At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), “Killers of the Flower Moon” is an epic western crime saga, where real love crosses paths with unspeakable betrayal. Also starring Robert De Niro and Jesse Plemons, “Killers of the Flower Moon” is directed by Academy Award winner Martin Scorsese from a screenplay by Eric Roth and Martin Scorsese, based on David Grann’s best-selling book.
Hailing from Apple Studios, “Killers of the Flower Moon” was produced alongside Imperative Entertainment, Sikelia Productions and Appian Way. Producers are Martin Scorsese, Dan Friedkin, Bradley Thomas and Daniel Lupi, with Leonardo DiCaprio, Rick Yorn, Adam Sommer, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul serving as executive producers.
Starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, “Killers of the Flower Moon” will premiere in theaters around the world, including IMAX® theatres, on October 20th, 2023.
Advance Screening is 6:30PM on Tuesday, October 17th at B&B West Olive – Creve Coeur (5PM SUGGESTED ARRIVAL)
Apple Original Films today unveiled the teaser trailer for Martin Scorsese’s highly anticipated feature “Killers of the Flower Moon.”
Premiering at the Cannes Film Festival on Saturday, May 20, “Killers of the Flower Moon” will be released exclusively in theaters worldwide, in partnership with Paramount Pictures, limited on Friday, October 6, and wide on Friday, October 20, before its global debut on Apple TV+.
Directed by Scorsese and written for the screen by Eric Roth and Scorsese, based on David Grann’s best-selling book of the same name, “Killers of the Flower Moon” is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror. The film stars Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal.
At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), “Killers of the Flower Moon” is an epic western crime saga, where real love crosses paths with unspeakable betrayal. Also starring Robert De Niro, Jesse Plemons, “Killers of the Flower Moon” is directed by Academy Award winner Scorsese from a screenplay by Eric Roth and Scorsese, based on David Grann’s bestselling book.
Hailing from Apple Studios, “Killers of the Flower Moon” was produced alongside Imperative Entertainment, Sikelia Productions and Appian Way. Producers are Scorsese, Dan Friedkin, Bradley Thomas and Daniel Lupi, with DiCaprio, Rick Yorn, Adam Somner, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul serving as executive producers.
To date, Apple Original films, documentaries, and series have earned 365 wins and 1,452 award nominations and counting, including multi-Emmy Award-winning comedy “Ted Lasso” and historic Oscar Best Picture winner “CODA.”
Lily Gladstone and Martin Scorsese behind the scenes of “Killers of the Flower Moon,” coming soon to Apple TV+.
“You gave me these emotions, but you didn’t tell me how to use them. Now two people are dead because of us. Why?”
Robert De Niro and Kenneth Branagh in MARY SHELLEY’S FRANKENSTEIN (1994) will be available on 4K Ultra HD April 12th from Arrow Video
Kenneth Branagh leads an all-star cast including Robert De Niro, Helena Bonham Carter, Tom Hulce, Ian Holm, John Cleese and Aidan Quinn in his definitive cinematic version of Mary Shelley’s classic tale of gothic terror.
At the turn of the 19th century, visionary scientist Victor Frankenstein (Kenneth Branagh) embarks on an obsessive quest to conquer the mysteries of human mortality. But his hubristic bid to create life out of death goes hideously wrong, and succeeds only in begetting a deformed monster (Robert De Niro). Horrified by what he has wrought, the scientist attempts to destroy his creation, but fails. Rejected by his creator and shunned by the world of man, the tormented creature swears vengeance against Frankenstein and his family. As the monster begins to enact his murderous revenge, Victor must face a terrible reckoning with the tragic consequences of attempting to play God.
Mary Shelley’s seminal novel is one of the most adapted books of all time, and this retelling faithfully goes back to the original source, lushly transforming the story’s twin themes of love and death into a darkly operatic gothic romance. Unlike many versions of Shelley’s novel, Branagh’s adaptation understands that Frankenstein’s misbegotten creation is as pitiable as he is monstrous, and never loses sight of the human tragedy lying at the core of its horrific tale. Filled with sweeping, atmospheric visuals and powerfully emotional performances from an award-winning ensemble of acting talent, Mary Shelley’s Frankenstein stands as a landmark interpretation of this enduring masterpiece.
