Category Archives: Kyle Chandler

Movie Review: The Wolf of Wall Street

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“The Wolf of Wall Street” is the rare film in which its trailer is not misleading. If you came anticipating flying midgets and strippers with money taped to them, that is exactly what you will get.

Although he has dipped his toes into very different territory over the years (“The Aviator,” “Hugo”), Martin Scorsese returns to the world of crime and money again and again. Each time, he seems to have something new to say about it, and gives us another rags to riches villain to engrain into our memories.

Meet Jordan Belfort (Leonardo DiCaprio), a middle class kid from Bayside, Queens who just wants to make millions. His ambition brings him to Wall Street where he meets a broker (Matthew McConaughey) who teaches him how to survive on Wall Street, mainly through increased sex and drug intake.

Through some successes and failures over the next few years, Belfort finds himself in the penny stock business and eventually, he becomes a multimillionaire. He begins to live a life of excess as opposed to luxury. Those with enough money are comfortable. Then there are people like Jordan Belfort, who have more money than they can spend, and thus have wealth-induced anxiety. I hate that I am about to type this, but I feel like I have to: more money really does mean more problems.

Scorsese fights excess with excess. With a running time that just hits the three hour mark, he revels in the insane behavior that took place at Stratton Oakmont and then reprimands it. “The Wolf of Wall Street” embodies the truism that crime doesn’t pay, and it has such a fun time in doing so. “The Wolf of Wall Street” is a comedy, through and through, and by far one of the funniest movies of the year. This is a satire with consequences. It allows its actors to show off comic skills that you knew or didn’t know that they ever had.

Scorsese’s films with DiCaprio has proven to be one of the most successful actor-director collaborations ever, and about as close to the pairing that Scorsese and DeNiro once had. DiCaprio has never had a real comedic role before, which is a shame; he has never been funnier than he is in “The Wolf of Wall Street.” His drug-addled physical commitment to his performance turns Jordan Belfort into the weirdest kind of cartoon – the kind that will slink and slither as much as he needs to so long as it helps him put more money in his pocket. And while DiCaprio could probably make a rock seem charismatic, he has especially good chemistry with Jonah Hill, who plays his sidekick, Donnie Azoff. Many of the scenes are focused on Hill’s ability to bounce off another person in long banter sessions. He is as good with DiCaprio as he has been in past comedies with Michael Cera and Channing Tatum.

“The Wolf of Wall Street” proves that age has nothing on Scorsese. He recently said that he thinks he only has a few films left in him. However, his directorial style is as fresh today as it was when he first started. His view of the world lends itself to so many different times and places. However, it is fantastic to see him back in his home turf. Whether it is the 1860s in Five Points or the 1990s on Wall Street, Scorsese knows New York better than anyone. He captures the neighborhoods, the accents, and the attitudes. His hyperactive directing style lends itself so well to the chaotic energy of the city.

This film has been compared many times to “Goodfellas,” you know, that movie you will watch to completion anytime it is on cable. While the comparison sets “Wolf” up for high expectations, it is a fair one. “Wolf” is filled with criss-crossing perspectives and multiple voiceovers. This is Jordan’s story, and he gets a chance to try and justify himself with the perspective of time. However, allowing the side characters to comment is a sly way to let the audience know that the narrator cannot be trusted.

In the world of “The Wolf of Wall Street,” stockbrokers are the new gangsters: kids aspire to be them, women want to be with them. They see what they want and they take it. However, Henry Hill is something of a sympathetic figure, while Jordan Belfort does not come close to being sympathetic. The fact that the film is able to get this across is part of what makes it so good. While “Goodfellas” showed that gangsters could be average guys who found some short cuts to success, “The Wolf of Wall Street” portrays criminals as reverse Robin Hoods who got rich by ripping off the working class. “Wolf” is really about class warfare. The scene where Belfort and his gang launch little people for their own entertainment struck me as biting, yet sad comedy. It is about the equivalent of the scene in “History of the World: Part I” where King Louis shoots peasants for fun, the same people he is supposed to be looking out for.

Nobody contradicts himself for artistic gain quite as well as Scorsese does. Throughout the film’s run, quaaludes are snorted and orgies are had, and we get to experience the feeling of being involved in all of these. Scorsese has an amazing ability of being able to boil down the business of crime into something understandable. Sure, little pieces could have been trimmed off of the film here and there, but no scene really needed to be removed completely. There is never a boring moment in the film, something that cannot be said for most films that are half the length of “The Wolf of Wall Street.” You will enjoy every moment of what is on screen, and then question why you enjoyed something about a subject so dark. This is provocation done right in one of the best films of the year.

