House of the Dragon - The Current Undisputed Fantasy TV Champion of the World

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.5 out of 5 stars

My Recommendation: SEE IT. A well-made, well-acted series that gets better as it goes along. The best of the current fantasy tv bunch.

House of the Dragon, the prequel to HBO’s massive hit series Game of Thrones, concluded its ten-episode first season on Sunday night.

My first impression of House of the Dragon was tepid, as I found its first episode to be rather middling, but I’m happy to report that as its first season progressed the show got progressively better.

The series is not as good as its esteemed predecessor, but it did benefit by being in direct competition against another much-hyped prestige fantasy tv series, Amazon’s The Rings of Power, which debuted a week after House of the Dragon.

The Rings of Power was an embarrassing, amateurish, unmitigated disaster, and by comparison, House of Dragons is absolutely stellar. House of Dragons defeated The Rings of Power like Mike Tyson obliterated poor Michael Spinks back in the day - by brutal first round knockout, and now stands as the current undisputed, undefeated Fantasy TV Champion of the World.

In our current art/entertainment destroying age where cultural/political issues such as diversity and representation rule the day and talent and quality are rarely considered, it can be easy to confuse competency with mastery. House of the Dragon is not a masterful piece of work, at least not yet, but it stands out due to the mere fact of its baseline cinematic competency.

For example, in the season one finale the closing scene is a joy to behold because it is so deftly written, directed and acted, something which never occurred in The Rings of Power.

In the scene, where Daemon brings tragic news to Queen Rhaenyra, there is no dialogue. The story and the drama are conveyed to the audience through visuals. It is a rather simple scene, but it is very effective because of its simplicity. And that level of simplicity is a sign of the director and producer’s confidence in their storytelling and their filmmaking, something that was very evidently missing in The Rings of Power.

The confidence and competency of the producers and directors of House of the Dragon, who put together the cast, writers, costume and set departments, is in stark (no pun intended) contrast to the hapless and helpless bunch of buffoons who ran the good ship The Rings of Power into the rocks. The writing, acting and filmmaking that elevated House of the Dragon are what you get when people know what they’re doing are in charge, and the two-bit, throwaway soap opera of The Rings of Power is what you get when Bad Robot interns trying to fill diversity quotas are at the helm.

To be clear, House of the Dragon isn’t perfect. For instance, the time jumps were often jarring and scuttled some dramatic momentum, and some narrative choices, like when Rhaenys fails to torch the Hightowers on coronation day, beggar belief as it was not only the most emotionally satisfying thing to do but also the most rational thing to do. But House of the Dragon captivates because it boasts both superb aesthetics, most notably the costumes and sets, and most importantly, sublime acting across the board. Paddy Considine, Matt Smith, Rhys Ifans, Emma D’Arcy, Olivia Cooke, Milly Alcock and Eve Best were all superb on the show.

Considine’s performance as the conflicted and often feckless King Viserys was a triumph and a testament to his abundant talent.

Matt Smith’s dark turn as rogue Prince Daemon revealed his impressive level of skill and craftsmanship.

The transition from young Rhaenyra and Alicent, played by Milly Alcock and Emily Carey respectively, to adult Rhaenyra and Alicent, portrayed by Emma D’Arcy and Olivia Cooke, could have been catastrophic, but went off without a hitch. Alcock’s growth into the role of young Rhaenyra was glorious to behold and when D’Arcy took over the role, she didn’t skip a beat. Carey struggled to captivate as young Alicent, so when Cooke took over the role it blossomed and became pivotal to the drama of the show.

Rhys Ifans and Eve Best as Ser Otto Hightower and Princess Rhaenys respectively, are two fine actors and their craftsmanship elevated their roles to glorious heights.

All of these actors and even all of the ones I haven’t mentioned, were vastly superior to the second-third-and fourth rate actors hamming it up on The Rings of Power. Which begs the question…why didn’t Amazon spend at least a little bit of their billions bagging big-time actors to fill their Tolkien fantasy world?

