John Frascella's 2020 MLB Predictions: AL Central

Photo Credit: Chicago Sun-Times

Don't forget to check out Volume I, the AL East.

Jumpin' right into this one...

5. Detroit Tigers

2019 Record: 47-114
2020 Betting Over/Under: 56.5
Frascella's 2020 Projection: 50-112

Betting Influence: This has to be a pure variance thing with Vegas - I don't think C.J. Cron and Jonathan Schoop justify a near 10-win jump in a single year. Detroit probably lost a bunch of tight games last season, and Vegas assumes more will break their way this season. Still, I can't get there. I can't get to 56 or 57 wins with the White Sox improving, and Tigers not getting much better.

Position Players: Speaking of Cron and Schoop - I actually like the additions. These are buy-low kinda guys who are just looking to avoid platoon situations. Cron started last season as one of Minnesota's most productive players, but injuries derailed a once-promising campaign. When he returned, he was basically an afterthought for the Twins (batting 8th or 9th, at times). Now, with Detroit, Cron wants to be a key cog in the middle of the order. The same goes for Schoop. After bouncing around the last couple years, he's looking for stability and regular playing time. This situation bodes well for both players, but the rest of Detroit's offense is cringe worthy. Jeimer Candelario, Christin Stewart and Travis Demeritte haven't done anything to justify regular playing time yet. Sure, they are young, but they are also unpolished and probably getting opportunities before they should. They simply aren't ready. I liked the Austin Romine pickup behind the dish; but what are we really talking about, here? These are minor improvements that don't justify a nine or 10-win bump up.

Pitchers: Matthew Boyd and Spencer Turnbull showed some promise last season, but I don't think Boyd's is sustainable. His stuff is kind of blah to me. Anybody can have a good half-season if they hit spots and don't walk too many guys, but sustainability is easier with prime stuff. I think Boyd probably regresses back toward the mean. Jordan Zimmermann and Ivan Nova are reliable vets - but not reliable in the way you'd like. We know their approach and we know what to expect from them in terms of deliveries and sequences, but their results never knock your socks off in these twilight stages of their veteran careers. Joe Jimenez leads the way in this weak bullpen.

4. Kansas City Royals

2019 Record: 59-103
2020 Betting Over/Under: 65.5
Frascella's 2020 Projection: 63-99

Position Players: Salvador Perez is back behind the dish, and he's one of the most valuable two-way catchers in the game. Obviously he brings solid offense for his position, but you also hope he improves the performance of KC's pitchers by calling quality games and bringing a calming veteran influence. So maybe that's where Vegas gets the 6-7 win jump, but I'd worry just a bit about Jorge Soler. I love his physical gifts and pure power, but can he repeat his insanely good production from last season? He has to layoff chase pitches and continue to improve his offensive discipline. Forty-eight homers and 117 RBI - that's a tough act to follow, though. The primary addition here is Maikel Franco over at the hot corner, and this addition is very similar to what the Tigers did with Cron and Schoop - Franco doesn't want any competition. He wants to be left alone to do his thing. The problem is going from Philly's banbox to KC's less favorable hitters' park. I guess it's a trade off - Franco gets a better situation for playing time and stability, and a weaker one for ballpark factors. Overall though, offense is the strength of this club with Perez, Soler, Franco, Hunter Dozier, Adalberto Mondesi and the always-impressive Whit Merrifield. This is actually a good offense for a run-of-the-mill team.

Pitchers: The same gang is back with Duffy, Junis, Keller, Sparkman and Montgomery. This is not a good thing. These are all sort of "keep you in the game" type of guys. You can't have a whole rotation full of that. At least a couple guys need to step forward with some dominant performances. The talent just isn't there with this group - they all have some merits and spare parts, but no one puts it together with a full arsenal that allows KC to be a real contender. Ian Kennedy will hold down the back end of this bullpen, which is interesting because, as a starter, he was just like these other guys. He was very mundane and replacement-level. Amazing how that doesn't matter when you only pitch one inning at a time. KC was smart to transition Kennedy.

3. Cleveland Indians

2019 Record: 93-69
2020 Betting Over/Under: 86.5
Frascella's 2020 Projection: 84-78

Position Players: I apologize if this is an insensitive comment in some way - but the AL Central clearly has a thing for Hispanic and/or international players. The Indians are running out Perez, Carlos Santana, Hernandez, Ramirez, Lindor, Domingo Santana, Mercado and Reyes, with Leon and Chang as reserves. The White Sox are running out Grandal, Abreu, Garcia, Moncada, Luis Robert, Jimenez, Mazara and Encarnacion. Now, don't take this the wrong way, but - I really like this. Many of the Hispanic players seem to have a superior natural flair for the game. It seems second-nature. Pressure isn't felt. They are smooth, powerful and confident, and this can't be a coincidence when it comes to Cleveland and Chicago's roster constructions. Cleveland should be pretty solid offensively, though I would consider Lindor their only real star. Ramirez took a significant step back last season, particularly throughout a putrid first half. He's still the No. 2 man, though. In addition, I've mentioned many times that I loved the Indians' acquisition of Reyes last season. Thunder in his bat. DH suits him well. Both Santanas are nice players. The Indians have kind of flip-flopped here, as the offense has become the strength of their team. The Kluber-Bauer-Carrasco-Salazar days are a relic of the past.