Brain Farts From The Edge (Minor Spoilers/Spoilers For Real Life Ahead)

  • Matthew McConaughey is barely in the film, but he still deserves an Oscar nomination. I also like how most directors seem to have given up on trying to get him to drop his Texas accent.
  • As Always, Kyle Chandler plays the authority figure. Luckily, he has more of a personality than he did in “Argo” and “Zero Dark Thirty.” Plus, he gets to curse. Go coach!
  • The chimp in roller skates needed more screen time. He is as intriguing as the llama they always show backstage on “Saturday Night Live” but never explain.
  • Apparently, Belfort’s main influence for his get rich quick scheme was Gordon Gekko of “Wall Street.” This once again proves that people are really, really bad at understanding simple irony.
  • The quaalude tripping scene is unbelievable. From the Popeye reference to Belfort’s attempt to gain control of his own body, this is one of the funniest scenes of the year. Like tear-inducing laughter. It’s like a slightly more down-to-earth version of the drug trip sequence from “21 Jump Street.”
  • During the drug trip, one very long lasting shot weirdly reminded me of the hanging scene in “12 Years a Slave.” Talk about two very different kinds of struggles.
  • Something about this movie really makes me want to go eat in a diner in Queens.
  • I immensely enjoyed the scene where Rob Reiner yelled at his wife over the TV show. It is really fun to watch old Jews argue.
  • On that note, I don’t know what “The Equalizer” is, but I would totally watch it.
  • One scene I could have done without (SPOILERS!): After Naomi (Margot Robbie) tells Jordan she wants a divorce and Jordan tries to steal his own daughter. It felt both unnecessary and painful to watch. At this point, I didn’t need any more evidence that he was selfish and pathetic. This scene just felt like overkill.
  • The storm scene. Terrifying. “The Perfect Storm” has nothing on this. (Note: I have never seen “The Perfect Storm,” so it’s probably best to ignore this).
  • I really enjoyed that nice little bit of subway symbolism in the end.
  • The fact that this escaped an NC-17 rating is beyond me.
  • F***ing Benihana.
  • Now if you’ll excuse me, I’m gonna go watch “Goodfellas.”

Movie Review: The Spectacular Now

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Finally, here’s a teen drama that has so many things that I never thought I was looking for in a teen drama, mainly because I never thought I was looking for a teen drama. First of all, it’s not on CW or ABC Family. “The Spectacular Now” is not about petty problems but, well, the big things we face right now. Also, there’s no vampires.

“The Spectacular Now” is based on a novel, as opposed to director James Ponsoldt’s childhood. However, the one thing that the film actually has in common with his life is that it takes place in Athens, Georgia where he grew up. There is a strong sense of familiarity with the whole thing, as if he is reminiscing on all the spots he once called home.

The teenage anti-hero of “The Spectacular Now” is Sutter, played Miles Teller, who sounds an awful lot like Jonah Hill and acts an awful lot like he doesn’t give a crap. Unlike most high school stories, the protagonist isn’t awkward. Despite all the cracks in his life, Sutter is frighteningly self-confident for somebody his age. He’s just come out of a pretty bad breakup with a girl (Brie Larson) who seemed like his soulmate. Now, he’s writing an angry college essay with her as the subject. “500 Days of Summer” says something about turning your former loves into literature, but it’s probably a bad idea to put them into a common app.

Sutter has this vision of living completely in a delusional happy moment. He drinks as much as he can as a way to keep reality at bay. His mother (Jennifer Jason Leigh) works nearly all the time. Meanwhile, his father (Kyle Chandler, completely shattering the Coach Taylor illusion) is completely absent from his life, so he collects a series of father figures such as his boss Dan (Bob Odenkirk), who’s the definition of Southern Hospitality.

His delusional life view is compromised when he meets Aimee (Shailene Woodley) one drunken night. Well, he doesn’t really meet her. He ends up passed out on her front lawn and being the good girl that she is, she gives him a hand. The two begin to rub off on one another (personality wise, you sicko) and eventually fall in love. But given the fact that Sutter is kind of a jerk, he’s not quite sure if he wants to call it love.

“The Spectacular Now” is a lot about breaking stereotypes, which is why everything about this story feels so real. Just like Sutter, Aimee is also not like the kind of teen you’d find in this movie. Her broken backstory is put front and center, yet because her spirits are always so high, she never enters Manic Pixie Dream Girl territory. While she does have a love of comic books that she shares, the real thing that Sutter and Aimee bond over is there families. The way these two people bond and fall in love so sincerely made me think a lot of “Harold and Maude,” except, you know, they’re both the same age.