As for House of the Dragon, its first season ended on a dramatically potent note, and portends that the best is most definitely yet to come, which will no doubt generate excitement when season two comes around. By contrast, The Rings of Power stumbled and staggered through its flaccid first season and never generated any significant drama so it’s hard to imagine anyone but the most die-hard sycophants tuning in to its second season.

Game of Thrones, particularly its earlier seasons, was a truly masterful piece of television, and while House of the Dragon doesn’t measure up to that high standard, it is a faint enough of an echo of that glorious show to still be considered appointment viewing. There is definitely room for improvement, and hopefully season two can make that leap. Considering the arc of season one, I’m actually optimistic that House of the Dragon will grow to be even more worthwhile as it progresses.

©2022

TV Round Up: House of the Dragon, Rings of Power, She-Hulk and Andor

There’s a lot happening in TV at the moment, and I just wanted to give an update on my thoughts about some of the bigger series dominating discussion.

I’ve already written reviews of the first few episodes of The House of the Dragon, Rings of Power and She-Hulk when they premiered, so here are my thoughts midway through their runs as well as my initial reaction to the new Star Wars show Andor.

House of the Dragon – HBO Max – 3 stars

At the halfway mark of the ten-episode first season of The House of the Dragon, the verdict thus far is that the show is not as good as its culture dominating predecessor…but it’s also not bad.

Fortunately, the first season of the Game of Thrones prequel has gotten progressively better with each successive episode.

A big part of that improvement has been the evolution of lead actress Milly Alcock as Princess Rhaenyra. Alcock’s growing comfort in the role has mirrored her character’s maturation and it’s been compelling to watch.

In fact, almost all of the acting in The House of the Dragon has been sturdy, if not stellar. The lone exception being Emily Carey as Alicent Hightower, who is not particularly charismatic and has never fully grasped her role with any vigor.

Alcock and Carey are set to be replaced in the next few episodes by Emma D’Arcy and Olivia Cooke respectively, who will play their characters as adults, and it remains to be seen if this transition will work seamlessly. I admit I have my doubts but hope for the best.

But overall, thus far The House of the Dragon stands out among the latest batch of prestige TV offerings because of its terrific cast – most notably Paddy Considine and Matt Smith, truly superb production design and costumes, and for its writing.

The show isn’t perfect by any stretch and is in many ways a distant shadow of its predecessor, but to its credit it definitely keeps you engaged, and that’s good enough for me.

Lord of the Rings: The Rings of Power – Amazon Prime Video - .5 stars

Five episodes into the eight-episode first season of The Rings of Power and the series feels like it’s the Titanic…not the movie Titanic but the actual ship that sank into the Atlantic and sent 1,500 souls to their icy death. Episode five seems like the moment the Titanic went vertical just before its steep plunge to its watery grave.

The truth is that The Rings of Power is just an atrocious tv show.

What’s astounding to me is that Amazon supposedly spent a billion Bezos bucks to make this show and yet it looks unconscionably cheap. The sets and costumes are laughable and look like something from a high school drama class. The background actors too are abysmal, and the dearth of background actors populating the crowd scenes further undermines the credibility of the show.

But the two biggest culprits in The Rings of Power’s demise are the cast and the writing.

The cast are, across the board, dreadful. Morfyyd Clark plays the lead role Galadriel (or as some have mockingly called her – GUY-ladriel) and she is woefully miscast and criminally under-directed. Clark is an aggressively grating screen presence at best and is so unathletic and ungraceful as to be astounding. Galadriel is meant to be the hero but is one of the most annoying and unlikable characters in recent tv history.

Another awful performance comes from Ismael Cruz Cordova as Arondir the Elf. Cordova seems to have had charisma bypass surgery and is a chore to watch.

The rest of the cast are equally sub-par. It’s impossible to not compare and contrast The Rings of Power to The House of the Dragon as they premiered in the same time frame and are both “fantasy” shows. The thing that stands out so much between the shows is that The House of the Dragon is inhabited by professional, high-quality actors, and The Rings of Power rolls with second and third-rate actors and rank amateurs.