Pitchers: Mike Clevinger, Shane Bieber and Carrasco lead the way here, but Clevinger and Carrasco are coming into the season with injury concerns. Knee for Clevinger and elbow for Carrasco. I just don't like starting on shaky ground. Injuries have always been a frustrating issue for Carrasco. Youngsters Aaron Civale and Adam Plutko sprinkled in some nice performances last year, so we'll see if either kid steps up for an entire season. This Indians' rotation just feels different than the good ol' days. It feels lighter. In the bullpen, veteran left-hander Brad Hand is the top dog. He can close or you can play the lefty matchup game with him (though the rule has changed this year).

2. Chicago White Sox

2019 Record: 72-89
2020 Betting Over/Under: 84.5
Frascella's 2020 Projection: 87-75

Position Players: All right, I'm "buying in" a little, here. I don't usually do this. A lot of the pundits are talkin' up the new-look ChiSox, and I can't say I disagree with them for doing so. I gotta say...wherever Yasmani Grandal goes, good things happen. The guy has reached the postseason five years in a row. I used to bash him because he has many holes in his swing, but he's a pure power-hitting catcher who clearly brings value, regardless of those holes which lead to high strikeout totals. I guess that makes him a "true outcomes" guy. He's joined by top-to-bottom talent; there are no glaring holes in this offense. Jose Abreu and Edwin Encarnacion are the veteran leaders, while Yoan Moncada, Eloy Jimenez and Luis Robert bring the youth and explosive talent. I like both Moncada and Eloy to outperform their ADP's in fantasy this season; Robert is obviously the riskier play. We know less about him at this point, and can he hit enough to sustain value? Leury Garcia's a good contact guy; Tim Anderson is developing into a stud at short and Nomar Mazara was a nice pickup from Texas. This is a better spot for Mazara, where less will be expected of him. Texas tried to squeeze him into the middle of the order because he's a good-lookin' lefty bat, but he hasn't had any sustainability as a high-end producer. I like him batting 7th or 8th, here.

Pitchers: Lucas Giolito came out of nowhere to become a true ace for this club last year. His stuff was off the charts. I'm buying in here, too - I think he can sustain it. Dallas Keuchel was a good buy, because maybe he can bounce back in his return to the American League. He should be able to steady the boat. People have to step up in the 3-4-5 slots, though. That's the glaring weakness of this team. Reynaldo Lopez has good stuff but is all over the place, and Carlos Rodon is always hurt. Who is going to step up to turn this into a Wild Card team? Chicago's bullpen features recognizable veteran names in Alex Colome, Steve Cishek and Kelvin Herrera. You could do worse.

1. Minnesota Twins

2019 Record: 101-61
2020 Betting Over/Under: 92.5
Frascella's 2020 Projection: 100-62

Betting Influence: Say whaaaaaat? Vegas droppin' them down from 101 wins to 92 or 93? And they added Kenta Maeda, Homer Bailey and Rich Hill? Vegas thinks highly of Minnesota's competition in this division, obviously (particularly the Indians and White Sox). They definitely like the Tigers better than I do, too. I just think this is too significant a drop for these Twins. This is one of the most complete teams in the American League. Looks like you gotta jump on this OVER.

Position Players: Mitch Garver is one of the best-hitting catchers I've seen in a while. He's a legit force in the box. Nelson Cruz is one of the most underrated hitters in the history of baseball. Talk about a guy that doesn't get any love! What else does he have to do? Just look at his damn stats. The guy is an absolute machine. It's nearly impossible to find a pure power hitter who hits essentially .280 for his career. The extremely rare combination of power and contact and/or situational hitting. Max Kepler and Eddie Rosario are really good ballplayers. Josh Donaldson was a solid veteran addition. Miguel Sano still has potential as an empty power bat.

Pitchers: Well, I already mentioned the veteran additions of Maeda, Bailey and Hill. Hill's a little behind the eight ball in health, but Maeda and Bailey are ready and rarin' to go. Bailey finally looked healthy and strong down the stretch of last season. These vets join Jose Berrios and Jake Odorizzi, who have been high-quality arms for Minnesota. This is a nice rotation to go with a really good offense. The necessary balance is here. The mix-and-match, interchangeable parts bullpen has to work with Taylor Rogers, Sergio Romo, Trevor May, Tyler Duffey and Tyler Clippard. Most of them did well enough last year. This is a really good all-around team.

Frascella's Win Projections to Date:

1. Twins: 100
2. Yankees: 97
3. Rays: 95
4. White Sox: 87
5. Indians: 84
6. Red Sox: 80
7. Blue Jays: 74
8. Royals: 63
9. Orioles: 52
10. Tigers: 50

My Review of JOKER: Phillips and Phoenix Continue to Redefine their Careers

Photo Credit: Variety 

Todd Phillips was a comedy director. Road Trip, Old School, Starsky & Hutch and The Hangover trilogy - he was both prominent and prolific within his little niche.

But even with The Hangover, things started to change a bit. Road Trip was a low-brow buddy comedy; not particularly challenging stuff. Old School and Starsky & Hutch were vehicles for comedy performers who were hot at the time (Will Ferrell, Vince Vaughn, Ben Stiller, Owen Wilson, etc.).

But I thought The Hangover was pretty sophisticated for a comedy - it was a buddy comedy, "boys' trip" movie mixed with the fun mystery of what the hell happened last night? It just had his stamp. It felt different than its less innovative predecessors. I'm not talking about Academy Award winning stuff here; but still, to me, it was a clear step up.