4K ULTRA HD BLU-RAY SPECIAL EDITION CONTENTS
New 4K restoration from the original camera negatives by Sony Pictures Entertainment
4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
Original uncompressed stereo audio and DTS-HD MA 5.1 surround audio
Optional English subtitles for the deaf and hard of hearing
Brand new audio commentary by film historians Michael Brooke and Johnny Mains
Brand new interview with composer Patrick Doyle
Brand new interview with costumer designer James Acheson
Brand new interview with make-up designer Daniel Parker
Mary Shelley and The Creation of a Monster, a brand new documentary featurette on the origins and evolution of the Frankenstein story, featuring Gothic specialists David Pirie, Jonathan Rigby and Stephen Volk
Dissecting Mary Shelley’s Frankenstein, a brand new featurette with David Pirie, Jonathan Rigby and Stephen Volk on the differences between the novel and Kenneth Branagh’s screen adaptation
Frankenstein: A Liberal Adaptation from Mrs. Shelley’s Famous Story for Edison Production (1910): The first screen adaptation of Shelley’s story in a 2K restoration by the Library of Congress, with music by Donald Sosin
Original trailers
Reversible sleeve featuring original and newly commissioned artwork by Laz Marquez
Here’s your first look at KILLERS OF THE FLOWER MOON from Apple Original Films. Directed by Martin Scorsese, the film stars Leonardo DiCaprio and Lily Gladstone.
Gray Horse, Oklahoma 1919. DiCaprio plays Ernest Burkhart, and Gladstone appears as Mollie Burkhart, an Osage woman who falls in love with Ernest. Early in their relationship, Mollie invites him in for a meal and they form a bond.
A native of Montana, Lily Gladstone is of Blackfeet and Nez Perce descent. She made her film debut in Alex and Andrew Smith’s “Winter in the Blood,” and has recently appeared on Showtime’s “Billions,” as well as Kelly Reichert’s features “Certain Women” and “First Cow.”
Hailing from Apple Studios and directed and produced by Academy Award winner Martin Scorsese, “Killers of the Flower Moon” is based on David Grann’s highly praised best-seller. Set in 1920s Oklahoma, “Killers of the Flower Moon” depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.
“Killers of the Flower Moon” also stars Robert De Niro, Jesse Plemons as well as Tantoo Cardinal, Cara Jade Myers, JaNae Collins, Jillian Dion, William Belleau, Jason Isbell, Louis Cancelmi, Scott Shepherd, Sturgill Simpson and many others.
Scorsese produces and directs “Killers of the Flower Moon” for Apple Studios from a screenplay by Eric Roth and Scorsese. Producing alongside Scorsese is Imperative Entertainment’s Dan Friedkin and Bradley Thomas, and Leonardo DiCaprio and Appian Way Productions.
For the second weekend in a row, it’s family time at the multiplex (that’s right, no streaming or VOD as this film’s marketing makes clear, in theatres only). But that “FT” tag is true on both levels since LOVE ON THE ROCKS was an adult “dramedy” and ETERNAL BEAUTY was a dark tale of conflict and tragedy. The latter focused on sisters while the former featured a “caper” involving a father (and grandfather) and his daughter (also a mother). This new flick almost wears its “PG” rating as a beacon welcoming in “all ages”. It does concern three generations of a family, and it’s a comedy full of “gross-out” gags, slapstick pratfalls, and elaborate pranks to appeal to the tots and “pre-teens” weaned on annual holiday reruns of the HOME ALONE movies. Oh, but things aren’t all “tears and hugs” as the youngest lad in this household starts THE WAR WITH GRANDPA.