Another comparison of note between the two shows is that The Rings of Power’s production design and costumes are a bad joke compared to The House of the Dragon, as is The Ring of Power fight choreography, which is an utter clown show (the scene where Galadriel teaches Numenorian soldiers to fight is jaw-droppingly bad and ridiculous).

Ultimately, The Rings of Power seems like nothing but a low quality, CW-level fantasy soap opera that used Bezos’s big bucks to buy the prestige of the Tolkien name. It’s the equivalent of putting a Rolls-Royce hood ornament on the front of a Ford Pinto.

She-Hulk – Disney + - zero stars

Speaking of pieces of shit…It’s actually somewhat astonishing that despite seeming an impossible task, She-Hulk, which is six episodes in to its nine-episode first season, has managed to get more awful with each successive episode.

When I’m in the midst of watching it, She-Hulk feels like not only the worst show on tv right now, but the worst show to have ever appeared on any television at any time.

She-Hulk is allegedly a comedy but it’s as funny as watching an autopsy. I’ve never once cracked a smile viewing this shitshow.

The writing, acting, special effects and production design for She-Hulk are all an abomination.

Tatiana Maslany is just dreadful as She-Hulk, and her supporting cast are equally abysmal.

Anyone and everyone associated with this horrible show should be imprisoned for the rest of their natural born lives.

Andor – Disney + - 3 stars

Andor, which premiered its first three episodes of its twelve-episode first season this past Wednesday, is a prequel set five years before the events of the film Rogue One, which I consider to be one of the better Star Wars movies and certainly the best of the newest bunch.

In a case of benefiting from very low expectations, and considering the two catastrophically awful shows that preceded it – Obi Wan Kenobi and The Book of Boba Fett, my expectations were extraordinarily low, I find myself enjoying Andor.

A big reason why I like the show thus far is that it looks terrific. The set design is so much better than the previous two Star Wars shows, which looked terribly low budget and cheap. On Andor, every set has a tangible, grounded, gritty feel to it, and looks like a real place not just some generic set on a studio back lot.

In addition, the overall aesthetic of Andor feels sort of like the corporate dystopia of Blade Runner. The show has been described as a Star Wars series for adults, and I tend to agree with that as it doesn’t genuflect to the cutesy nonsense that so often overwhelms the franchise. The show is like a real story, a sort of spy thriller, that just happens to be set in the Star Wars universe.

As for the acting, I’m not much of a fan of Diego Luna but thus far I think he’s been very good as Cassian Andor. Luna brings a sense of wounding and grievance to the role that is palpable and very compelling.

Other smaller roles are also done quite well. For instance, Rupert Vansittart is phenomenal as Chief Hyne, a superbly cynical bureaucrat. In a small scene that in lesser hands would’ve been mundane and throw away, Vansittart brings his skill and craftsmanship to bear and turns it into the best scene of the series, and maybe any Star Wars series, so far.

Andor still has nine episodes to go, so a lot can go right or wrong for it from here, but thus far I like the show and hope it keeps up its positive start. Consider me cautiously optimistic that Andor will be worth sticking with ‘til the end.

Thus concludes my TV round-up! I will check in with further thoughts at the end of the run of each of these series.

©2022

House of the Dragon (HBO): Thoughts and Musings on Episode One

****THIS ARTICLE CONTAINS ZERO SPOILERS!! THIS IS A SPOILER FREE ARTICLE!!****

It’s surprising that Game of Thrones came to its rather ignominious end just three years ago, as those chaotic three years have felt like decades if not centuries. The way the once-glorious, must-see series badly stumbled at its conclusion seemed to make it disappear from the collective consciousness almost overnight. With stunning speed and alacrity viewers went from vociferously declaring “Winter is coming!”, to petulantly asking, “what’s next?”

Such is the nature of our current culture, where there’s a plethora of entertainment choices (notice I didn’t say “entertaining choices”) and virtually every movie or series ends up in the trash heap of forgettable fiction the moment it stops playing before our eyes.

