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   Jack O’Connell Should Be the Next Joker
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                  <p style="margin:0;margin-bottom:16px">
                   Listen, I know as a true-blue,
                   <a style="text-decoration: underline; color: #000000;">
                    Criterion Channel
                   </a>
                   -subscribing Real Cinema head, it’s against the code to wish the strictures and thankless commitment of franchise filmmaking on exciting actors and directors we like and respect. But as I filed out of my local AMC the other night, in between involuntarily muttering
                   <em>
                    Charity
                   </em>
                   and
                   <em>
                    Howzthat
                   </em>
                   to myself, my first immediate thought was
                   <em>
                    Jack O’Connell should be the next
                   </em>
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Joker
                    </em>
                   </a>
                   .
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   That is to say, I want to see Jack O’Connell go for a villainous hat trick, and level up while doing it. He’s now two-for-two on playing endlessly charming Evil People, first as Remmick the culture-vulture vampire in
                   <a style="text-decoration: underline; color: #000000;">
                    Ryan Coogler
                   </a>
                   ’s
                   <em>
                    Sinners
                   </em>
                   (which at press time is not yet but sure to be an Oscar contender) and now in
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     28 Years Later: The Bone Temple
                    </em>
                   </a>
                   as Sir Lord Jimmy Crystal, a tracksuit-wearing Satanist. Both of these villains are, in execution, way more endearing and funnier than they have any business being on paper. If you recall, the first few weeks of
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Sinners
                    </em>
                   </a>
                   post-release social-mania were dominated by Remmick memes, powered by the different comedic nuances in O’Connell’s performance during the scene where he’s denied entry to the juke joint. Together, Coogler and O’Connell turn what could’ve been an arch “threat” into something more impish and playful, a scene-stealer even though the audience should dread his presence. (This is not new territory for Coogler: see also
                   <a style="text-decoration: underline; color: #000000;">
                    Michael B Jordan and Killmonger
                   </a>
                   .)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But
                   <em>
                    Bone Temple’s
                   </em>
                   Jimmy Crystal is an even more impressive feat of character-creation and execution. The first act dials Jimmy’s violent nihilism up so high that it almost turned me off to the entire movie overall. But by the time he connects with Ralph Fiennes and they start having a scene-chewing showdown, it’s hard not to be won over by Jimmy’s culty catchphrases and the odd tics O’Connell deploys to make the character a proper weirdo, as opposed to a typical cult leader playing up his shtick for his followers.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Menace. Showmanship. Charm. These are the hallmarks of a good villain, in blockbusters or otherwise, and it’s rarer than it should be to see an antagonist hit all three. More often than not, the balance gets fucked up like a Rubik’s Cube, with an emphasis on one at the expense of one or both of the others. O’Connell (in service of two great directors in Coogler and then Nia DaCosta), has proven that he can deftly manage all three. Now imagine what he could do on an even bigger stage?
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    Sinners
                   </em>
                   is a commercial and critical darling, but if I have one major critique, it’s that Remmick and the vampire lore he’s fronting are a little underdeveloped.
                   <em>
                    Bone Temple
                   </em>
                   is also enjoying good word-of-mouth culturally and critically while performing pretty well by January box-office standards. But both films feel like the moment
                   <em>
                    before
                   </em>
                   O’Connell takes his winning villainy to a big league part. I rewatched
                   <em>
                    Dark Knight
                   </em>
                   for the first time in years during the Holiday Void, and in the wake of the Snyderverse and those terrible Todd Phillips movies, the shadow of Heath Ledger somehow looms even larger. Respectfully, I don’t quite see Barry Keoghan as truly being
                   <a style="text-decoration: underline; color: #000000;">
                    up to the task
                   </a>
                   of filling it.
                  </p>
                  <p style="margin:0">
                   But that’s putting the cart before the horse and presuming a lot about the intentions of Matt Reeves and James Gunn. The Joker was just where my brain went to first—the most obvious pairing of O’Connell’s wolfish grin and his way with a laugh line and an “iconic villain” part. Truly, I’m just excited to see more of him regardless of where he chooses to pop up next. But—even if it puts him at risk of being typecast—it should be a role that continues to magnify his unique talent for playing compelling, off-kilter, magnetic freaks. And if it’s in service of elevating some wayward franchise from mid to high art, the game would be all the better for it.