Speaking of that perennial 70s comedy, “The Spectacular Now” feels like it could have come right out of that era. James Ponsoldt is a wonderful director because he tends to let the film speak for itself. The camera usually sits still, and if it isn’t sitting still, then it’s slowly zooming in. One great moment comes and Sutter and Aimee stand by a window overlooking the football field. This conversation feels so important because we get to hear all of it without a single cutaway. Here, we see how little Sutter knows about what he will do with his own future.

“The Spectacular Now” is the kind of warm, character driven story only expected to be seen on TV nowadays. People like James Ponsoldt and co-writers Scott Neustadter and Michael H. Weber (“500 Days of Summer”) give me faith in the continued strength of the self-contained story. It even ends at just right the moment. We, as the viewers have guided the characters to where they’re meant to be. And it was a pleasure to bring them there.

Analog This: Five Seasons of Friday Night Lights in One Post

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This year, I am grateful that Netflix exists. It took me a while (well over a year, to be not-so exact), but I finally finished this show in its entirety. I was hesitant to watch it at first, because sports have never been my biggest interest and also I’ve been putting off watching “The Wire” for way too long. But this was the summer I finally decided to finish “Friday Night Lights.” What a long yet rewarding journey it has been. “Friday Night Lights” is not just a compelling drama. It changed the way I view people who are different than myself. Most importantly, it made me realize that sports are about more than just competition; sports are about stories. A coach can do more than merely teach a sport. A coach can also be your personal hero. Especially if that coach is played by Kyle Chandler.

I thought it would be hard to write a straight-up review of the entire series. Instead, I figured I’d recap each season to the best of my ability. There will be things I forgot (sorry in advance for the lack of Buddy Jr.), but that is because “Friday Night Lights” accomplished more and introduced more characters than the average drama that goes on twice as long as this show did.

To the best of my ability, here is my recap of five seasons, through good times and bad, of “Friday Night Lights”:


Season 1

Here is where it all began, naturally, because shows usually start in the first season. Unlike many of its contemporaries, “Friday Night Lights” never really struggled to find its voice. No matter, how many face lifts it went through, this show always knew what it wanted to be: a way to humanize and find the heart inside the tough world of Texas high school football. You never needed to be a sports fan to get on board with “Friday Night Lights.” And even if you’ve never dealt with poverty or absent parents as so many of the characters do, the struggles faced on this show still feel universal.

I always loved the way that the show, especially in season one, made each issue as important as the last, despite how different they were. In one episode, Smash faces the repercussions of doping. In another episode, Julie mulls having sex for the first time. Few other shows have ever portrayed teen and family life this realistcally and earnestly. Maybe the only other American show to do it this well was also kicked off of NBC too early: “Freaks and Geeks.”

Best Episode: I Think We Should Have Sex

MVPs: Coach & Tami


Season 2

Poor “Friday Night Lights.” This show could barely find an audience to begin with, and then it’s hit by a writer’s strike that cuts its second season nearly in half. Still, the writer’s strike doesn’t explain some of the completely insane plot lines that came out of season two. And by completely insane, I mean Landry Clarke murders a man with a pipe and then he and his father set his car on fire. It was too big of an obstacle in Landry’s relationship with Tyra in a show that usually gives its characters more plausible problems to triumph over. The season also suffered from a separation of the show’s power couple. Also, Julie Taylor became almost impossible to watch, and Matt Saracen was reduced to unlikable status. Yet, despite these issues, the show still came out on top, and left with enough good will that it didn’t manage to jump.

Best Episode: Leave No One Behind

MVP: Tami Taylor


Season 3

It took “Friday Night Lights” some time to climb back to the top but when it came back, it came back strong. Some of the most inspiring, intense, and moving episodes came out of this important transitional season. It contained some characters at their lowest points, including Buddy Garrity, who gets into a brawl at a strip club after a bad business deal that costs his daughter her college tuition. That’s a lot of bad things for one person to do, but as always, “Friday Night Lights” can make you hate somebody one episode, and then love them the next.

However, there was one character introduced this season who is pretty impossible to like, and he became Dillon’s chief villain: Joe McCoy. Now, he’s not a villain simply because he looks like evil Phil Dunphy. In my eyes, he is about as despicable a TV villain as Joffrey Baratheon, despite, you know, never killing anybody. It’s not just the way he abuses his son or pushes Coach Taylor out of his job. It’s his pompous, robotic, unbudging ego that makes me despise him so much. Props to D.W. Moffett on a great performance.