2019 was a year of major endings, and not just for Game of Thrones. That same year Marvel’s miraculous narrative run from Iron Man (2008) to Avengers: Endgame (2019) came to a smashing conclusion. So, the biggest tv series and the biggest movie franchise, both of which dominated popular culture for a decade, came to an end in 2019 and ever since, pop culture has been struggling and staggering to find a center, be it cinematic or on television, around which to orient itself.

Marvel has tried to keep its brand at the forefront of the culture by expanding to tv as well as extending its cinematic universe, and for the most part the results have been dismal. Marvel movies and TV series are no longer cultural landmarks but instead, little but fodder for tedious culture wars.

Which brings us to House of the Dragon, the new Game of Thrones series which premiered on HBO on Sunday, August 21st. The series is a prequel set 172 years before the events of Game of Thrones that tells the story of the rule of the dragon-blooded Targaryens.

The series is undoubtedly attempting to re-create the culturally dominating experience of its predecessor. After watching the first episode of House of the Dragon, which broke viewing records at HBO and overloaded the servers at HBO Max, I’m still reticent to declare that “Westeros is back, baby!”

Game of Thrones‘ fatally flawed ending left a putrid taste in a great deal of viewer’s mouths, my own included, so it’s just about impossible that House of the Dragon will be a similar smash hit. Audiences may well be wary of giving it the time it needs to grow, and after the calamity that was Game of Thrones’ final season, with good reason.

It’s too soon to tell whether House of the Dragon will find the magic that Game of Thrones did, but it’s early yet. The first episode was fine. It wasn’t great. It wasn’t awful. It just was. Some of the CGI was terrific, some of it wasn’t. Some of the characters were compelling, some of them weren’t.

I remember watching season one of GOT and liking it but not really thinking it was anything remarkable until episode nine (out of ten) of season one.

In that episode, Ned Stark is set to be executed and I kept wondering how they were going to save him. I mean, you can’t execute Ned Stark as he’s played by Sean Bean, the biggest star on the show. But then in episode nine…they cut Ned’s goddamn head off. I remember yelling out from my couch when it happened because it was so viscerally shocking to see a tv show completely upend the conventions of its medium.

House of the Dragon will not be able to do such a thing because it’s already been done. Audiences are harder to shock a second and third time around…and considering that Game of Thrones continued to shock throughout its run (think the Red Wedding – holy shit!), House of the Dragon has an uphill climb.

I don’t know if it’s a help or hindrance that I haven’t read any of the Game of Thrones books, but I haven’t. On the plus side in terms of Game of Thrones, I had no idea what was coming, on the downside in terms of House of the Dragon, I don’t really know who anybody is or really care about them at the start.

In a real sense, I had almost no clue what was going on in Game of Thrones most of the time but enjoyed it because the acting was superb, the writing crisp, the production (sets, costumes, cinematography, sound) glorious and the world building brilliant. It also helped a great deal that there were a plethora of my three favorite things…nudity, strong sexual content and violence. You basically can never go too wrong with that combination.

With House of the Dragon, that same formula may be watered down in order to appease the social media Savanorolas who simply cannot tolerate anyone enjoying anything. Episode one of House of the Dragon had some violence and some sexual content and nudity, but not nearly enough for my voracious appetite, and certainly nothing up to the standards of Game of Thrones in its debauched heyday.

House of the Dragon does boast some fine performances thus far, most notably Matt Smith as rogue prince Daemon. Smith was last seen in The Crown playing a young Prince Philip (talk about a rogue prince – he’s the father of pedo prince Andrew…the apple doesn’t fall far from the tree), and he’s a terrific actor. As Daemon he believably transforms into a villainous and oddly charming brute.

Daemon’s brother, King Viserys, is played by the wondrous Paddy Considine, who brings to the role a palpable sense of fragility that augers trouble for the king.

