles.


Joe’s fever spikes so fast that he starts hallucinating. First, there’s a second Joe who keeps him on task. When he physically jumps the fence into Matthew’s yard, he mentally jumps back to the group home to which he was sent after killing his mother’s partner when he was a kid, and into the office of a kindly young nurse. She knows he’s just faking sick to avoid his bullies and doesn’t mind if he stays, but she also can’t find his vaccination records. Loyal young Joe is sure his mother handled it — “She was good” — but his doppelgänger sneers that if Joe had been honest about his negligent mother, the nurse would have had him immunized then and he wouldn’t have infected his child. Joe and Joe are grappling on the floor…

…when suddenly Joe wakes up on the couch at the Englers’ with Matthew looming over him, asking, “What were you doing in my back yard?” I don’t know anything about anything, but it seems to me as though Matthew’s dialogue in this scene is deliberately ambiguous. Maybe he means to ask what Joe was doing in his back yard earlier, but he may also be asking what Joe was doing in his back yard when he came over to have a drink with Natalie in the season’s first episode; she had said then that the camera in the yard was the only one that didn’t work, but (as Joe’s internal monologue muses) what if there were more she didn’t know about? It’s established in this episode that Matthew initially made his name in “cutting edge surveillance” — plus we already know that Natalie initially got Joe’s cell phone number through Matthew somehow — so one assumes that interest would extend to his own home; surely he’s got video of everything Joe did once his feet touched down in the Engler yard…right?

But in this conversation, Joe — his senses surely dulled by his fever — is convinced that Matthew sincerely loved Natalie and is genuinely worried about her. He’s also, apparently, convinced that what Matthew gave him to swallow when he was unconscious was just a Tylenol. Joe is so moved by Matthew’s plight that he decides he can’t frame him for the murder after all: “I’d be killing a mockingbird.” When Love gets back from the hospital with Henry, whose fever broke, she’s relieved when Joe reports that he did plant the scarf in Matthew’s garbage — apparently that’s where Matthew found him, passed out — but then he took it back. (And like…Matthew watched him do this too, right???) Love is coming from another conversation with Theo, who met her at the hospital with dinner; she was moved by his feelings of alienation and rejection by Matthew. Joe and Love couldn’t send Matthew to prison: “We’re better than that.” They burn the scarf in the kitchen sink…

…and then it’s time for a candlelight vigil outside the Engler house. Joe is concerned that his new pal Matthew is only making himself look guiltier by not making an appearance, but when Matthew comes out just in time for the news crews to have given up on him, Joe is once again persuaded that Matthew is not calculating, and truly couldn’t bring himself to speak in public about Natalie until this moment. “If, God forbid, someone has done something to my wife,” he intones to the cameras, “I will find you, and you will be punished.” One of the detectives, Ruthie Falco (Romy Rosemont), is also at the vigil, and gets a call as it’s breaking up: her partner found Natalie’s ring.

Things seem to have settled down for the moment, and Love is alone at the bakery when Gil (Mackenzie Astin) — a dad Joe had dismissed at the birthday party as “Mormon Neville Longbottom” — comes in for some muffins. Love asks after his wife Margaret, who had seemed especially upset when Love called about Henry’s infection, and Gil admits that’s why he’s there: his daughters “both had it,” and were also at the party. Their girls’ cases were so mild, and they just don’t believe in vaccinations — not that they judge anyone who does! Love remains stonily silent as Gil continues his self-justifying babble, and he’s almost out the door when she calls his name…

…and bludgeons him with a rolling pin. Surely we all agree that public health is important enough to fight for, but will Joe feel Love has taken her vigilance too far? Or will this be the moment small business owner Love decides she’s enough of a girlboss to start handling her own corpses?

Friday, December 3, 2021

The Florida Project

From Roger Ebert: https://www.rogerebert.com/reviews/the-florida-project-2017

The Florida Project


Brian Tallerico October 06, 2017






It’s hard to describe “The Florida Project” in a way that conveys its greatness without making it sound maudlin and sentimental. It is one of those films that defies its plot description through its execution. It is a film of small notes that combine to form something major, the kind of movie that sneaks up on you and sticks with you. Like last year’s Best Picture winner, “Moonlight,” it achieves much of its brilliance through specificity. It is an all-too-common story of a single mother and her daughter on the edge of the social ladder, but it is told in a way that embraces its details instead of trying to achieve some sort of universal statement. Co-writer/director Sean Baker very carefully conveys the specific truths of his characters’ daily lives and it’s that honesty that makes “The Florida Project” so powerful. This is a remarkable film, one of the best of the year.