Season three was about a lot of tears and goodbyes. Smash Williams goes off to college and in a “Dazed and Confused” like moment, the boys get drunk on the field, because this is Texas. Tyra works hard and has a whole lot of redemption in her quest to get into a good school. In one of the shows finest hours, Jason Street flies to New York to fight for a dream job as a sports agent as well as a new home for his child. It’s also just flat out funny watching a bunch of guys from rural Texas trying to map out Manhattan.

When season three ended, the show had an uncertain future. It looked like its time at NBC was done. That’s why the finale serves as both a season and a series finale. Eric is forced to become the head coach for the football team of the newly created East Dillon High School. Eric and Tami stand together on the dilapidated field, very cautious and unsure of what the future would hold for them. Luckily, DirecTV, for the first and only time ever, saved the day and let the world watch Dillon for two more seasons.

Best Episode: New York, New York

MVP: Landry Clarke


Season 4

Season four is truly the beginning of a new “Friday Night Lights,” and it takes some time to adjust to. It’s hard to see something you know so well completely change before your eyes. After a few episodes, I felt right at home.

The seasons begins as the unprepared East Dillon Lions are forced to forfeit their first game, a humiliation that doesn’t bode well for Coach Taylor or the rest of the team. It sets up a tumultuous season for the characters, in which much is lost and many mistakes are made. Ultimately, season four is  a true underdog story. The most triumphant victory story of the season is Vince, wonderfully played by Michael B. Jordan, who comes from nothing to become a star quarterback.

Early on, Matt Saracen loses his father. The aftermath of his father’s death is portrayed in what is perhaps the show’s best episode, which is highlighted by an amazing performance by Zach Gilford.

Sometimes it’s easy to forget that “Friday Night Lights” is as much about Tami as it is about Coach, and this season was a crucial one for Dillon’s greatest lady. It was also a sad one for her, when she sees one of her good deeds come back and punish her. By the end, she finds herself going from principal of Dillon High School to a guidance counselor at East Dillon High, a smart move on the show’s creators parts to get both Taylors conveniently in one place.

My favorite part of this season, and the season that followed, was the prominence of the Riggins family, who brought warmth and much needed comic relief to the show. Even at his worst, I always knew that Tim Riggins was a good guy. Then in the season finale, he pulls off the ultimate move of self sacrifice by taking the blame for a crime that his brother committed.  Eric Taylor might be the main character of “Friday Night Lights,” but Tim Riggins is the big, beating heart. “Friday Night Lights” is mainly about what it means to be a man, and that seems to involve stepping up when the time is right and taking responsibility, even when it seems absolutely insane. Tim Riggins exemplifies what it means to be selfless.

Best Episode: The Son

MVP: Tim Riggins


Season 5

The final countdown.

For a brief moment in season five, I feared that it was going to fall into the season two trap of melodrama. What has always elevated “Friday Night Lights” above soap is its great writing that always puts the characters problems into perspective. That was lost in season two with Landry. Then in season five, Julie Taylor goes off to college and has an affair with her married TA. His wife finds out and Julie is crushed. She moves back home and stages a car crash so she won’t have to go back to school. Things get a little insane for a brief second, but I remained on board because for the first time in the show’s history, I felt some real sympathy for Julie. Being called a “slut” in front of your entire dorm certainly could not have soothed the pain of her recent breakup with Matt.

Season five was definitely an uplifting one, as the East Dillon Lions became a force to be reckoned with. However, it was also incredibly heartbreaking to watch Vince’s personal life crumble, as his father comes back into his life and interferes too much with his future. There was always a nice father-son relationship between Coach and Vince and that is almost lost this season.

It took three seasons for “Friday Night Lights” to build a brotherhood between the original Dillon Panthers. In just two very short seasons, the bond between the East Dillon Lions created is even stronger, as best seen in the episode “Kingdom.”

This was yet another important season for Tami, as she is offered the job of a lifetime as Dean of Admissions at a Philadelphia college. Does it make sense that a counselor from a Texas high school could suddenly be asked to run an entire university? Probably not, but Tami Taylor is that awesome that I got right on board. This story also led to the greatest challenge in Coach and Tami’s marriage. In the end, like Tim in the season before him, Coach makes the ultimate act of sacrifice and moves away from Dillon so Tami can take the job.

The Taylors were always two of the most important people in Dillon. Yet, they were also always the outsiders, which helped give us the audience a better understanding of this town. They weren’t born Dillonites, but they define this fictional town that feels all too real. Yet, they were even too big for this town. Dillon will be a very different place without them. But as the ending promises, Coach can bring clear eyes and full hearts to any place he goes to.

Best Episode: Kingdom/Always

MVP: Billy Riggins


Best. Casting. Ever.