The aforementioned “son” Peter (Oakes Fegley) is pretty excited to be starting the sixth grade along with his pals/lunch tablemates Emma (T.J. McGibbon), Steve (Isaac Kragten), and Billy (Juliocesar Chavez) despite some of the older bullying students (including Steve’s sadistic sister Lisa). But things are about to get complicated at his house. Mom Sally (Uma Thurman) is again ditching her job to drive two hours to handle the latest “incident” with her widowed father Ed (Robert De Niro). He’s adamant about staying in his home, but Sally delivers an ultimatum: move to a “retirement community” or move in with her family. Reluctantly he begins packing. That night Sally and hubby Arthur (Rob Riggle) deliver the news to the kids. Rebellious “boy crazy” teen Mia (Laura Marano) and Christmas-obsessed (she sings carol constantly) seven-year-old Jennifer (Poppy Gagnon) are thrilled, as is Peter, until “the other shoe drops”. The girls share a room, so he’ll have to move out of his much-adored “solo pad” and relocate in the attic (grandpa would go there, but for those stairs…). Ed is soon welcomed with open arms as Peter does battle with cobwebs, dust, mice, and even a bat (it just flew in from Transylvania and boy are its wings tired). Late one night Ed notices a letter being pushed under his closed door. It’s a “declaration of war” over the room, signed by “the Secret Warrior”. He shrugs it off till then next day when the first “blow’ is struck. That afternoon on a “play date” with old pal Jerry (Christopher Walken), Ed tells him of the “war” note. Jerry encourages him to retaliate, as does his BFF “ladies man” Danny (Cheech Marin). Returning home Ed takes Peter aside and agrees to the “conflict” with some rules that no other family members will be notified or involved in this. Later Ed enlists another soldier when he buys some “weapons’ at a “big box” electronics store with the aid of a very friendly clerk named Diane (Jane Seymour). Now that the armies are formed (Peter’s school pals soon join him), who will acquire the ultimate prize of that “primo” bedroom? And what of the “casualties” amongst the “bystanders”?
Uhhh, where to start with the squandering of the superb screen veteran cast. Well, with the title character himself, “Grandpa” Ed as played by DeNiro, who almost seems to be echoing the later years of another screen icon, and “actors’ actor” Laurence Oliver. He appeared to be amassing a financial legacy as his career came to a close in the late 70s and early 80s (General MacArthur in INCHON…yup). Luckily DeNiro is part of David O. Russell acting ensemble and was reunited with another creative partner late last year with THE IRISHMAN. These have been the few bright spots in the last decade or so as he’s bounced from VOD thriller duds to dopey, dim-witted comedies (that other BAD GRANDPA, for a similarly-titled example). As Ed he does that required parodying of his former film “tough guys” (perhaps he could put these tired “self-parodies” to rest, please), along with the squinting and hesitating line delivery, when he’s not groaning, grunting, and grimacing in pain as endures copious clunky punishments, seeming to have been injected with cartoon DNA, as he brushes them off like Tom the Cat in those much funnier and clever MGM classics. Perhaps he’s using the old excuse of “doing something for the wee folk to watch”, but it just doesn’t excuse his participation. Adding to the insult is the reunion with THE DEER HUNTER co-star Walken. After over 40 years, this is what brings these two Oscar winners back together? Walken glides through the forced hi-jinks, hoping to coast on his fading “hipster cool”. That’s also true of Marin, basically, a “wacky” sidekick in the action set pieces. His role is just a notch or two above Seymour who’s stuck in the obligatory “mature” but still “randy” love interest (guessing that Ann Margaret and Susan Sarandon wisely passed). Their pairing seems forced at best. She still fares better than Thurman who has to constantly be the “party pooper”, dishing out the rules, while also enduring the war’s “collateral damage” causing her to screech and mug. There’s little chemistry with Riggle as her hubby, who also becomes the brunt of slapstick bits while doing the whole “doofus dad” bits (this gifted comic actor deserves a much better showcase). As for the kids, Fegley as Peter is good as the “nice boy” who gets a kick out of releasing a bit of his inner “hellion”, and makes more of an impact than any of his youthful castmates, though Gagnon is achingly adorable as she “holidizes” everything in sight.