The Magic Castle motel is the kind of place most people don’t even notice as they speed past it on their way to the Magic Kingdom. On a strip of cheap motels, gun stores, tourist traps, and various other establishments, this motel houses all kinds, from the tourists looking for something cheap (or, in one of the movie’s funniest scenes, booking the wrong hotel) to the working class who have basically turned it into permanent lodging. Baker very purposefully introduces us to his child protagonists first, best friends Moonee (Brooklynn Prince) and Scooty (Christopher Rivera). They’re running to a neighboring motel so they can spit on a car from the balcony above. It’s just one of those silly things kids do when they have nothing else planned. Just another day near the happiest place on Earth. After the owner of the car gets angry, Moonee and Scooty get a third partner-in-crime in her granddaughter, the sweet Jancey (Valeria Cotto).

And here’s where we get to one of those aforementioned points where “The Florida Project” becomes hard to put into words. If I tell you that it consists largely of the adventures of these precocious motel-residing kids, it would probably sound like some horribly cloying piece of Hollywood trash, those movies that idealize youth and really look down on poverty. Baker does neither. And the tonal balancing act of “The Florida Project” is the main thing that makes it so breathtaking.

We basically journey through the day-to-day life of a wide-eyed, funny, creative kid, the kind who puts a dead fish in the pool to bring it back to life and turns off the power to the entire motel just to see what happens. There’s nothing overly special about Moonee or her life in typical movie ways. Every day is a bit of an adventure for Moonee, but Baker is careful not to romanticize that at the same time. He recognizes that Moonee is kind of a unique kid, the sort who can get a kick out of making noises into an oscillating fan or brushing her doll’s hair in the tub, but he never makes her into a precocious Hollywood cliche of the wide-eyed innocent. Moonee knows the deal. She knows more than most adults around her. But she wants to have fun everyday. Of course, it helps Baker greatly that he found a future star in Brooklynn Prince, who gives one of the best child performances in years. She’s so genuine that you forget that Moonee is a character, falling completely into her life as if it’s true.

As “The Florida Project” progresses, we realize that Moonee’s mother Halley (Bria Vinaite) is sliding away socially and economically. She struggles to make the rent, can’t get a job, and sells perfume in the parking lots of the fancier hotels in Orlando. It’s not adding up to enough to keep her family fed or a roof over their head. Someone else who senses that Halley and Moonee are good people on slippery terrain is the hotel manager Bobby, played perfectly by Willem Dafoe. In a long, very notable career, this is one of Dafoe’s best performances. Like Moonee’s story, Bobby’s appearances in the film are often episodic, but Dafoe uses these little beats to create a fully three-dimensional character. He has seen dozens of Moonees and Halleys come through his motel, and yet he can’t quite completely detach from the human lives in the rooms he rents. It is a perfectly modulated, beautiful piece of work.

What first feels episodic in the structure of “The Florida Project” becomes something more of a statement about the repetition of ordinary lives. We see Moonee do so many things multiple times—get breakfast from her mother’s best friend’s restaurant, get ice cream from a nearby establishment, hustle tourists to sell perfume, etc.—and it becomes a very effective way to add realism to Baker’s film. Even Bobby is shown pecking away at his keyboard or remodeling the motel multiple times. There’s no romanticism of these lives, and yet there’s never a sense of drudgery either. It’s a breathtaking balance of the two that really makes the movie work, and it culminates in a final scene of striking beauty—the kind that you don’t soon forget.

Some of our greatest films achieve their greatness by presenting us with characters who feel completely fully-realized and three-dimensional. We feel like we know Chiron from “Moonlight” or Lee from “Manchester by the Sea.” Moonee, Hailey, and Bobby achieve the same kind of life beyond the film about them. It’s enough to make you want to slow down the next time you pass a place like the Magic Castle and look more closely at the lives unfolding there. It takes a very special movie to change the way we look at the people around us. “The Florida Project” is a very special movie.

