Tag Archives: Vera Farmiga

The Many Saints of Newark-2021

The Many Saints of Newark-2021

Director Alan Taylor

Starring Michael Gandolfini, Alessandro Nivola, Vera Farmiga

Scott’s Review #1,272

Reviewed July 4, 2022

Grade: B

Fans of the iconic HBO series The Sopranos, which ran from 1999 to 2007, have been chomping at the bit since the announcement of the soon-to-be-released The Many Saints of Newark (2021).

The film is a prequel to the series, centering on a young Tony Soprano. The kicker is that the actor who portrays Tony in the movie (Michael Gandolfini) is the real-life son of James Gandolfini, who played Tony in the series.

To add mustard to the on-paper perfect setup is that the film is written by David Chase, the writer and creator of The Sopranos. This ensures rich character development and dedication to the rich history.

What could go wrong?

The answer is that nothing is ‘wrong’ with The Many Saints of Newark. It’s not as brilliant as the series, and it seems unnecessary to have been made, especially after such a long gap.

While the film meanders at times, this gave me time to thoughtfully ruminate that perhaps The Many Saints of Newark would have been better as a limited series.

There are so many characters, and too few of them are familiar to audiences of The Sopranos. The two-hour and change running time couldn’t possibly provide enough time to get to know many of them, and I longed to.

On the upside, the film is shot exceptionally well, and the costumes, sets, and design of the 1960s and 1970s are incredible with superior accuracy.

It succeeds in transporting the audience to what Newark, New Jersey, was like during that time. Additionally, the film bears a striking resemblance to The Sopranos and is influenced by the legendary 1991 offering Goodfellas and other mafia-laden films.

Young Anthony Soprano (Gandolfini) is growing up in one of the most tumultuous eras in Newark’s history, as rival gangsters begin to challenge and desecrate the powerful DiMeo crime family.

As the year 1967 emerges and Newark is now an increasingly race-torn city, events take on a violent and historical tone.

Conflicted by the changing times is Tony’s Uncle Dickie (Alessandro Nivola), whom he idolizes much more than his own father, Johnny (Jon Bernthal), or domineering mother, Livia (Vera Farmiga).

The Many Saints of Newark depicts how Tony will eventually become the mob figure Tony Soprano!

Besides looking like his father, Gandolfini is not the best actor in the world, but he does his best with a small role billed as the lead. He hardly appears until thirty minutes before the film concludes, and he never carries the movie as one would expect the character to.

The real star of the film is Dickie (Nivola), who is terrific. The storyline follows his conflict and a damaged relationship with his father, wonderfully played by Ray Liotta, and his father’s horny wife, Giuseppina, who later becomes his mistress.

A shocking scene occurs when Dickie beats a significant character to death by repeatedly slamming their head against a steering wheel. The death will hold forever repercussions for Dickie, emotionally and otherwise.

The problem is that even though Dickie is a great character, the audience doesn’t know him, which is a significant issue.

Despite flaws with the marginally adequate casting, the uneven writing, and the focus on unfamiliar characters, there are other small treats to enjoy.

The film is peppered with familiar characters like Paulie, Big Pussy, and Carmella as younger people. Even though they don’t have much to do with the story, their mere presence feels like an old home week.

The racial tensions are another win, and actor Leslie Odon Jr. adds a winning formula to his character of Harold McBrayer, a black associate of Dickie’s.

I haven’t watched an episode of The Sopranos since it ended in 2007, and it may be advantageous to watch The Many Saints of Newark immediately after. Situations, history, and characters will be fresher in one’s mind, and it may result in more cohesiveness.

Or maybe the film shouldn’t have been made fourteen years after the series ended.

Regardless, The Many Saints of Newark (2021) is a pretty solid effort but completely underwhelming, especially when compared with such a groundbreaking television series.

Annabelle Comes Home-2019

Annabelle Comes Home-2019

Director Gary Dauberman

Starring Mckenna Grace, Patrick Wilson, Vera Farmiga

Scott’s Review #1,008

Reviewed April 7, 2020

Grade: B

Annabelle Comes Home (2019) was made as a sequel to 2014’s Annabelle and 2017’s Annabelle: Creation, and as the seventh installment in The Conjuring Universe franchise overall.

Lest we forget the uninspiring The Nun (2018) it is not necessary to view the films in sequence and with this version, it can serve as a stand-alone film just fine.

At this point in the series, it’s becoming increasingly challenging to connect all the dots from previous offerings. The film is a fun, scary-light experience, which works well.