All this clumsy caterwauling is co-ordinated by director Tim Hill, who has bounced between cable TV kids sitcoms, full-on animated features (with Spongebob), live/toon hybrids like the much-better HOP, along with Garfield and Alvin and the Chipmunks, even the Muppets. He mixes elements of all of them as he juggles the lackluster script adaptation of Robert Kimmel Smith’s book. Ed and his pals seem like they’re CGI or foam (like Kermit and company) as they effortlessly bounce back from slapstick stunts that would sentence them to a skilled care facility, at the very least (slipping on a floor of marbles should pulverize a hip, for certain). But Ed and his seventy-something pals (though Seymour has a few months left in her “slinky 60s”) are able to do most anything the slovenly story needs. A trampoline dodgeball match, why not (I kept wondering why the 20-something referee would allow it…maybe he’s a lawyer and whipped up some tight “liability waivers”). Then there are a few gags that seem very out of place in a PG kids comedy. What’s up with the “call back” gag of Ed accidentally exposing himself to son-in-law Arthur (who for some unknown reason, hates when he calls him “Artie”)? Laid over all this is a constant irritating “music bed’ that telegraphs and hammers every punchline (and punch) as the camera tries to make the bland Atlanta locations look “lived in” (The main two-story house couldn’t turn the first-floor den or study into Ed’s room). I was a bit surprised (and happy since this 95-minute test of movie patience was winding down) at the sinister shot just before the final fade-out to end credits (thinking that old monster movie “The End?” would be revived). Kind of gutsy, until the scrolling credits made way for some “zany” out-takes and we’re “treated” to the cast, including Bobby D, dancing and shuffling to co-star Marano’s forgettable pop single. Almost like the film itself, as the humiliation of a team of screen vets earns THE WAR WITH GRANDPA a much deserved …
James Gray shooting The Immigrant with Joaquin Phoenix
Focus Features has finalized their worldwide deal on James Gray’s Armageddon Time. The coming-of-age film is written and set to be directed by Gray, based upon his childhood experiences set in a pre-Reagan era America. The film lines up an acclaimed ensemble cast including four Academy Award® winners Robert De Niro, Oscar Isaac, Donald Sutherland, Anne Hathaway and Cate Blanchett.
Production is set to begin in 2021 in New York. RT Features’ Rodrigo Teixeira will produce along with Gray and Anthony Katagas, with Lourenço Sant’Anna and Rodrigo Gutierrez executive producing.
Says Gray, “It’s really a dream come true for me–to do this kind of personal story, and to do it for such a wonderful partner in Focus Features. I could not ask for a better home for this film.”
Gray has previously helmed Ad Astra starring Brad Pitt, as well as Little Odessa, The Yards, We Own The Night, Two Lovers, The Immigrant and The Lost City of Z
Focus Features will distribute the film in the U.S. and Universal Pictures International will distribute internationally. De Niro, Sutherland, Hathaway, Blanchett, Gray, and RT Features are represented by CAA. Hathaway is also represented by Management 360. Isaac is represented by WME and Inspire Entertainment.
This is the ‘big one”. Really, there may be no other way to truly describe this new epic from one of the modern masters of cinema. Sure, the rumors are indeed true, it clocks in at three and a half hours. Mind you, it harkens back to the fabulous double features that played the golden age of movie palaces (theatre just couldn’t convey their splendor). But, how odd is it that this film’s main producer is the home-streaming service Netflix. However, this is a work deserving of the full screen, all-encompassing sound experience, because, after those 219 minutes pass, you’ll likely think, “More, please”. That’s the sign of a true artist. We’re talking of a filmmaker, who has been creating over 50 years: Martin Scorsese. He’s returning to some familiar territory, perhaps completing an incredible “trilogy”. And it’s all about outlaws. MEAN STREETS profiled the “low-level” street gangs, and the much later GANGS OF NEW YORK looked at the historical origins of the crime-breaking clubs of the late 1800s. But, these aren’t Scorsese’s supreme explorations of real-life organized crime lords. The trilogy really begins with 1990’s GOODFELLAS, then heads west five years later for CASINO. Now, almost 25 years later, Scorsese is back on his old “turf” with a pair of his most celebrated actors (and an iconic “newbie”) to tell the decades-spanning story of THE IRISHMAN.