Then came War Dogs; which I reviewed here. Again, this was something a bit different. I even noted the career change back then:

"If you look closely at the canon of Phillips' career, you can see the evolution. It doesn't scream at you; but to me, The Hangover displayed far more skill than Old School, and Road Trip before that. He's refining his skills, and War Dogs is a little more serious than his predecessors. It's weightier, but subtly so. Apparently he's lined up to direct The Joker origin movie, and I'm certain that'll be heavier than War Dogs. Phillips is slowly opening up his range, giving himself opportunities for projects that would have been unfathomable in the past."

And now, here we are, with Joker. Phillips said he decided to leave comedy behind because of "woke" culture. Maybe, maybe not. I totally understand what he said and basically concur with his sentiment, but that was also a little publicity stunt. Martin Scorsese did the same thing with The Irishman, when he basically admonished superhero movies. Any publicity is good publicity. These were "triggering" remarks.

So yeah, maybe that had something to do with it, but I also think Phillips wanted to grow into more challenging material. In some ways, Joker is exactly that. It's dark; it's "serious" and it eventually garnered many legitimate award nominations.

But it's nothing new in terms of plot, or even character motivations. For me, it's Taxi Driver meets Falling Down meets "Prestige TV", where everyone roots for the antihero (The Sopranos, Breaking Bad, Mad Men, etc.). So in these categories, Joker is far from groundbreaking.

Yet I still enjoyed Joker. Obviously, the first thing everybody talks about is Joaquin Phoenix's Oscar-winning performance, and you can certainly make an argument that he was deserving. I really liked his look in this film - he lost a ton of weight and really got into the character, all bones and angles and disturbing body imagery. This is a very physical performance.

Of course, you can't help but think back to the late, great Heath Ledger in The Dark Knight. Is this the same Joker? Can we see the similarities? Can we feel them?

Not really; not to me. Ledger's Joker felt more dangerous. Yes, technically this would be years down the line in Joker's life (comparatively to Phoenix's Joker), but Ledger's Joker wanted to burn the world down. He had grand visions. He was a dangerous, cold-blooded killer, and he definitely didn't give a fuck about anyone or anything. He was defiant. Is it sick if I say he was cooler than Phoenix's Joker?

Phoenix and Phillips' Joker is softer. Yes, he kills a handful of people, but the plot offers explanations and/or justifications. This Joker loves kids. He loves his job, entertaining them. The world eventually pushes him over the edge, but he targets a very specific group: the "Haves". Phoenix's Joker represents a class war - the Haves vs. the Have-Nots. In some ways this class war echoes Parasite, which I will review in my next post.

So where does that class war lead in Joker? Nowhere, really. I could see what Phillips was going for, but I don't think the messaging is step-for-step with our current society. (Well, our really current society is obsessed with and overrun by coronavirus.) But at the time of pre-production and filming, I don't think our "woke" culture was fixated on money. Joker's class war is symbolically represented by Bruce Wayne's mansion vs. Joker's apartment. That's a money thing. All about privilege and fancy things and look what I got and you don't. I just don't think the messaging hits in this film. I wouldn't call it a "smart" movie.

** SPOILERS AHEAD **

Nevertheless, I really enjoyed Phillips' technique behind the camera. There's an awful lot of dark vs. light material in his film. Think about the light shining through the window - finally - after Joker suffocates his own mother. Did you notice how dark everything was before that?

Think about when Arthur Fleck "becomes" Joker. He's on the subway. He's under attack by a bunch of slimy, young stockbroker types (again, the Haves vs. the Have-Nots), and the lights are flickering. Back and forth we go between light and dark. Arthur is on the verge of a dramatic change in character. The darkness wins when he murders all three attackers. Maybe it's obvious to see, maybe not - but I knew exactly what Phillips was going for in that scene. The meticulous lighting choices made it crystal clear.

There are also a number of interesting framing, POV and size choices. In multiple shots, Arthur is small in the frame. He's a little nothing up against the broad side of a building. He's tiny. He's insignificant. The world swallows him up and spits him out - until it doesn't. Once Arthur embraces Joker, he gets larger in the frame, and more dynamic. This is his coming out party, and Phillips has altered all of his lighting and stylistic choices. The story in the background comes across very clearly in Joker; that's truly a testament to the improvement and refinement of Phillips' technique.

I also think this is a good-looking film. I like many of the shot compositions - particularly in the first half of the film, when everything is darker and moodier. Each shot is a photo, right? If you freeze it, does it work as a work of art? I think Phillips does some really cool stuff in this department. My hat's off to him.

And, in the end, don't we usually take to revenge storylines? "Killin' Nazis" really worked in Quentin Tarantino's Inglourious Basterds. Keanu Reeves' John Wick has evolved into a dominant action franchise. Liam Neeson's "very special set of skills" turned Taken into a surprise force. When characters are wronged, people like to see them get revenge. Must be human nature. And in Joker, the title character only kills people who have wronged him. Phillips was very careful about this.

Joker is certainly an imperfect movie, yet still a good one. It's a bit all over the place, like Joker himself, but still worth seeing. Hope I provided you with some entertainment during quarantine!