Borrowing the babysitting theme from the 1978 horror masterpiece Halloween, the film is neither dull nor formulaic, providing some visual creativity to an otherwise B-movie experience.

Franchise fan favorites Patrick Wilson and Vera Farmiga return to their popular roles, but only in the beginning and end of the film, letting the younger set take center stage as they bear the brunt of angry demons.

Presumed to take place sometime after Annabelle but before Annabelle: Creation, demonologists Ed (Wilson) and Lorraine Warren (Farmiga) are determined to stop the frightening Annabelle from wreaking further havoc and drag the possessed doll to the safety of their locked artifacts room, placing her behind sacred glass and enlisting a priest’s holy blessing.

After a curious teenage girl snoops, Annabelle is reawakened angrier than usual and unleashes a torrent of evil spirits into the Warren house. Ten-year-old daughter, Judy (Mckenna Grace), must be savvy and outsmart the dangerous demons before it’s too late.

Annabelle herself, the doll statuesque and holding a grotesque smirk on its made-up face, with bright blue/green eyes, has quietly become a fixture within the horror community, now easily recognizable to mainstream audiences everywhere.

That Annabelle does not speak or walk, but only stares, unless possessed by a spirit, is a big part of the fun and the scares. She tends to appear rather than move around, which is part of her appeal.

And the pretty red ribbons in her hair are a bonus.

The 1970s time period is fabulous, as the set and art design teams deserve major props for authenticity. Warren’s house, for example, is a fantastic showcase for the yellow and brown trimmings prevalent in any middle to upper-middle-class residence during this decade.

The flowered wallpaper enshrouding the downstairs hallway and the pink frosted birthday cake are delightful additions. The standard feathered hairstyles and plaid-patterned clothes are timeless trademarks and always a hoot.

From a fright perspective, the film provides a perfect balance of buildup and edge-of-your-seat thrills.

The best example of this is when nosy Daniela (Katie Sarife), already curious about the Warrens, breaks into the artifacts room, determined to talk to the dead.

Her motivations are believable, given that her father recently died in a car accident, and she is a fan favorite. Chaos ensues as she unleashes such evil forces as the Black Shuck, the Ferryman, and the Bride.

The film tries a bit too hard to appeal to a tween or teenage audience with a silly romance between the main character, Mary Ellen (Madison Iseman), a perfect, virginal babysitter, and her high school crush, Bob (Michael Cimino).

He even serenades her after an idea by the pizza deliveryman, and conveniently lives across the street.

This portion of the story is unnecessary and feels like filler, as Mary Ellen is responsible enough not to let a boy into the house she is looking after.

Annabelle Comes Home (2019) is a commendable horror effort, intelligently blending both supernatural and classic horror subgenres with ease and perfect balance.

Staying true to its franchise roots and incorporating groovy production and musical score elements representing the decade it celebrates, the film holds up well in a myriad of similar films that rely on gimmicks and cheap thrills more than this one does.

Up in the Air-2009

Up in the Air-2009

Director Jason Reitman

Starring George Clooney, Vera Farmiga, Anna Kendrick

Scott’s Review #573

Reviewed December 30, 2016

Grade: A

Up in the Air is a fantastic film, but for some odd reason, circa its release to theaters in 2009 it was categorized as a romantic comedy. While there is a bit of romance involved, the film is a dark romantic drama.

The content is perfect for this period in history- the terrible economy, and the unemployment rate rising sky-high.

The acting by the principles is excellent and is worth watching, but do not expect a happy, uplifting film.

George Clooney plays Ryan Bingham, a corporate “downsizer”, who travels the country firing employees from companies that hire him. Ryan has no qualms about what he does and enjoys traveling around the country.

He mentors a young employee, Natalie, played by Anna Kendrick, who is more sympathetic to the people whose lives she changes.

Ryan meets another frequent flyer, businesswoman Alex (Vera Farmiga), and they begin an affair. He becomes a more sympathetic character as he develops real feelings for Alex, but will Alex return the affections?

The tone of the film is sarcastic and sardonic, and Clooney is dynamic in the lead role- carrying the film. He is charismatic and energetic, performing his work duties in an emotionless way.

We slowly get to know him better and realize, through Alex, that he does have a heart. Alex is a more mysterious character, and Farmiga is equally as engaging in the role. When a big reveal is learned about Alex, the audience does not see it coming.

As the years go by, I hope that Up in the Air is remembered for being a film that was released at the perfect time, given the difficulties many were going through.

I love how the film carries smart dialogue- the characters questioning each other’s motivations and becoming intertwined.

Jason Reitman and the screenwriter craft an exceptional film.