The title nickname belongs to Frank Sheeran (Robert De Niro), who we first see in his “twilight years”, before we quickly flashback to 1975 as he begins a multi-state auto trip with his wife and his mentor/boss Russell Bufalino (Joe Pesci) and his wife (Mr. B hates flying, but enjoys a long drive if he’s not behind the wheel). A gas stop sends Frank’s thoughts back another twenty years or so when he was driving an air-cooled truck full of beef and had engine troubles near the same spot. A stranger (who later turns out to be Russell) helps him get back on the road. Eventually, the lure of easy money compels Frank to sell off some of his cargo (under the table stuff). When the meat company accuses him of thievery, Franks goes to his union’s lawyer Bill (Ray Romano). After getting Frank acquitted, Bill introduces him to his not-so-distant relative Russell, who, in turn, introduces Frank to his boss, the mob “captain” Angelo Bruno (Harvey Keitel). Since Frank has a wife and daughters to feed he begins to do “after hours” jobs for Mr. Bruno as a “house painter” (mob code for hitman). Frank’s loyalty earns him a call (and “painting job”) from the powerful president of the International Brotherhood of Teamsters, Jimmy Hoffa (Al Pacino). As the years roll on, Frank and Jimmy become inseparable with Frank as his main bodyguard, while Jimmy becomes a surrogate uncle to the Sheeran girls. But Jimmy has his rivals, especially Anthony “little guy” Provenzano (Stephen Graham) who desire more power, and easy no-interest loans from the union’s coffers. After a stint in prison (AKA “going to school”), Hoffa tries to regain his old “throne”, but rumors of “squealing” to the “feds”, put Frank in a tough spot. This leads to one of the 20th century’s greatest mysteries. The film explores the impact of Frank’s actions on history and more immediately, his family, particularly estranged daughter Peggy (Anna Paquin). Can Frank return to a normal life, once he’s “out” of the house painting biz?
Scorsese puts his most frequent and oldest artistic partner (his muse, perhaps), DeNiro front and center of this tale that spans many decades. You could say that Sheeran is a gangster riff on FORREST GUMP, as he seems to be a witness (and occasional participant) in much of history, often rubbing elbows (or rubbing out) historical figures. Most of all, he is the dutiful soldier who carries out the orders and does the “dirty jobs” though he may wince and bow his head in remorse and regret. But he somehow remains true to his twisted moral code, often a stoic knight in service of his king (the mob kingpins). It isn’t until the last 30 minutes or so, the dour epilogue when De Niro truly delivers and shows us a heartbreaking vulnerability as time takes its toll. De Niro’s frequent acting partner, Joe Pesci, returns to the screen as the wizened, “calm at the center of the storm” Russell who is far from the hair-triggered “wildmen” he played in CASINO and GOODFELLAS (which nabbed him an Oscar). He’s quiet, but his stern gaze can stop any goon in his tracks. His tight-lipped demeanor works well with his equally “all business” superior Keitel as Bruno. The flashiest “showie-est” role belongs to the often bombastic Pacino, who finds just the right “balance” as the colorful “workin’ man’s best pal” Hoffa. Too often in recent years, Pacino has almost become a bellowing, growling caricature, but under the guidance of Scorsese, his actorly excesses are kept in check until we see him as Hoffa “working the crowds” into a frenzy with his pro-labor rallies. And he’s just as entertaining when showing Hoffa’s quirks, whether it’s his hatred for tardiness or his love of chocolate sundaes, washed down with a cold Canada Dry ginger ale. If there’s any justice, Pacino’s take on this “flat-topped” pitbull should nab him a Supporting Actor nom (and maybe a win). Romano does a great job as the “legal eagle” as does another comedian, Sebastian Maniscalco, as a famous mobster. Ditto for the terrific Graham who goes “mano y mano” with Hoffa. And though she has few lines, Paquin is haunting as the unblinking daughter who is a reminder of Frank’s many misdeeds.
Speaking of reminders, of course, many viewers will contrast and compare this to the director’s iconic classics. But what really resonates is how he’s put a fresh “spin” on the genre, much as Scorsese did nearly thirty years ago. We know that he’ll get the period “look” , from the classic cars to the fashions, and the pop culture nods, including tunes blaring from radios and jukeboxes, to the entertainers (including a tribute to a funnyman from a previous flick), and even an establishing shot straight out of a TV staple (we boomers will smile at that helicopter zoom over the ocean and into a Florida mecca). Oh, and that “can’t teach an old dog new tricks” adage is disproven, by this master’s embracing of new technology (aside from the film’s producers). Using the latest in computer enhancement, De Niro and company get “digital facelifts” as good as any recent Marvel movie (yeah, we’ve heard Mr. S’s comments about those recent hits), enabling the same actors to see the characters through the ages, and not have to be replaced by “look-alikes” during flashbacks, or encumbered in an “Muthusala-mask” for the final act. Which brings us to another new facet of this mob story, thanks largely to Steve Zaillian’s provocative screenplay adaptation, the idea of the “survivor”, or the last enforcer left, when time becomes an adversary they can’t “lean on” or “muscle”. We’re shown how these near-unstoppable men finally are stopped, asking for help and sympathy from family, and being denied and often forgotten with their new routines more soul-crushing than any prison (or “school”). These sequences are given an extra dramatic jolt by Robbie Robertson’s music score (stick around for his original tune over the end credits) and the superb editing of Thelma Schoonmaker. Her gifts shine especially in the riveting doses of violence, from a late-night hit at an NYC eatery to the “roughing up” of a grocer during broad daylight (think of Sonny Corleone and his brother-in-law). and it’s all given a nostalgic glow by the cinematography of Rodrigo Prieto. Add this to the long, impressive list of Scorsese classics. THE IRISHMAN is one of the year’s best.