** John Frascella's Score: 7.5 out of 10 **

MY UP-TO-DATE ARCHIVE OF ALL REVIEWS AND RECENT MOVIES SEEN

1. Inglourious Basterds (10/10) - Review Coming Soon
2. The Irishman (9.5/10)
3. Up in the Air (9.5/10)
4. Steve Jobs (9.5/10)
5. Django Unchained (9.5/10) - Review Coming Soon
6. Collateral (9.5/10)
7. No Country for Old Men (9.5/10)
8. The Wrestler (9.5/10)
9. The Drop (9.5/10)
10. Zodiac (9.5/10)
11. Kramer vs. Kramer (9.5/10)
12. Margin Call (9/10)
13. Office Space (9/10)
14. The Hateful Eight (9/10) - Review Coming Soon
15. Marriage Story (9/10)
16. Hannah and Her Sisters (9/10)
17. Mystic River (9/10)
18. L.A. Confidential (9/10)
19. Lady Bird (9/10)
20. Stay (9/10)
21. Gone Girl (9/10)
22. Nocturnal Animals (9/10)
23. 45 Years (9/10)
24. The Edge of Seventeen (9/10)
25. Bernie (9/10)
26. Lucky Number Slevin (9/10)
27. Tape (9/10)
28. A Perfect Murder (9/10)
29. Wanderlust (8.5/10)

30. War Dogs (8.5/10)
31. The Founder (8.5/10)
32. Jackie Brown (8.5/10) - Future Review
33. In Bruges (8.5/10)

34. Split (8.5/10)

35. Bad Moms (8.5/10)

36. Basquiat (8.5/10)
37. Love, Actually (8.5/10)

38. Moonlight (8/10)
39. Pretty Woman (8/10)
40. Kill Bill: Vol. 1 (7.5/10) - No Review Available
41. Kill Bill: Vol. 2 (7.5/10) - No Review Available
42. Joker (7.5/10)
43. Three Billboards Outside Ebbing, Missouri (7.5/10)

44. The Revenant (7.5/10)
45. The Good Shepherd (7.5/10)

46. The Shallows (7.5/10)
47. Focus (7.5/10) 

48. The Night Before (7.5/10)
49. The Walk (7/10)

50. 10 Cloverfield Lane (7/10)
51. Loving (7/10) - No review available
52. Death Proof (7/10) - No review available
53. Hail, Caesar! (7/10) - No review available
54. Escape Room (7/10)
55. Once Upon a Time... In Hollywood (6.5/10)
56. A Most Violent Year (6.5/10) - No review available
57. The Shape of Water (6/10) - discussed in this review
58. The Boy (6/10) - No review available
59. The Accountant (6/10) - No review available
60. Bridge of Spies (6/10) - No review available
61. The Firm (6/10) - No review available
62. Muhammad Ali: Say My Name (6/10) - No review available

63. Joy (5.5/10)
64. Taking Lives (5.5/10) - No review available

65. La La Land (5.5/10)
66. Pulp Fiction (5.5/10) - Future Review
67. Belichick and Saban: The Art of Coaching (5.5/10)
68. The Visit (5/10) - discussed in this review
69. The Mule (5/10) - No review available
70. 13 Hours: The Secret Soldiers of Benghazi (5/10)
71. Make Love Great Again (5/10) - No review available
72. Molly's Game (5/10)
73. Set It Up (5/10)
74. Get a Job (5/10) - No review available
75. The Interpreter (5/10) - No review available
76. Eric Clapton: Life in 12 Bars (5/10) - No review available
77. Reservoir Dogs (4.5/10) - Future Review
78. Mike and Dave Need Wedding Dates (4.5/10) - No review available
79. Brooklyn (4.5/10) - discussed in this review, and this review
80. Ocean's 8 (4/10)
81. Everything Must Go (4/10) - No review available
82. Why Him? (3.5/10) - No review available
83. The Program (3/10)
84. Open Water 3: Cage Dive (3/10) - No review available
85. Pitch Perfect 3 (2/10)
86. Shut In (2/10) - No review available
87. Premonition (2/10) - No review available

88. Rings (1.5/10)
89. Mother's Day (1.5/10)
90. I'll Always Know What You Did Last Summer (0/10) - No review available

John Frascella's 2020 MLB Predictions: AL East

Photo Credit: Yahoo Sports

The AL East always makes for an interesting dynamic, with the big-money rivals - the Yankees and Red Sox - duking it out for world domination, as the remarkable Rays hover in the shadows, waiting for their big moment in the sun. In recent years the Blue Jays and Orioles have patrolled the basement of the division, though the former seems to be putting a nice, little rebuild together. Is Toronto ready to start making noise again?

5. Baltimore Orioles

2019 Record: 54-108
2020 Betting Over/Under: 56.5
Frascella's 2020 Prediction: 52-110

Management: Listen, I was pretty excited when Sig Mejdal took a position in Baltimore's front office (Vice President & Assistant GM), following Mike Elias (Executive VP and GM) from the Astros to the Orioles, but the grand design simply isn't taking shape yet. Between New York and Boston's money, and Tampa's ingenuity, it's always going to be a treacherous uphill battle in this division. I'm sure Mejdal is continuing his cutting-edge ways, but I don't see the transition into big-time talent this early in the process.

Position Players: Trey Mancini is pretty clearly the best player on this club, and I like what I saw from both Anthony Santander and Hanser Alberto last season. However, you look up and down this roster and it just feels light. Renato Nunez needs to be a key producer for this team, and I'm not so sure you can count on him for that. He has a ton of power but he's super raw, and Baltimore probably needs him to polish up faster than he actually will. I think Vegas bumped their win total a bit because Boston is expected to take a step back, but what if Toronto takes an equal step up? They seem to have a better chance at that than the Orioles.