This review was originally published from the Toronto International Film Festival on September 8, 2017.

Thursday, December 2, 2021

Ghostbusters: Afterlife

from Roger Ebert: https://www.rogerebert.com/reviews/ghostbusters-afterlife-movie-review-2021
Reviews

Ghostbusters: Afterlife


Note from Nerdiest: Although this reviewer didn't like it for some reason, I very much enjoyed it. I just don't feel like digging through to find a more positive review. That being said:


Christy Lemire 
November 19, 2021





Behold the craven exercise in hollow nostalgia that is “Ghostbusters: Afterlife.”

In taking over the “Ghostbusters” mantle from his father, Ivan, director Jason Reitman trots out all the characters, props, gags and famous lines from the 1984 original as if the mere presence of them were enough for a laugh, or at least a familiar chuckle. His movie wallows in the superficial trappings of the franchise without ever recapturing—or seemingly grasping—what made it such a phenomenon in the first place. It’s essentially a two-hour version of that meme in which Chris Evans, as Captain America in “The Avengers,” says earnestly and with more than a little pride: “I understood that reference.”

This is sort of a sequel and sort of a reboot, but it’s definitely an erasure of the 2016 “Ghostbusters” starring Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones, which caused such a stir because it dared to feature women busting ghosts. That’s men’s work! Women are allowed to answer the phone at Ghostbusters headquarters, and they can be possessed by an ancient demon from another dimension as long as they still look sexy, but that’s about it. Come on, guys. When Ray Parker Jr. sang that busting made him feel good, we all knew what he was really talking about. (And yes, that catchy theme song is in here, too, playing over the end credits. It’s truly bizarre in retrospect to realize that it was a massive radio and MTV hit in 1984.)

But first, we must establish why we are taking this slog down memory lane. Reitman, in co-writing the script with Gil Kenan (who directed the 2015 “Poltergeist” re-do), has contrived to send the estranged relatives of one of the original Ghostbusters to middle-of-nowhere Oklahoma. The prodigious talents of Carrie Coon, one of the most insightful and exciting actresses working today, go depressingly to waste as Callie, a single mother of two. Son Trevor (Finn Wolfhard) is a sullen teen with a knack for mechanics. But 12-year-old daughter Phoebe (Mckenna Grace) is a misfit science whiz, a gift she apparently inherited from her grandfather, whose identity is revealed to us in the most eye-rolling way. They all schlep to fictional, small-town Summerville to take over Grandpa’s dilapidated farm, but when they get there, they soon realize there’s something strange in the neighborhood.

Despite his last name and his filmmaking lineage, the director Reitman rips off most here is Steven Spielberg. He tries to establish a feeling of mystery about this place right off the top through low-angle camerawork and misty moonlit nights, with Rob Simonsen’s score working hard to create a sense of wonder. This “Ghostbusters” takes the series’ mythology way too seriously, approaching what should be a light, silly comedy as if it were serious science fiction. The result is an awkward and unwarranted feeling of reverence.

Decades later, we’re supposed to believe, people still talk about what happened that summer in Manhattan. The one friend Phoebe makes is a supernatural-obsessed kid named Podcast (Logan Kim). “I call myself Podcast. Because of my podcast,” he explains. These are the jokes. Podcast enlightens Phoebe about the original Ghostbusters—as in, they literally sit in front of a laptop watching clips from the 1984 movie “Ghostbusters” on YouTube. A hidden lair beneath the farmhouse reveals all the archaic technology, and in the barn beneath a tarp rests the rusty, dusty car from the original film. In case we couldn’t tell what we’re looking at, Reitman repeatedly lingers on the converted Cadillac’s ECTO-1 license plate and the famous, red-and-white logo on the doors. At one point, a character has to make a phone call, prompting another character to ask: “Who you gonna call?” prompting me to groan “Oh my God” out loud to no one in particular in a nearly empty movie theater.