Fall has finally truly arrived (those 90s temps have at last vacated), so it’s really time to get serious and somber at the multiplex. But, to quote a ’08 classic, “Why so serious?”. After all, there’s often time for a comic book-based cold weather flick. Ah, but this one’s very different from the big action epics from a few months ago. First and second, it’s deadly (accent on the first syllable) dramatic in tone and earns it’s “R” rating. Not the first comic-based flick to do so (hey, LOGAN and DEADPOOL), but this centers on a villain (yes, I know Sony/Marvel gave the “title star” treatment to Spidey’s nemesis VENOM a couple of years ago). Let’s be specific, this is “THE” comic book villain, really the greatest comic baddie of all time, maybe just as popular as his arch-rival. I’d say he ranks right up there with the greatest villains of fiction, earning a place alongside Dr. Fu Manchu, Simon Legree, and Prof. Moriarty. Origin story? Well sorta’. This is definitely a showcase for one of cinema’s most intense, unpredictable actors as he slaps on the white pancake makeup and dons the bright flashy duds of the JOKER.
We first meet Arthur Fleck (Joaquin Phoenix) as he checks in with a disinterested social worker at a dingy, flickering-fluorescent lit downtown office. He’s recently discharged from Arkham Asylum, and has to talk with her before he gets his “meds”. Once he’s done, Art is off to work at a “talent” agency that provides clowns for events and businesses. After applying the “war paint”, he’s twirling a “sale” sign outside a retail shop on the dirty “mean streets” of downtown Gotham City. He’s jumped by some thugs who leave him bruised and battered (physically and emotionally). Art gets himself together for the long bus ride to the cramped apartment he shares with his aging fragile mother Penny (Frances Conroy) in a nearly condemned apartment building. After he feeds and bathes her, it’s time for the pre-bedtime ritual of watching the late-night talk show hosted by Art’s idol Murray Franklin (Robert DeNiro). Art fantasizes about meeting Murray and getting his big break as a stand-up comic (Art carries around a ratty notebook full of “joke idea” scribblings and pasted photos). All the while he wonders why life is such a struggle, while the Wayne family, headed by possible Mayoral candidate Thomas (Brett Cullen), lives in the lap of luxury. Art is finally pushed over the edge after a horrific subway encounter, which also pushes him into the arms of single mother neighbor Sophie (Zazie Beetz). That incident proves to be the spark that lights the fuse on the GC powderkeg of “class injustice”. Soon after this Murray somehow gets a tape of Arthur’s inept stand-up “set” at the comedy club Pogos. Will this be his chance at stardom, or will it be the humiliation that finally shatters Arthur’s damaged psyche? Could his new invented persona of “Joker” erase Arthur Fleck for good?
You could almost call this “The JP Show” since the talented, compelling Mr. Phoenix is in nearly every scene, and is equally sympathetic and repellant. Particularly in the early sequences, Artie seems to be the world’s (or at least Gotham City’s) doormat, soaking up all the ugliness on the bottom of humanity’s feet. We’re supportive as he refuses to take out his many frustrations on his adored mother, holding in the humiliation of his assault on the job. His only escape seems to be his dream relationship with Murray, a father figure who is able to see his “special-ness”. Phoenix brings us in on Arthur’s embarrassment over his unexplained sudden bursts of inappropriate hysterics (that raspy “cackle-laugh” is convincingly grating). And then he “pushes” us away when Arthur begins strolling (eventually running like a cartoon mouse escaping a hungry cat) down a very dark, twisted path. He goes from put-upon “everyman” to vain, uncaring “monster”, eschewing all boundaries of social norms. Phoenix uses his body language to show this inner metamorphosis (supposedly dropping over 50 pounds to get a tangled marionette visage). His voice changes from a low growling “word-swallower” to an agitated scream, often looking as though he’s spitting bile and venom. This just adds to the character’s unpredictability, giving extra heft to his quick bursts of violence. Finally, Phoenix adjusts his posture and delivery to drive home the sense that the poor lil’ guy from that first act is buried by tons of hatred and loathing. Add this towards the top of Phoenix’s already impressive roster of film roles.
