Succession (2018-23)

For quite a long stretch of time during the golden age of TV, Succession was the best show on air.  From the beginning, it spoke to our nightmare times. The Roy family was most closely modeled on the Murdochs but there is something undoubtedly Trumpian about it all, isn't there? It's so painfully realistic, it's terrifying at times. Succession was the perfect balance of comedy and (Shakespearean) tragedy. And it wasn't just clever writing. It was the comedic performances and the hilarious cameraman controlling the zoom lens. There are so many iconic moments that have entered the culture. I'm talking "L to the OG", boar on the floor, two safe rooms, crack some greggs to make a Tomelette, etc. Really any scene with Cousin Greg. 

The final season was announced ahead of the season premiere. Succession ran a tight four seasons, left us wanting more, rather than overstaying its welcome. There was a clear series arc that the showrunner Jesse Armstrong had clearly thought out.  And it took a bold swing in Season 4 Episode 3 that paid dividends. The final 3 episodes were excellent. I feel like they really stuck the landing. The final season leans more tragedy ("You are not serious people") than comedy, but it has its moments, like "it's not that lemony" and Connor arguing with Roman about ambassadorships. 

And how about that opening song by Nicholas Britell!

The Little Drummer Girl (2018)

I usually find John le Carre's spy thrillers to be slow and boring. But honestly I thought The Little Drummer Girl was a brilliant slow burn. It was intense and legitimately thrilling. It's a tight six episodes. The Mossad don't mess around. They recruit an English actress to go undercover and infiltrate a Palestinian group plotting terrorist attacks in Europe. What's especially interesting about that is that she's an actress playing a part. Of course, that's all undercover work, but it's not usually framed as acting. Usually, the spy has certain sympathies but we're never quite sure where her sympathies lie. She waivers because she's an actress first. In the Mossad agents too, Gadi acknowledges that they may not be the good guys. That's a devastating admission for a spy. 

Park Chan-wook's production is ravishing. The colors, the composition and the camera movement are distinctive Park.  After watching Decision to Leave, I wanted more Park and I'm glad to have finally checked this one off the list. I hadn't realized what a great starry cast he had but was pleasantly surprised. The undercover actress is played by a never better Florence Pugh. She is good in everything. Her handler is played by Alexander Skarsgard. He too plays a part, her target. It allows her to rehearse and learn her character. It reminds me of In the Mood for Love because as they role play, they too begin to fall in love. They blur the line between acting and reality. Michael Shannon plays the leader of the Mossad team and he is fantastic.

Long Shot (2019)

I'm embarrassed to say that I thoroughly enjoyed this movie. I thought it was really funny. It only brushes the surface of its political ambitions but it's just enough to be interesting. Seth Rogen's Fred has principles. Yes, who would've thought that Seth Rogen would be the moral compass? Charlize Theron is oddly good at this wacky comedy. She should be given more comedic roles. And the very best part of the movie is O'Shea Jackson Jr, who makes a great comedic sidekick.

The Aftermath (2019)

I'm usually a fan of romantic movies in which it doesn't work out. But the ending of this movie just really didn't work for me, spoiler alert. The movie is not nearly as tantalizing as it thinks it is. It has about enough content for the trailer, and that's about it. The daughter's subplot is neither interesting nor does it really add anything to the story. Keira Knightley is divine but her character is not likable. None of the characters are very likable for that matter. Points for the sound though...you hear the heartbeats? And points for costumes, those sweaters.

The Giver (2014)

The movie is never quite as good as the book.  This movie never really captures the essence of the Newbery Medal winning book for which it is based. Lois Lowry creates a world of her own imagination, rich with detail.  This "perfect" world eliminates choice through a strict set of rules, creating a society of equality, sameness.  To start off, Jonas narrates the rules of the society.  But he does not explain to the audience what this society is about, only scratching the surface of the Lowry's creation. For those who have not read the book, they are thrown into this utopia/dystopia without the proper background.  Hollywood created a love story where there is none, not understanding that the people in the society are not capable of love.  Even the ending is slightly different (read: worse), not leaving room for audience interpretation.

The dialogue moves very quickly, with characters almost speaking over each other with little pause in between responses.  It comes off as almost robotic.  Maybe the director was going for flat to depict the lack of emotions, because even the incomparable Meryl Streep (whose role does not appear prominently in the book) and Jeff Bridges gives uninspired performances.

It is a very short film and the plot moves very quickly, so the audience is not given much time to digest anything.  But in that short time, there is some really beautiful cinematography.  The contrast of the black-and-white and the vibrant colors is stunning, and the flow of memories produce some incredible images.  In conclusion, read the book.