Pitchers: Obviously John Means leads the way after finishing second in the AL Rookie of the Year voting. He was really quite good, given his poor team and even worse pitchers' park. Feels like Alex Cobb is pretty washed up at this point; you can't really throw 90 MPH and be successful at Camden vs. the likes of the Yanks and Sox. Soft-tossing lefties Wade LeBlanc and Tommy Milone are both in the mix, here - aren't they the exact same person? In the bullpen we have a crappy committee, one where Mychal Givens tends to get the most save opportunities. He's just a decent vet; if I'm being kind.

4. Toronto Blue Jays

2019 Record: 67-95
2020 Betting Over/Under: 75.5
Frascella's 2020 Prediction: 74-88

Betting Influence: I'd say Vegas is pretty damn close here, but an 8.5 win jump is still asking a lot in a single season. I just think, in a vacuum, that 75.5 number seems a tad ambitious. Still, coming of age and a couple additions get Toronto awfully close.

Position Players: Is there any question what Toronto's player development model prefers? Cavan Biggio, Vladimir Guerrero Jr., Bo Bichette and Lourdes Gurriel - bloodlines, baby...bloodlines. Craig Biggio, Vlad Guerrero, Dante Bichette and Yuli Gurriel; yeah, I'd say there's ample reason to believe there's top-notch talent in those families. Of course, the burning question is obvious...how quickly will these kids develop at the big-league level? Is Vlad Jr. already ready to become a star? How about Bichette, who has some electric all-around ability? We just can't know. I personally think it's one season too early. This seems like a situation where bettors will instinctively think over. Seems like a "sexy" pick. I thought the same thing about the Atlanta Hawks in basketball, and they ended up drastically under-performing their over/under. Nevertheless, Toronto is at least trending in the right direction.

Pitchers: Solid veteran pick-ups in Hyun-Jin Ryu and Tanner Roark. Of course, when you go from the NL West to the AL East (Ryu), you can't expect the same results; but Ryu has craft. He'll mix and match and try to keep aggressive hitters off balance. Roark spent plenty of time in the NL with the Nationals and Reds, so he'll need to adjust as well. Still, this is much better than what Toronto had in recent years. Chase Anderson was also added, but I don't expect much from him. His stuff is mundane at best. In the bullpen, I don't mind Ken Giles - even though his results tend to fluctuate from one season to the next - but the rest of the Jays' bullpen is shaky. Giles is kind of a one-man band.

3. Boston Red Sox

2019 Record: 84-78
2020 Betting Over/Under: 84.5
Frascella's 2020 Prediction: 80-82

Maybe this is wishful thinking because I want them to get burnt for dealing Mookie Betts in his prime. Sure the "individual players aren't that valuable" thing is going around, but that only works out when you have elite management like the Rays and A's. Can the Sox really play the same game? They probably feel like they can because they got Chaim Bloom away from Tampa. I guess we'll have to wait and see...

Position Players: It's a three-man show with J.D. Martinez, Rafael Devers and Xander Bogaerts - but, is Bogaerts really a star? Last season he was tremendous, but in '17 he was an afterthought hitting .273 with just 10 homers. He does seem bulkier, now. Any way you slice it, though, this is still a very strong threesome. They'll need Andrew Benintendi to take a step up, likely hitting out of the leadoff spot. He was nothing to write home about last season; has to live up to some of that early prospect hype. Alex Verdugo, the centerpiece of the return on the Betts deal, is already down with a back injury. He shouldn't be out too long, but this isn't a good start to his tenure. Christian Vazquez is a pretty solid all-around backstop.

Pitchers: No one can feel good about Chris Sale, right? It just feels like his arm is going to eventually fall off. The guy is a battler - constantly fighting back various injuries and giving his best possible effort. I really give him a lot of credit for his competitiveness. However, he's currently "shutdown" with an elbow injury - that's never a good sign. Maybe at some point he ends up out for the season. It's just not a comfortable situation atop Boston's rotation. I'm not overly excited about Rodriguez, Eovaldi and Perez, either. In the bullpen, Brandon Workman and Matt Barnes will again lead the way. I like Barnes a lot, but I'm not sure Workman can repeat his statistical success of last season.

2. Tampa Bay Rays

2019 Record: 96-66
2020 Betting Over/Under: 90.5
Frascella's 2020 Prediction: 95-68

Management: Everybody deserves a mention, here: Stuart Sternberg (Principal Owner), Brian Auld and Matthew Silverman (Presidents), Erik Neander (Senior Vice President of Baseball Operations/GM), Peter Bendix (VP Baseball Development), Barry Newell (VP Business Ops and Analytics), Kevin Ibach (Senior Director of Pro Personnel and Scouting), Rob Metzler (Senior Director of Amateur Scouting), Will Cousins (Director of Baseball Research and Development), Joe Myers (Director of Baseball Performance Science) and on-field Manager Kevin Cash.

This is a total team effort. In the last four seasons, the Rays have jumped from 68 to 80 to 90 to 96 in wins. Simply incredible. I'll probably end up mentioning more Rays' front officers than ballplayers. I mean, who really knows what their special sauce is? We've seen players and teams getting edges from steroids, sign stealing, putting stuff on the ball, shifting, analytics, video taping, etc. So who really knows? Whatever it is, the Rays' management team has it. They have the magic. How about being dead-last in payroll (give or take $64 million) and winning 96 games? The Red Sox spent $225 million and won just 84 games in the same division. Gotta give Tampa all the credit in the world.