Also excellent is Rhys Ifans as Ser Otto Hightower, the Hand of the King. Ifans, like so many of the actors from the original series and now its prequel, is just a damn good British actor who brings a formidable amount of craft and skill to his role and elevates the series in the process.

That said, there’s a much smaller cast in House of the Dragon as compared to Game of Thrones, there’s also fewer interesting characters. Daemon, King Viserys and Hightower are decent characters, but nothing spectacular. If they were in Game of Thrones they’d be C or D level, fringe characters, not the main attraction.

Speaking of main attractions, Viserys’ daughter Rhaenyra, played as a teen in the first episode by Milly Alcock – and played by Emma D’Arcy in later episodes as a grown woman, thus far isn’t the least bit interesting. Like Arya Stark, she shuns the lady-life and bristles at the restrictions of the patriarchy, but she is also a deluxe dullard of the highest order. Maybe that will change going forward…hopefully it will change going forward.

Equally dull is Alicent Hightower, Otto Hightower’s daughter and Rhaenyra’s best friend, played by Emily Carey as a young woman and later in the series by Olivia Cooke as an adult. Alicent is paper thin as a character in episode one, and given that she had a potentially blockbuster scene with the King at one crucial point, that is disappointing if not devastating.

Again, the series just started and has the potential to grow into greatness, but it must be said that episode one is a bit middling. Part of the reason for that is that the production lacks the crispness and visual lushness of Game of Thrones, including in the CGI department.

Not surprisingly, dragons play a big role in the story of House of the Dragon, and the dragons themselves look as good as ever, but when placed into settings the scenes look uncomfortably cheap…like a quick cut and paste job.

The sets and costumes also look to be downgraded in terms of quality on House of the Dragon, as do the costumes, both of which may be a result of some cost cutting in the wake of Game of Thrones ever expanding budget.  

Also notably sub-par was the sound design, which left much of the dialogue muddled under ambient noise or music.

House of the Dragon, which is NOT produced by Game of Thrones showrunners David Benioff and D.B. Weiss, is apparently the first in a collection of Game of Thrones I.P. that HBO will be sending our way. The recent financial struggles at Discovery, which took on a massive amount of debt to purchase WarnerMedia (which includes HBO) could spell trouble for such pricey projects going forward though.

If belt tightening at Discovery/Warner leads to lesser quality in the Game of Thrones spin-offs, then they’d be better off not doing them at all. Of course, I’m only saying that from an artistic/fan perspective, as quality is my number one concern.

Speaking of fan perspective, House of the Dragon is chock full of fan service and Game of Thrones Easter eggs. No doubt fans of the original series will love that, but if House of the Dragon doesn’t improve in quality and catch dramatic fire sooner rather than later, fans will turn on it and HBO will be left with a bloody mess on their hands. Only time will tell.

I’ll check back in midway through season one of House of the Dragon with another review to see if things in Westeros are headed in the right direction.

©2022

Slow Horses (Apple TV+): A TV Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. Despite a brilliant cast, this cliched spy thriller is a rushed and rather derivative piece of television.

Slow Horses, the British spy thriller which just finished its first season on Apple TV+, is an odd duck of a show.

The series, based upon the 2010 Mick Herron novel of the same name, tells the story of a group of MI5 misfits sent to a mind-numbing, soul-sucking, bureaucratic no man’s land called Slough House, where they are meant to waste away their careers on meaningless drudgery as punishment for their various failings.

The show, the first season of which runs six episodes, attempts to balance a somewhat comedic tone against the overloaded tensions of a spy story involving kidnapping, murder, double-crosses, triple-crosses, spy agency conspiracies and white supremacy.

The reason I navigated the labyrinth of Apple TV and tuned in to Slow Horses was because Gary Oldman, one of my favorite actors, was the series lead.

I was not disappointed with Oldman’s performance, though I was disappointed that his character was not as featured as I had hoped (or been led to believe). Oldman plays Jackson Lamb, an old school spy wasting away in the purgatory of Slough House for some undescribed mortal sin. Oldman’s Lamb is caustic, acerbic, odious, repulsive and gloriously funny. OIdman so embodies the disheveled anarchy that is Lamb you can almost smell his flatulent stench wafting through your living room.

