Pause and Reflect: Why I am Glad I Gave “The Souvenir” a Rewatch

Sometimes, we simply need to pause and reflect on a film, and if you can’t stop thinking of it then it’s worth returning to it. I’m not sure whether I want to see any of Hogg’s other films, or even see “The Souvenir Part II” but I do know that I am grateful that I gave “The Souvenir” another chance.  Continue reading Pause and Reflect: Why I am Glad I Gave “The Souvenir” a Rewatch

JC’s Top 20 Movies Of 2019

As we approach the end of 2019, the ITOL team are compiling their end of year lists of their favourite films. Here’s James Cain’s list and his personal top 20 films of 2019!

Another year, another fresh bout of shame. I didn’t see “Hustlers”! I didn’t fit “Always Be My Maybe” onto my list of favourite movies! Anyway, here are my Top 20 Films of 2019. Continue reading JC’s Top 20 Movies Of 2019

Editorial: Is This Male Director Good or Have Men in My Life Just Convinced Me to Put Up with Mediocrity?

Every year, the Hollywood Foreign Press Association (HFPA) hosts the Golden Globes.  The Golden Globes are used as a predictor for Oscar nominations. As always, there are only so many slots for each category.  Not every actor, filmmaker, or movie can be nominated. But the Golden Globes typically proves to be pretty white and male dominated.  This year, five male filmmakers were nominated for Best Director. Bong Joon-Ho, who directed “Parasite” (2019), is the only non-white person nominated.  The other nominees, Sam Mendes, Todd Phillips, Martin Scorsese, and Quentin Tarantino are all white dudes. And, in my frank and honest and personal opinion, it is comprised of mediocre white film bros. Sue me. (Actually, please don’t. I have lots of student loans.)  Continue reading Editorial: Is This Male Director Good or Have Men in My Life Just Convinced Me to Put Up with Mediocrity?

Review: The Irishman

I had a surreal experience watching “The Irishman” (2019). There is a scene of a gangster assassinated while he is eating dinner with his family in a restaurant in New York City’s Little Italy. As I watched I slowly recognized the restaurant and remembered a dinner I had had with my brother and two cousins so many years ago I had forgotten all about it. My memories superimposed themselves on the murder taking place onscreen which I had never known before had happened there. As an Italian American raised in New York one must sometimes wonder, “Have I really been living in a Martin Scorsese film all my life?” Continue reading Review: The Irishman

Review: “The Irishman” (2019) Netflix

“THE IRISHMAN” is both a period piece and an almost historical type piece as you need to know a little history to understand the direction of the narrative and flow of this epic film. The movie, while following Frank “The Irishman” Sheeran (Robert De Niro) as our designated main character, revolves around Teamsters union boss James “Jimmy” Riddle Hoffa (Al Pacino). Fortunately Frank goes to great lengths to narrate the story for the audience and provides a healthy dose of context for those of us not from the Kennedy era. Continue reading Review: “The Irishman” (2019) Netflix

Clowns vs. Strippers: How Joker and Hustlers each pay tribute to the films of Martin Scorsese

People like to say that original movies are in short supply these days, swallowed up by the onslaught of comic book films, remakes/reboots, and live-action adaptations of 80s cartoons based on toys. Whilst there is truth to this observation, its conclusions are flawed. Not only have some incredibly bold and unique recent films come from pre-existing IP like “The Lego Movie”, “Mad Max: Fury Road” and “Spider-Man: Into the Spider-Verse”, but so-called “original” films are often just as guilty of recycling and retrofitting the concepts of the past.

Quentin Tarantino and Edgar Wright have made their entire careers out of essentially crafting extended tributes to their childhood favourites, communicating their own perspectives and ideas through the lens of pulp genre cinema. Continue reading Clowns vs. Strippers: How Joker and Hustlers each pay tribute to the films of Martin Scorsese