Position Players: Again, it's not really about the players with this club. I remember one offseason, perhaps prior to two seasons ago, they unloaded seven of their "best" players. Dick Vitale, one of the few famous Rays fans, was furious. Clearly, the perceptions of "best" and "value" were inconsistent with reality. The Rays actually increased their win total that year. This year, offensively, they'll again be featuring a number of platoons and matchup-based lineups. Tampa's stalwarts should be Austin Meadows, Yandy Diaz, Brandon Lowe, Willy Adames and maybe Hunter Renfroe. Otherwise you'll be seeing a lot of mixing and matching with guys like Ji-Man Choi, Kevin Kiermaier, Yoshi Tsutsugo, Jose Martinez, Manuel Margot and more of the like. Meadows is the best fantasy play. The rest will be left to the front office and Kevin Cash.

Pitchers: Lot of quality arms here, top to bottom. Can't really argue with Blake Snell, Charlie Morton and Tyler Glasnow atop the rotation, with mix-and-match, "opener", half-and-half options like Ryan Yarbrough, Yonny Chirinos, Trevor Richards and Brendan McKay. This is really an abundance of good arms. Obviously, any year now, Glasnow could emerge as one of the absolute best pitchers in the game. The kid's pure stuff is off the charts. In the bullpen, again, an abundance of quality. Nick Anderson, Diego Castillo, Jose Alvarado and Chaz Roe are all effective performers. It's hard to screw up a group this deep. Tip your cap to this front office.

1. New York Yankees

2019 Record: 103-59
2020 Betting Over/Under: 101.5
Frascella's 2020 Prediction: 97-65

Position Players: Going into the season with injuries to Aaron Judge, Aaron Hicks, Giancarlo Stanton and even Gary Sanchez has the flu. That word is scary these days. But...last year...the Yankees had 100 injuries and won 100+ games. It's the pinstripe magic. It's the Yankee Stadium magic. It's the history and the reputation, and Manager Aaron Boone did a helluva job. I still cannot believe he didn't win AL Manager of the Year - Rocco Baldelli did a fine job with the Twins, but he was NOT Manager of the Year. Boone made it all happen with scraps and mismatched parts. It was actually one of the best managerial seasons I have ever seen.

Anyway, Gleyber Torres and DJ LeMahieu will lead the way for now, as the Yankees hope for repeat production from Gio Urshela and Brett Gardner in support. Luke Voit and Miguel Andujar will be looking to put together a couple of solid bounce-back seasons. Sanchez and Stanton should be back before we know it.

Pitchers: It all comes down to this bullpen - Chapman, Britton, Ottavino, Kahnle, Green, Cessa and Holder. New York holds leads throughout the regular season (the playoffs have been a bit different for some of these guys). This is again one of the absolute best bullpens in the game. In the rotation, obviously Domingo German is suspended another 63 games and Luis Severino is toast, but Gerrit Cole and Masahiro Tanaka will hold down the fort in the meantime. James Paxton is expected back in May.

In the end, I kind of like the Rays better than these Yankees, but the pinstripes always find a way. My analytical side says Rays win the division, but my baseball logic and experience both say Yanks. I don't think the BoSox can hang with their pitching. It's Tampa and New York...down to the wire.

The Legend's XFL Week 2 Betting Picks

Photo Credit: ABC11

Let's be real - the XFL only exists because of the expansion and widespread acceptance of legal sports betting. Nobody really wants to watch Chad Kanoff and Philip Nelson play quarterback. The latter guy sounds like a banjo-playing country singer.

Nevertheless, I am 1-0 (picked against Landry Jones in Week 1 before he was ruled out) in my guidance of others when it comes to selecting XFL games ATS. Let's see if we can keep the magic going in Week 2...

DC Defenders over the New York Guardians, 28-17 (take DC -7 or -6.5)

This analysis isn't going to be overly scientific - a lot of weight has to be placed upon the offensive performance of teams in Week 1. These guys didn't have much time to prepare and get fully acclimated, so if you dropped 31 points like the Defenders in their opener, you probably have some good coaching and somewhat advanced continuity relative to other teams. Pep Hamilton is the Defenders' head coach - I've never even heard of him, but it seems like he did a good job prepping for Week 1.

I could be wrong, but if my memory serves, the Guardians scored some sort of defensive touchdown in Week 1 - or, most of their success was on defense...something like that. Anyway, I'll take offense over defense in the early going of this incredible XFL season. That means we're going with QB Cardale Jones, WR Eli Rogers and the rest of the Defenders.

Yes, "incredible" was facetiousness.

Seattle Dragons over the Tampa Bay Vipers, 27-13 (take Seattle +3 or underdog moneyline)

The Vipers only scored 3 points in Week 1. Can they really turn it around that quickly? Aaron Murray had two picks and no touchdowns in the opener, so he's probably just washed up. Marc Trestman is their head coach - I think he was warmly regarded with the Bears at some point - so maybe he can coach these guys up a bit, but probably not this quickly.

Brandon Silvers, on the other hand, got to toss the rock around 40 times in Week 1 (tied with Kanoff for the most attempts), and he did okay with three touchdowns and two picks. At least he was able to get the ball into the endzone. His volume was likely a result of the Dragons being behind on the scoreboard; nonetheless, he definitely looked better than Murray. Seattle looks like a good value as a moneyline dog. I think they are +115 or +120. Check it out.