The first comic book appearance of “Mr. J” in 1940
But Mr. P does get good support from the stellar cast. There’s a tender rapport between him and Conroy. As Penny, she shows us a weary woman quickly sliding into senility. And her eyes tell us of her conflicted relationship with her son. Penny’s caring and very dependent while trying to hide her fear of her “boy”. DeNiro’s having a good time as the “puffed up” veteran TV comic-host (he’s much better here than in the dreadful THE COMEDIAN), trampling over his staff and recalling a now adored classic flick from his heyday. In a twist on THE KING OF COMEDY, Rupert Pupkin has become the smooth Jerry Langford (Jerry Lewis’s greatest acting gig). Ms. Beetz is a most believable love interest, though her role doesn’t really give her a lot to do (she and Artie share a similar “sick” sense of humor). In a change from previous media incarnations, Cullen gives us a Thomas Wayne who’s a well-dressed, over-privileged thug who throws gasoline on the tiny fires set to turn the city into a cinder. This “politico’ can barely contain his contempt for the underclass, even calling them clowns. And it’s great to see the pairing of two terrific character actors, Shea Whigham and Bill Camp, as a cop duo who seem to be just a step or two behind Arthur. I wished for some more time with them (maybe in some deleted scenes in the home video release).
In a big “switcheroo” from his “raunchy” comedy resume, director Todd (THE HANGOVER trilogy) Phillips, who co-wrote the script with Scott Silver, goes dirty and very downbeat to give us this swift spiral into madness. We can almost smell the stench off the Gotham streets, echoing the “fun city” garbage collector strikes of decades past. Most have mentioned the 70s Martin Scorsese vibe (he was attached for a time as producer), feeling as though the film is the “love child” of TAXI DRIVER and the aforementioned THE KING OF COMEDY, but the film digs deeper into the era with nods to MS. 45, DEATH WISH (though the predators look like they just left the Moves club from the recent HUSTLERS), and THE EXORCIST (some lengthy outdoor concrete stairs are a big backdrop), with a dollop of the more recent FIGHT CLUB and A BEAUTIFUL MIND (you’ll make the connection). It’s gritty and dark thanks to the low lit cinematography from Lawrence Sher. And the art department really gives the talent from ONCE UPON A TIME IN …HOLLYWOOD a “run for their money’ in recreating a decades-old city (LA in 69′ for Tarantino to NYC in the early 80s here). Unfortunately, the film’s pacing could be tighter as Phillips lingers a bit too long on Artie’s mirror-gazing and manic movements (that gallop). But he does have a feel for high drama (though the homages can tend to pile up) and gets good work from all the actors involved. The title character’s chain-smoking becomes tiresome (I was recalling Jerry Lewis in THE FAMILY JEWELS), though many might consider a Marlboro-puffing harlequin “edgy”. This is quite a different “clown prince of crime” than we’ve encountered previously and for fans of 70s cinema and Mr. Phoenix, JOKER is a fatalistic film funhouse. And not a winged rodent in sight.
THE IRISHMAN (2019)
Ray Ramano (Bill Bufalino ) Al Pacino (Jimmy Hoffa) and Robert De Niro (Frank Sheeran)
Robert De Niro, Al Pacino and Joe Pesci star in Martin Scorsese’s THE IRISHMAN, an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime: its inner workings, rivalries and connections to mainstream politics.
Here’s your first look at the phenomenal first trailer for THE IRISHMAN.
THE IRISHMAN will be in theaters and on Netflix Fall 2019.
Before Brian De Palma became THAT De Palma and before Robert De Niro scored big with multiple high-profile roles, they were just two twenty-somethings trying to put together film careers. De Palma was a film school student and De Niro was a no-name actor.