It's like that, over and over and over again. There’s a thing you know, and there’s another thing you know. And look! For the serious fans, there’s a super-nerdy, arcane thing that only a few people know. The Stay-Puft marshmallow man is back, but this time in the form of a bunch of adorably evil, normal-sized marshmallows who wreak havoc at Walmart. (And the interior logic in this bit is confusing. They want to attack Paul Rudd’s middle-school teacher character, but they also try to make s’mores out of each other. So they’re cannibals …?)

“Ghostbusters: Afterlife” is actually more interesting when it’s not a “Ghostbusters” movie—when it’s about a family struggling to fit in among entrenched locals in an insular place. When Rudd and Coon are together, they have a playful, deadpan banter that’s intriguing. When Trevor tries to make friends, he strikes up a flirtation with a pretty, young waitress, but the charismatic actress who plays her, Celeste O’Connor, gets woefully little to do. Grace brings intelligence to her role, but a running bit in which she tries to connect with people by telling bad jokes always falls flat, and watching her here is especially frustrating given the range she’s shown in projects as disparate as “I, Tonya” and “The Handmaid’s Tale.”

Ultimately, though, “Ghostbusters: Afterlife” isn’t about any of these people. It’s about the ghosts of the pasts: the original performers, who show up and sleepwalk their way through their cameos. The film’s depiction of the late Harold Ramis is especially cringeworthy. But at least those guys all realized what this is supposed to be: a goofy good time, and nothing more.

Wednesday, December 1, 2021

Billions S5 Ep 12: No Direction Home

What did you miss? For a review of the last episode, click HERE


from Vulture.com: https://www.vulture.com/article/billions-recap-season-5-episode-12-no-direction-home.html

Billions S5 Ep 12: No Direction Home


Billions Season-Finale Recap: How Does It Feel?
By Sarene Leeds



Photo: Jojo Whilden/SHOWTIME

That’s the last time Chuck Rhoades ever makes a Big Night–caliber breakfast for Mike Prince.

Here’s what I’ve learned from covering two seasons of Billions: Although it will always be a challenge to predict the outcome, the eventual conclusion is hardly ever a surprise.


Billions thrives on the constant game, the chase, the fight, and, as Taylor Mason so astutely put it in this season-five finale, the hatred. If there is victory, it’s short-lived and pyrrhic. “No Direction Home” checks all of those boxes — and to be clear, that’s not a criticism. It’s the best way possible to prime both the characters and the audience for season six, which is currently in production and slated for a January 2022 premiere.

The players are still the same — it’s just that most of their positions have changed. Again. The episode kicks off with Bobby Axelrod announcing his negative COVID-19 test, thus allowing Damian Lewis to finally appear in scenes with his fellow actors in person before his character pulls off an intricate, Hall-orchestrated disappearing act that concludes with him arriving in Switzerland. Yes, Axe has evaded federal charges, but, as we constantly ask with this series, at what cost? His company and his holdings are gone, frozen either by the Feds or eaten up by Mike Prince. His romance with Wendy was over before it had a chance to start, as she opted not to go on the run (though I’m not sure why; even staying behind for her kids seemed like an afterthought). Axe may be smirking over his triumph, living as a free man in the land of gourmet cheese and chocolate, but he’s all alone, with only Bob Dylan’s immortal lyrics ringing in his ears: “How does it feel? To be on your own, with no direction home, a complete unknown, like a rolling stone.”

While I’m certain this isn’t the last we’ve seen of our Yonkers billionaire, he’s the least of Billions’ concerns heading into season six. That’s because there’s a new villain in town: Mike Prince is now a thorn in not just Chuck’s side but everyone else’s. He leaked the news of the impending arrest to Axe just in time to legally take over Axe Bank, Axe Asset Management, and Taylor Mason Carbon. This maneuver allows Prince the satisfaction he was after: permanently removing Bobby Axelrod as a professional rival and crown himself king of the financial sector. But despite working with Chuck to make that happen, Prince didn’t care a whit about Axe going to prison or being the center of a media-circus court case — that was all Chuck’s fantasy.