Dallas Renegades over the Los Angeles Wildcats, 17-14 (take LA +4 to cover by 1)

Neither team could score in Week 1. It's telling that the Renegades are -4 despite only scoring 9 points in their opener - that means they will probably win straight up (so I guess you could argue for a moneyline play on that?).

The Wildcats scored 17, but they were playing from behind like the Dragons. This one could go either way so you might as well take the points if you're going to play ATS.

Houston Roughnecks over the St. Louis Battlehawks, 31-20 (take Houston -9)

June Jones for Coach of the Year!

The Roughnecks looked good in Week 1 - not that I'd really know, because I didn't actually watch the game - so you gotta put a feeler out to see if they are just a step ahead of the field, right? I mean, they scored 37 points. That seems like a lot when you consider how horribly most of the teams played.

That means we're putting our faith in gunslinger P.J. Walker, who could be P.J. Tucker from the Houston Rockets and I wouldn't know the difference. Definitely couldn't pick the former out of a police lineup. Never even heard of the guy. But let's ride with him!

I'm sort of having second thoughts if you consider the intricacies of all the lines...why is Dallas favored over Los Angeles if the Renegades only scored 9 points? That means the linesmakers think St. Louis is better than it performed in Week 1 (they only scored 15 points, but beat the Renegades). That means, maybe the right play is taking STL +9, but I'm not gonna flip-flop at this point. Stickin' with my initial instincts, which were entirely based upon offense.

XFL, baby - this is what life is all about!

MARRIAGE STORY: Baumbach's Timely Musing on Modern Love (and Divorce)

Photo Credit: IMDb

I recently reviewed Martin Scorsese's The Irishman, and now we turn our attention to another Netflix Oscar contender, Noah Baumbach's Marriage Story. Which is the stronger contender for Best Picture? Let's find out...

Part 1: An Introduction to Genius

You could say that writer/director Noah Baumbach was born into the business. His father, Jonathan Baumbach - who passed away in March - was a novelist and film critic and his mother, Georgia Brown, is also a well-regarded critic. Noah has 14 directorial credits on IMDb, many of which contain autobiographical elements. His breakthrough film, The Squid and the Whale, was famously influenced by his parents' divorce, which occurred during his childhood. The Squid and the Whale is framed from the perspective of a child of divorce. 

Well, here we are again. Noah's divorce from actress Jennifer Jason Leigh was quite public back in September of 2013, and now (as a result?) we have the superb Marriage Story, which could just have easily been titled Divorce Story. Nicole (Scarlett Johansson) is an actress and Charlie (Adam Driver) is a director. Hmm. 

And Baumbach hits all the right notes in the opening sequences of Marriage Story. Often in a romance - I'm hesitant to call this a "romantic comedy", though it kind of is - the character building occurs gradually. Sometimes there's no character building at all. Sometimes in a romance we have "man" and "woman" in movie land, and we're expected to know exactly what those labels entail. But that couldn't be further from the truth in Marriage Story, the work of a far more thoughtful filmmaker. 

Instead, Baumbach opens with a bang - a virtuoso sequence during which both protagonists are described in great detail. Nicole is describing Charlie in a letter she penned, and vice-versa. Unfortunately, we quickly learn these letters were written as reminders of why they fell in love in the first place; Nicole and Charlie are sitting on opposite sides of the room with a mediator, talking divorce.

And these letters are storytelling genius because we become more invested in Nicole and Charlie than we normally would be at such an early stage of a romance. Sometimes we have to wait and see whom we like better; but not here, not in Marriage Story.

In Marriage Story, we get the picture right out of the gate - Nicole and Charlie are good, normal, complicated people. Like anybody else. Sure, their professions are often romanticized - actress and director - but these two characters are just people. They both have their own selfish needs. Each complements the other. They have things in common, and drastic differences of opinion. They are a young couple with an 8-year old son in the middle; just trying to figure it all out together, or apart.

The first part of Marriage Story isn't about figuring out whom we side with; no, it's about trying to figure out how these two nice, talented people just couldn't make it work.

Part 2: Less Plot, More Character

Marriage Story isn't a plot movie. There aren't any dramatic twists - Scar Jo doesn't turn out to be a superhero and Driver isn't a psycho stalker in waiting. Nicole and Charlie are getting divorced, and Henry's (Azhy Robertson) fate is hanging in the balance. 

Enter three attorneys: Nora Fanshaw, Jay Marotta and Bert Spitz - they are Laura Dern, Ray Liotta and Alan Alda, respectively. All three are fantastic. The comparisons to Kramer vs. Kramer are (somewhat) warranted, and I love that film, too. This is a movie about a custody battle, and Dern, Liotta and Alda all bring different styles and perspectives to that battle. 

Dern makes Nora a hyperized power attorney; she knows the ins and outs of her business and exploits them whenever necessary. Her two sides come out in the respective battles with Jay and Bert; the latter begins as Charlie's attorney, and his aww shucks demeanor extinguishes Nora's fire. She knows Bert is a lamb. In the end, she and Nicole are going to win, so she concedes some of the minor negotiation points. 

