In Honey Boy, writer and actor Shia LeBeouf traces back to his childhood to tell an intimate and reflective story about trauma.
Alma Har’el directs a script written by Shia LeBeouf starring himself playing the father of a child actor opposite Noah Jupe’s Ottis. The story is based on LeBeouf’s life growing up with his father and how it parallels with his life after his incident with the police as portrayed by Lucas Hedges. The script was written during Shia LeBeouf’s time in rehab and translated to the silver screen this year to tell one of the most intimate stories of 2019.
I truly have no idea how to even start elaborating on my thoughts on this film. The best way I can actually describe this movie is as something that I felt I should not be seeing, but I felt so grateful to be watching. Shia LeBeouf is so brave to have written such an incredibly detailed and personal story. The fact that he trusted Alma Har’el to direct instead of him shows the level of maturity in Shia to tell this story. There are movies where I mention them as cinema in its purest form and this is definitely one of those examples.
Some more standouts other than the beautiful cinematography and exquisite production design are the performances. Shia LeBeouf gives a once in a lifetime performance as his father that feels therapeutic throughout the picture. You can truly feel every inch of emotion being poured out of every word spoken by him in every scene he is in. My biggest takeaway was actually Noah Jupe’s stunning performance as Ottis. He is an incredible talent throughout the movie and is always on the level of Shia never missing a single beat. Not much to say that is not already known about Lucas Hedges but he once again does an impeccable job at playing present time Ottis.
As the year winds down Honey Boy is one of the best that has been released. This is one to watch as soon as possible. I will say this too, Shia LeBeouf deserves to be nominated for his performance and writing such a profound picture. Just when you thought you’ve seen it all, Honey Boy surprises you and makes a case for one of the best of the year.
As we wrap up our month on the acclaimed Italian American director on The Nerd Corpswe take a look at the films of Martin Scorsese.
Up until this year the only two films we have discussed from Martin Scorsese’s critically acclaimed filmography were Taxi Driver (1976) and Raging Bull(1980). Scorsese and I both share a lot of things in common, we both have 2001: A Space Odyssey in our top 10 movies of all time, we are both big fans of the master filmmaker Federico Fellini, and both of us enjoy some homemade spaghetti and meatballs.
The son of Charles and Catherine Scorsese started his career with his directorial debut in 1967 with Who’s That Knocking at My Door. Soon after he would go on to create some of the most incredible films of three decades with Taxi Driver in 1976, Raging Bull in 1980, and Goodfellas in 1990. He is known as the man who has perfected the mobster film. His filmography consists of amazing mobster films but films like The Last Temptation of Christ, The King of Comedy, The Wolf of Wall Street, and Silence truly prove his talent to not just be chained to one genre.
Scorsese’s cinematic language consists of brutality, faith, identity, fear, and much more. An incredibly talented director that has kept his relevancy throughout the years of his career. One cannot watch a single film by Scorsese without feeling the raw authenticity of his work. The level of intimacy that he brings to the director chair is unmatched even though he is no stranger to controversy.
You cannot mention this man without bringing up the impeccable editor he works with, Thelma Schoonmaker. Two creative minds are not more made for each other the way that Scorsese and Schoonmaker are. It is hard to imagine a Martin Scorsese picture without it being edited by Schoonmaker.
Wrapping up our month on Scorsese I have reinvented my love for him. Watch out for a review of his 2019 film The Irishman coming soon to The Nerd Corps podcast, YouTube channel, and website right here!
Robert Eggers’ The Lighthouse is a deep dive into madness created by the isolation of Willem Dafoe and Robert Pattinson.
In order to actually talk about this movie I feel that we need to go back to the year 2015. The world would be subjected to the incredible directorial debut of Robert Eggers, The Witch. Now The Lighthouse is no The Witch because it is a completely different movie breed of its own. Willem Dafoe and Robert Pattinson play these two sailors who are stuck working on this island as Dafoe maintains the lighthouse which seems to have some weird powers. Here is the catch, these two men are slowly going mad and it all happens in an incredibly crafted way.
Now I understand at first glance this probably looks like the most pretentious film of 2019 because it is filmed on 35mm black and white film along with an immersive 4:3 aspect ratio. The thing is that there are films that seem to take these types of aspects and make it more important than the story. That is definitely not the case for this picture. Throughout the film it never feels like Eggers is sacrificing style for substance.
Robert Eggers crafts an incredible piece of art that is heavily supported by two one of a kind performances. The cinematography and creation of the atmosphere amplifies the sense of uneasiness throughout the film. Eggers truly creates a one of a kind film that was not easy to watch to say the least, but leaves you with shivers down your spine until the end. Pattinson absolutely loses himself in this role and along with some disturbing visuals left me speechless. Dafoe also does an incredible job with the several monologues and line delivery.
When I continue thinking about this movie I think about the fact that Eggers really stylized this picture and made it his own by taking influences from Ingmar Bergman and Stanley Kubrick to name a few. I cannot wait to see what Eggers does next and how this shapes up at next year’s Academy Awards.
Another movie this year which I chalked up to being “unnecessary”, but in this instance I still believe that. But, did I watch El Camino the second it dropped on Netflix? As Walter White once proclaimed, “You’re goddamn right.” I guess this review has a hint of spoiler territory if you’ve never seen the original six seasons of Breaking Bad. If this is the case, be sure to stop reading here and go watch the series as it is one of the best television moments to ever grace the airwaves.
When we last left off the story of Jesse Pinkman, he was driving off into the sunset in an El Camino stolen off the once living, meth dealing white supremacists whose corpses now littered the very compound they had been keeping Jesse hostage in. This all of course thanks to Walter White’s last minute heroics which included robots and a fully automatic machine gun (Seriously to all the readers, go watch Breaking Bad). Anyways, to me this was the perfect send off to a beloved character who was only supposed to get a very short episode arc, but due to Aaron Paul’s prodigious performance, he became the Oliver Hardy to Bryan Cranston’s Stan Laurel. This ending sees Jesse burst through the locked gate of his previous forced residence as we get a close-up to his face both laughing manically while crying tears of relief and delirium. It left all viewers who watched with the idea that Jesse, a character who had gone through hell during this last season, would have a happily ever-after. Vince Gilligan had capped off one of his greatest achievements with an ending that left most, if not all fans, satisfied.
A little more than six years later we get El Camino, whose existence is more of a love letter from Gilligan to the fans. Was it necessary? Far from it. Was it satisfying? Oh, hell yeah it was. The story starts right at the very ending of Breaking Bad and doesn’t slow down. We find that not all stories are straight forward and sometimes our characters go from the frying pan and into the fire. Fans of Breaking Bad will not lose that feeling of satisfaction by the end of this movie, but will have more details to go with it.
Seeing Aaron Paul back as his titular character is refreshing and getting call backs to conversations he had with his past castmates from Jonathan Banks to Bryan Cranston made me nostalgic for the series. Two characters whose portrayals must be recognized are that of Todd Alquist, played by Jesse Plemons, and Ed Galbraith, played by the now late Robert Forster (who passed away, the same day the movie was released, at the age of 78). These two characters help to provide the details of Jesse’s past and move the story forward into his future. All I can say is that it is a must to have the exact change when purchasing a vacuum.
Can a two hour movie provide the same quality as six seasons? No, but Vince Gilligan has penned a love letter to the fans that allows us to see some of our favorite characters one more time. For that, I am giving El Camino: A Breaking Bad Movie a 9.25/10. YoungYoda out.