After Axe ruins Chuck’s dramatic arrest at the Downtown Manhattan Heliport, the New York State attorney general immediately deduces that Prince was Axe’s informant. It’s at that moment that the story line truly shifts gears and sets things up for season six: Chuck’s anger and hatred (or as Taylor would call it, fuel) shifts from Axe to Prince. In a weird way, Axe, by fleeing the country, did Chuck (and Billions) a huge favor because Chuck needs that rage-driven fuel to survive.

Throughout “No Direction Home,” and especially in Paul Giamatti and Damian Lewis’s two scenes together, Chuck struggles to articulate what it is that propels him to destroy everything around him for the sake of “justice.” The closest we get to that answer lies in Chuck’s one scene with Senior, where, after Chuck informs his father that he’s got Axe in his clutches — for real this time — he overhears Senior tell baby Willow that her older brother is “a great man.” So, yes, a large reason for Chuck’s actions is his lifelong quest to please Daddy, but at this point, anyone who is even a casual Billions viewer knows it’s more than that. Look at how quickly he dropped Axe when he learned Prince had betrayed him. He doesn’t need the win; he needs that fight for the win.

We can’t talk about rage-driven fuel without addressing both the saddest outcome and one of the glimmers of hope in “No Direction Home”: Taylor Mason’s snuffed-out soul. This is something Taylor has been grappling with since their arrival in season two and a topic heavily documented in my recaps. Their slow evolution into a heartless, Axe-like monster has been a long time coming, though it was still upsetting to hear them advise Rian to use their hatred to succeed. The question is, will that slight flicker of humanity that remains — the one that subsequently warned Rian to make like Tom Cruise in Minority Report and run (she didn’t, btw, much to Taylor’s visible disappointment) — be what helps or hinders them in their battle against the merciless Mike Prince, now the owner of Taylor Mason Carbon?

The greatest lesson Axe left in his wake is that everyone, from Chuck to Wendy to Taylor to Wags, had better leave their humanity at the door when they inevitably go up against Prince next season. Uplifting Ralph Waldo Emerson quotes aside, this guy is an arrogant jackass presenting himself as a monarch to a group of people who have no reason to pledge their fealty. (This is what Axe meant when he warned Wags that this period of his life “will suck,” but it’s “something [he] will live through”: Axe kept his consigliere out of prison, but the price of that freedom is Wags must play second fiddle to both Scooter and Prince.)

Who knows? Now that Axe’s name is literally being chiseled off the walls, it’s possible that everybody, including the newly returned Bonnie and the Vocab Twins Ben Kim and Tuk Lal, will join Dollar Bill and Mafee’s planned venture. (We knew Bill was serious about leaving the second he Removed. His. Dollar. Bill. From. His. Monitor.) Everybody, that is, except Wendy and Taylor, who are technically allowed to bail, albeit legally prohibited from taking Mase Carb with them. Could Prince’s reign be what definitively allows Wendy and Taylor to let bygones be bygones and form an alliance stronger than ever before? And will Chuck get in on that alliance?

I’m cautiously optimistic. Yes, Mike Prince has become the King, sitting in Bobby Axelrod’s old chair and smugly validating that he, not Chuck, made that happen. But the truth, especially on Billions, often lies in its music cues. The reprise of “Like a Rolling Stone” is a glaring reminder that Prince is just as alone as Axe, and, I’d argue, in a far more precarious situation: He’s estranged from his own daughters, he’s Chuck’s latest target, and, with the exception of Scooter, everyone surrounding him at this moment — Wendy, Wags, and Taylor — is plotting his downfall.
Loose Change

• That Manhattan press-conference scene where Chuck and Axe verbally sparred in front of local stalwarts PIX News 11 and Spectrum News (a.k.a. NY1)? Filmed in London. My tip of the hat to the U.K. unit (credited in all five post-pandemic episodes this season) for so seamlessly inserting Damian Lewis’s overseas appearances — and in this episode, those of his castmates — into the Stateside action.

• I liked the fake-out that bookended the episode (you think Chuck is looking for Axe at the Axe Cap offices when it turns out he’s searching for Prince), but the constant time jumps gave me some serious American Crime Story: Impeachment vibes.

• When Orrin Bach promised Wags a “killer” attorney, he wasn’t kidding. Neal Katyal is the former acting solicitor general of the United States — and a friend of Billions showrunner Brian Koppelman.