                  </p>
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                  <p style="margin:0;margin-bottom:15px">
                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
                  </p>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    A$AP Rocky,
                   </strong>
                   <strong>
                    <em>
                     Don’t Be Dumb
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   This album was never going to validate an eight-year wait, primarily because—as Rocky readily admits in any interview of your choice—he hasn’t been making
                   <em>
                    this
                   </em>
                   album for that entire time. He’s scrapped, stopped, restarted, retooled, stood trial, had some kids, got overly sensitive about leaks etc. This isn’t
                   <em>
                    Detox
                   </em>
                   ; all we needed from this project was for it to be vital, and prove and sound like Rocky’s head is still in the game. It doesn’t reach Rocky’s studio album highs—that would be his underrated, classic-in-my-household 2015 album
                   <em>
                    At.Long.Last.A$AP
                   </em>
                   —but it’s far better than his overhated low (sorry,
                   <em>
                    Testing
                   </em>
                   defenders—it’s universally ranked bottom for a reason). After Rocky gets done proving once again that whatever genuine disdain he has for Drake just
                   <a style="text-decoration: underline; color: #000000;">
                    does not translate well on wax
                   </a>
                   , and Brent Faiyaz’s dulcet vocals float in like they’re being beamed from Heaven, the album locks in for me, give or take a few swings that miss.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    Don’t Be Dumb
                   </em>
                   may not work for you, but no one can earnestly call it “basic” or half-assed—Rocky is as sonically adventurous as ever (see: “Robbery,” for one). But he always gets credit for that. More important is that his hooks and bridges are still sticky (“Playa”), his collaborator curation is still sharp (Sauce Walka, eternally a jolt of energy, on “Stop Snitching”), and he can still drop the bars for his hazy alt mode, as on the title track here, which recalls “L$D.” I’m sure he’s just relieved to have finally gotten this thing out—but the best-case scenario is that it pushes him to take much shorter breaks between releases.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Drake, “Fucking Fans”
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   If there’s one net positive from the back-and-forth raging between the woefully parasocial Stan armies dedicated to Rocky, Rihanna, and Drake this weekend in the wake of Rocky’s Drake diss, it’s the spotlight that’s being shone on Drake’s
                   <a style="text-decoration: underline; color: #000000;">
                    2021 album cut
                   </a>
                   (from the otherwise forgettable
                   <em>
                    Certified Lover Boy
                   </em>
                   ) that is allegedly (read: definitely) about the dissolution of his relationship with Rih and the first on-wax instance of him hating on Rocky and Rihanna’s union. I have no dog in this fight—it’s just simply a great song. Being weird about an ex in service of good music is Drake’s raison d’etre, and PartyNextDoor (listed as a co-writer and producer) is sneakily one of Drake’s all-time best collaborators. That beat breakdown and Drizzy’s last verse delivering one painfully TMI bar after another is the closest he’s come to Heartbreak Drake in awhile.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Sleepless in Seattle
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   My first watch of the year was
                   <em>
                    When Harry Met Sally
                   </em>
                   at Tarantino’s New Beverly theater, and I think it inadvertently kicked off a hunger for me to fill my romcom void. I’m in pursuit of True Classics only, though, not guilty-pleasure cable mainstays like—well, anything J. Lo has been in, respectfully. Two films in, I already have a much deeper respect for Meg Ryan’s game than I ever considered possible. This is nowhere near as godbody as
                   <em>
                    WHMS
                   </em>
                   , but it’s charming, warm, and absolutely nails the ending, so it’s close enough. If I’m being critical, the first twenty minutes or so—from that opening to the blocking and rhythms of that first radio call-in scene—set a high bar that the rest of the film can’t match. But the elevator is basically the stuff this genre is made of.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Road to Perdition
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I must also be in a Hanks mood because I threw this on at 10 PM the other night super randomly; it’s probably been 10 years since the last time I watched it. As an older, more critical viewer, certain aspects of the plot definitely scream “adapted from a graphic novel” (derogatory), but this is the first time I realized this movie is divisive among some folks. You’re all bugging. It’s flawed but beautiful and always has been. Is the script thin…or does it just say as much it needs to?
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     The Comeback
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I’m in dire need of a half-hour show in my TV diet and figured I’d finally get around to this show in honor of it coming back to the airwaves soon. Two episodes in, objectively it’s great—but man, I finally understand what some people mean when they say
                   <em>
                    Curb
                   </em>
                   makes them too uncomfortable to really enjoy it. I can’t empathize with that take for that show (and even disagree with it vehemently, to be honest—
                   <em>
                    Curb
                   </em>
                   is broadly hilarious). But this? This is borderline cruel, and so far at least, Lisa Kudrow’s Valerie doesn’t come off nearly as vain as she needs to be for it to feel like she deserves it. It’s just one gruesome indignity of a work interaction after another. I don’t see myself making it much further if the tone keeps up like this.
                  </p>
                  <p style="margin:0">
                   <u>
                    <em>
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