Equally good is Kristen Scott Thomas as cold-blooded, clench-mouthed MI5 matriarch, Diana Taverner. Taverner is an uptight operator supreme and her visceral repulsion of Lamb tells you all you need to know about her own sense of superiority.

Jack Lowden plays River Cartwright, an up-and-coming young buck of an MI5 agent who steps in a pile of shit and finds himself in the stink that is Slough House. Cartwright is the most superficially constructed MI5 agent in the show but Lowden does a terrific job of making him compelling.

The acting across the board is excellent. The supporting cast, most notably Olivia Cooke, Dustin Demri-Burns and Rosalind Elazor as a group of Slough House agents, all do solid work.

What makes Slow Horses so odd though is that despite superb work from the cast, the show is painful to watch because the script is utterly abysmal.

I will avoid giving away any plot points or spoilers out of respect for those who may want to watch the show, but I will say that the six episodes of Slow Horses is so crammed full of spy cliché after spy cliché and absurd plot twist after absurd plot twist as to be ridiculous. None of it is remotely believable or, to be frank, very interesting. Slow Horses is so manufactured and derivative that it feels like…well…just another stupid TV show.

I kept thinking of the 2018 British drama Bodyguard as I watched Slow Horses. Bodyguard, which starred a very good Richard Madden, started off interesting but then quickly devolved into egregiously ridiculous spy shenanigans and became unbearably buffoonish. Slow Horses stumbles the same way, wasting its bevy of captivating performances with outlandish plot twists that come too fast and too often.

The six-episode arc of the first season felt abbreviated and rushed. The story may have, may being the imperative word, worked better if it were stretched over a 12-episode season, thereby spreading out the narrative and giving time for the drama, and the plot, to build and seem more believable.

The politics of Slow Horses is just as trite as the storytelling, as the show decides to use the allegedly edgy, but actually old and tired, trope of having white supremacist be the villains. I understand the urge to placate and pander to a certain segment of the audience with this sort of politically charged, and painfully politically correct, storyline, but that doesn’t diminish how vacant, vacuous and vapid it is.

And while the conspiracy angle of Slow Horses is, in theory at least, intriguing, in execution it falls decidedly flat.

At the end of season one of Slow Horses, they show clips from the upcoming season two, so the show will definitely be around for a bit longer. But if season one is any indication, despite the glories of Gary Oldman and Kristen Scott Thomas, this old spy dog just won’t hunt.

If you want to watch the show for the brilliance of Gary Oldman, I don’t blame you, just go into it with low expectations for the series and an understanding that Oldman isn’t the star, just a sterling piece is an otherwise terribly mismatched puzzle.  

©2022

Sound of Metal: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An insightful and captivating drama that boasts a simple but layered narrative, a fantastic performance from Riz Ahmed and some exquisite filmmaking craftsmanship.

Sound of Metal, written and directed by Darius Marder, tells the story of Ruben Stone, a drummer in a heavy metal duo that loses his hearing. The film stars Riz Ahmed as Ruben, with supporting turns from Olivia Cooke and Paul Raci.

Sound of Metal was released on Amazon Prime streaming service back in November of 2020. I would see the advertisement for it whenever I went online but was always hesitant to watch it as it looked like a rather predictable movie on its surface. I finally made the plunge last week and watched…and boy am I glad that I did.

Yes, Sound of Metal is about a drummer who loses his hearing, but it is infinitely more than that.

For some viewers, the premise of the movie and the opening scenes may be a hurdle, but I wholly encourage you to stick with the movie because it is a multi-layered, dramatically precise, profound and powerful piece of cinema well worth your time.

Director Darius Marder apparently developed this story for over a decade, and successfully navigated the minefield of Hollywood to get it made the way he wanted it made…and it shows.