The two first met around 1963 when De Niro was cast in a supporting role in De Palma’s first film, The Wedding Party. The film is a farce about a groom who visits his soon-to-be bride’s family estate for the forthcoming nuptials. His two friends and groomsmen (played by De Niro and William Finley), who are there to support him, initially try to talk the groom out of the marriage. The groom refuses to listen to their arguments and turns them away. Yet as the day looms large, the groom begins having second thoughts even as the groomsmen have changed their thinking and try to keep the wedding from falling apart. Also starring De Palma fave Jennifer Salt and Jill Clayburgh, the film wasn’t released until 1969 when De Niro was making a splash in Off-Broadway theater and De Palma’s second film was making a decent amount at the box office.
The Wedding Party is a fun and harmless little comedy, filmed in black-and-white and notable for De Palma’s use of jump cuts and silent film techniques such as the use of title cards to explain scenes as well as fades created by closing the iris of the camera.
While William Finley also became a De Palma fave and appeared in several later films for the director, De Palma recognized De Niro’s talent and so, when the time came to make his third feature (De Palma’s second feature, Murder a la mod, was a critical failure in early 1968), he cast De Niro in the starring role for 1968’s Greetings.
Greetings was a satire about a group of young men dodging the Vietnam War draft. De Palma’s first feature in color, it was notoriously the first film to receive the brand new X rating from the MPAA, beating out the more famous Midnight Cowboy by five months. De Niro stars as Jon Rubin, one of a triumvirate of listless young men trying to avoid the war. De Niro’s character of Jon Rubin was loosely modeled on De Palma himself and is portrayed as an aspiring filmmaker with a taste for Peeping Tom-ism. A second character was modeled after co-writer Charles Hirsch, who was a Kennedy assassination conspiracy nut. The film is episodic in nature and, even this early, one can see De Palma’s influences and quirky filmmaking techniques as characters break the fourth wall and read aloud to the audience, the group marches from one location to another similar to the Beatles in A Hard Day’s Night, and other, more esoteric influences. The film was popular at the time, grossing over a million dollars, and one can easily see why. The characters are likable and the story quirky and funny. The film has a decided lean to the political left and can be seen as a protest against the war.
Greetings was popular enough for a sequel to be made entitled Hi, Mom! and released in 1970. The film again follows De Niro who reprises the role of Jon Rubin. The film begins with Rubin in Vietnam, having managed to only delay the draft. Upon his return, Rubin’s voyeurism kicks into full force and he strikes upon the idea of expanding upon the burgeoning adult film industry by filming his neighbors through their windows and recording their daily activities. The film is most notable for a sequence which used experimental theater and cinema verite techniques to record a happening called “Be Black Baby,” an experimental theatrical experience where African Americans helped whites learn what it felt like to be black in America.
De Palma is well-known for his use of split screen and though there is no actual use of the technique present in Hi, Mom!, there is a terrific scene when De Niro, as Rubin, describes his idea of filming ordinary lives through his window to a woman he wants to be a part of the film. They are standing in the street to the left of the screen. As De Niro describes a fictional woman coming into her apartment, on the right side of the screen, a light is switched on and viewers see a young woman enter a room and watch as she mirrors the action described by De Niro. It’s a simple yet brilliant way to use split screen without resorting to expensive opticals yet subtle enough that it took a second viewing for my brain to realize just what De Palma had done and how well-planned the scene was.
All three films, The Wedding Party, Greetings, and Hi, Mom!, represent De Palma’s earliest work and allows film historians to understand De Palma’s influences much earlier than his more famous films like Sisters, Phantom of the Paradise, Obsession, Carrie, Blow Out, and Dressed to Kill. For viewers who only know De Palma as a horror director, these films also allow one to view De Palma doing some high quality comedy. Viewing De Niro as a 20-year-old, first-time actor is also fairly amazing. Already confident in his abilities, one can see from these films that he was obviously going places.
Now Arrow Films USA has packaged these three rarities together in a three disc Blu-Ray presentation. Each film is a brand new, 2K scan from original film materials (in the case of The Wedding Party, from the actual film negative). Special features include a commentary for Greetings by De Niro biographer Glenn Kenny, which is an informative and interesting commentary. Also included is an appreciation of De Palma by Howard Berger, two separate interviews with writer-producer Charles Hirsch, and interviews with several of the actors in the films, along with a trailer for Hi, Mom! These features help give each film some perspective and allows the viewer to learn the early history of these two important filmmakers. Finally, the first pressing of this package comes with a collector’s booklet filled with new writing about the films as well as archival interviews with De Palma and Charles Hirsch.