Oscar Nominations: Best Picture, Best Director-Jason Reitman, Best Actor-George Clooney, Best Supporting Actress-Vera Farmiga, Anna Kendrick, Best Adapted Screenplay

The Judge-2014

The Judge-2014

Director David Dobkin

Starring Robert Downey Jr., Robert Duvall

Scott’s Review #261

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Reviewed August 2, 2015

Grade: B+

The Judge (2014) is a formulaic, courtroom drama that we have all seen many times before, but I found the film rather enjoyable.

The main reason for this is the casting of Robert Downey Jr. and Robert Duvall in the pivotal central roles. The two actors play estranged father and son.

The clichés are numerous, but with excellent acting, the story feels fresh, fun, and compelling, if not innovative. As seen by only a few, The Judge was on my radar only because of Duvall’s Oscar nomination for his role.

Hank Palmer (Downey Jr.) is a big-shot attorney from Chicago. Highly successful, he is selfish, driven, and a downright prick. Going through a messy divorce with his gorgeous, athletic wife, he has a close bond with his daughter, despite not being home very often.

Suddenly, Hank’s mother dies tragically and he must return to small-town Carlinville, Indiana, a place he despises, not simply because the town is in the sticks, but because he has bad memories.

When he arrives he reconnects with his two brothers and his father (Duvall), the local judge. While staying at the family house, Hank once again butts heads with his father and runs into an old girlfriend (Vera Farmiga), who now owns the local diner.

On his way out of town for good, Hank is asked to defend his father when he is arrested and charged with murder.

The Judge is a family drama that contains suspense and a few twists.

The film reminds me of a slew of 1990s-era courtroom dramas based on John Grisham novels (A Time to Kill, The Client, The Firm) so I expected a bland, dated film.

I love the chemistry between Downey Jr. and Duvall, which I think is the most successful aspect of the film, and the family-style drama with numerous trials and tribulations thrown in.

Hank is smarmy and ruthless, but has a humorous side and tells it like it is. I smiled at his wry wit.

Judge Parker is equally stubborn and the battles are wonderful to watch. Conversely, the film also has tender bonding moments between the two men, which are sentimental and warm. As one man takes care of the other during sickness it is a tender and heartbreaking scene.

An interesting aspect is the small-town sense of community of Indiana, which I found charming. Everyone gravitates towards the cute diner in the center of town owned by Hank’s high school sweetheart. There is a nice wholesome, small-town appeal to the entire film.

I half expected a county fair or apple pie baking scene to be added.

The film feels wholesome and comfortable- a slick, mainstream drama. Movie comfort food if you will.

The relationships among the three brothers- Hank, Glen- a middle-aged man regretting never having moved from Carlinville, and Dale, a sweet-natured autistic man, determined to one day become a filmmaker, are interesting.

They are so different but stick together bicker, and bond. Similar to real-life families.

The negatives are that the courtroom scenes sometimes go on too long and the film brings nothing new or exciting to cinema and plays it safe throughout.

Still, I was pleasantly surprised to be treated to a film above mediocrity but not a reinvention of the wheel.

To be seen for simmering acting by the entire cast and especially film stalwarts, Duvall and Downey Jr, who bring life and wit to an otherwise traditional film.

Oscar Nominations: Best Supporting Actor-Robert Duvall

The Conjuring-2013

The Conjuring-2013

Director James Wan

Starring Patrick Wilson, Vera Farmiga

Scott’s Review #102

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Reviewed July 10, 2014

Grade: A-

The Conjuring (2013) is one of the best horror films I have seen in recent years.

It tells the story of Ed and Lorraine Warren, played by Vera Farmiga and Patrick Wilson respectively, who are paranormal investigators and come to the aid of a haunted farm family, the Perrons, led by Ron Livingston and Lili Taylor.

The film is set in Rhode Island, circa 1971, and is loosely based on true events. Typically in modern horror films, one is treated to a) gore or b) attempted scares that are seen a mile away.

The Conjuring is a classic ghost story with genuine frights. A big difference from other standard horror films is that the audience cares about the characters. One believes they are a family being terrorized by demons and sympathizes with them.

The phrase “based on a true story” is meaningless.

Who cares? It’s a scary film with likable characters.

Vera Farmiga and Patrick Wilson are the standouts for me as well as one refreshing child actor who can act without the cutesy-ness or overacting too often found in child actors today.

The costume/set designers do an excellent job as the film has a genuine early 1970’s look which was tremendously effective.

The Conjuring (2013) is an eerie, frightening, jump-out-of-your-seat, fun time.