Marder’s confidence as a filmmaker (this is his first feature) oozes through every scene of the film. The movie never takes the easy or predictable route in storytelling, and every time I thought I knew what was coming I was wrong. Marder’s refusal to rely on conventional narrative arcs and story turns makes Sound of Metal very compelling viewing.

The technical proficiency on display in the movie is impressive, as the film’s use of sound to propel the narrative and heighten the drama is masterful. The way the movie allows the audience to experience Ruben’s hearing loss creates a visceral intimacy that is captivating, jarring and mesmerizing.

The film is nominated for six Oscars, two of which include Best Sound and Best Editing and it should win both awards. The sound design on this movie is exquisite and is a pivotal part of the storytelling. The editing is seamless as scenes are never rushed nor linger too long and the film is perfectly paced.

The cast are terrific. Riz Ahmed is just one of those guys…he is an exceptional actor who has an innate presence to him that is compelling and undeniable. Ahmed is able to draw viewers into him rather than needing to be showy to attract their attention. His work as Ruben is specific and complex, and he never falls prey to the desire to overly emote. This role in lesser hands could have been a great deal of volcanic histrionics, but with Ahmed it is an exquisite exercise in subtlety and nuance.

Ahmed is nominated for a Best Actor Oscar for his performance and while be probably won’t win, he certainly deserves to.

Paul Raci plays a counselor named Joe and is outstanding. Raci is a knock around type of actor who has been nibbling away at the periphery of the business for decades. This is the most prominent role in his career and he makes the most of the opportunity. Raci is so grounded and genuine as Joe I wasn’t sure he was a professional actor when I was watching him. I don’t say that as an insult, I say it to highlight how real he comes across and how devoid of performance his work truly is.

Olivia Cooke also acquits herself quite well as Lou, Ruben’s girlfriend and bandmate. Cooke is an intriguing screen presence and she makes the most of the small role she is given.

What makes Sound of Metal so profound is that it is extremely accurate and insightful when it comes to the issue of drug and alcohol recovery. The film expertly maneuvers through the choppy waters of recovery and never flounders.

Director Marder connects the audience to Ruben and we too fall under the spell of his unseen wound and issues. He seems fine to us because we want him to seem fine. When the reality of the situation is revealed it is a breathtaking moment and a staggeringly well executed piece of cinema.

I loved Sound of Metal because it’s a “simple” bit of filmmaking that makes use of the craft and skill of moviemakiing to create a piece of cinematic art. Obviously, just because something is simple does not make it easy. For instance, if you are an addict the simple solution to your problem is to stop using…but that ain’t easy.

The beautiful simplicity of the storytelling and filmmaking of Sound of Metal is why this movie is so impressive and this type of moviemaking so exceedingly rare.

I also loved Sound of Metal because of Riz Ahmed’s heartfelt and absurdly well-crafted performance. This is Ahmed at his very best and it is glorious to behold.

And finally, I loved Sound of Metal because it dramatically presents the important truth about the intricate process of recovery, one with which I am all too familiar and which America needs to learn in a hurry…that returning to normal isn’t the panacea the addicted mind thinks it is. Becoming sober doesn’t mean your life is perfect and you are instantly happy, it means life is still suffering but now you have to feel it because you aren’t drunk or high.

Recovery doesn’t end with sobriety, it BEGINS with sobriety. Once sober, you can start the journey of self-discovery to find the wounds that cause the pain you’ve been trying to self-medicate away. Returning to normal for the addict isn’t a return to a good place, it is a return to the place that instigated the drug and alcohol use in the first place (An example of which is establishment liberals wanting to ‘return to normal’ after the nightmare of Trump - well…the pre-Trump normal is what got us Trump!). Those in recovery must discover a new normal, one that is based on integrity and isn’t self-deceptive or self-destructive.

If you’re in recovery, Sound of Metal holds important lessons for you. If you love someone in recovery and want to understand what it is like, Sound of Metal is for you too. If you just like exceedingly well made movies, then Sound of Metal is for you too. Sound of Metal is just a terrific film and I highly recommend it.

©2021