But that version of Nora quickly goes out the window when Jay takes over for Bert. Jay is a shark, and apparently Nora is too (when she needs to be). Dern and Liotta are electrifying in the courtroom. They attack one another with vigor and vitriol, and it's a real pleasure to behold. I buy Jay Marotta and Nora Fanshaw as high-powered attorneys who existed before the opening credits of Marriage Story. Yes, these are showy performances, but the characters feel lived in. Great work by all three. Alda is more understated, but wise, knowledgeable and funny. His timing is as superb as ever.

This movie belongs to Baumbach, Johansson and Driver, but you could argue that Dern, Alda and Liotta carry us through the middle of the story. As an aside to that point, many movies start and end strong while slogging through the middle (Act II, the body, what have you); so it's a testament to Marriage Story that Baumbach allows these colorful attorneys to give us some space from Nicole and Charlie, so we don't get bogged down or oversaturated by two particular characters.

Part 3: Marriage Story or The Irishman?

Relationships are fascinating to me. So many little idiosyncrasies and tiny details rolled into one, singular entity. So many compromises, or lack thereof. Marriage Story exists within those margins; Nicole and Charlie definitely admire one another and are both great parents, so what exactly is going on here?

Those questions many of us have contemplated are the areas in which Marriage Story shines. Sometimes its tone is a little all over the place - two screwball segments immediately come to mind, one of which lands in a major way - but Marriage Story's heart is in the right place.

Scar Jo is quite clearly a better and more well-rounded performer than Driver, but the latter remains interesting despite deficiencies. Sometimes he seems blank. Maybe that's Driver or the way he sees Charlie. Either way, it's an intriguing performance that can also seem aloof. At some points, Charlie is far too oblivious to the direction his divorce is headed. His naivety can be offensive because he's supposedly a pretty smart and talented guy. But hey, I nitpick.

Johansson is pretty special; it's interesting to chart her career. Lost in Translation introduced us to her in an understated capacity, but of course the film itself was an awards darling. Then, as she matured over the course of a few years, she stood on the shoulders of her sex symbol status; Vicky Cristina Barcelona and He's Just Not That Into You immediately pop to mind. But was that really her? Maybe she's always been a chameleon evolving with the times. Her was a great role for her, and we never see her face. Now, in Marriage Story, she seems a symbol of our time. Her look is completely different. She's an independent career woman suffocated by the shadow of an auteur ex-husband. Early on I wondered if she was a one-trick pony, but that wonder's long gone now. For the most part, Scarlett Johansson can be whomever she wants to be. That's as close to saying "she's a great actress" as I'm willing to go.

In the head to head, Marriage Story and The Irishman are dramatically different. Neither are plot-driven, but The Irishman follows a somewhat traditional mob story arc. Marriage Story, as you've probably come to realize by now, is character-driven and character-centric. I like the characters in both films. I like the performances in both films, too. We're really splitting hairs, here.

In the end, Marriage Story combines conflict, heartbreak and sudden bursts of humor. Here's perhaps my greatest compliment of the film: when the closing credits began to roll, I thought, that's too bad, I'd like to spend some more time with these characters.

Isn't that what it's all about?

** John Frascella's Score: 9 out of 10 **

MY UP-TO-DATE ARCHIVE OF ALL REVIEWS AND SCORES

(The Top 200 series will continue, but the list below includes ALL of my past reviews and scores.)

1. Inglourious Basterds (10/10) - Review Coming Soon
2. The Irishman (9.5/10)
3. Up in the Air (9.5/10)
4. Steve Jobs (9.5/10)
5. Django Unchained (9.5/10) - Review Coming Soon
6. Collateral (9.5/10)
7. No Country for Old Men (9.5/10)
8. The Wrestler (9.5/10)
9. The Drop (9.5/10)
10. Zodiac (9.5/10)
11. Kramer vs. Kramer (9.5/10)
12. Margin Call (9/10)
13. Office Space (9/10)
14. The Hateful Eight (9/10) - Review Coming Soon
15. Marriage Story (9/10)
16. Hannah and Her Sisters (9/10)
17. Mystic River (9/10)
18. L.A. Confidential (9/10)
19. Lady Bird (9/10)
20. Stay (9/10)
21. Gone Girl (9/10)
22. Nocturnal Animals (9/10)
23. 45 Years (9/10)
24. The Edge of Seventeen (9/10)
25. Bernie (9/10)
26. Lucky Number Slevin (9/10)
27. Tape (9/10)
28. A Perfect Murder (9/10)
29. Wanderlust (8.5/10)

30. War Dogs (8.5/10)
31. The Founder (8.5/10)
32. Jackie Brown (8.5/10) - Future Review
33. In Bruges (8.5/10)

34. Split (8.5/10)

35. Bad Moms (8.5/10)

36. Basquiat (8.5/10)
37. Love, Actually (8.5/10)

38. Moonlight (8/10)
39. Pretty Woman (8/10)
40. Kill Bill: Vol. 1 (7.5/10) - No Review Available
41. Kill Bill: Vol. 2 (7.5/10) - No Review Available
42. Three Billboards Outside Ebbing, Missouri (7.5/10)

43. The Revenant (7.5/10)
44. The Good Shepherd (7.5/10)

45. The Shallows (7.5/10)
46. Focus (7.5/10) 

47. The Night Before (7.5/10)
48. The Walk (7/10)

49. 10 Cloverfield Lane (7/10)
50. Loving (7/10) - No review available
51. Death Proof (7/10) - No review available
52. Hail, Caesar! (7/10) - No review available
53. Once Upon a Time... In Hollywood (6.5/10)
54. A Most Violent Year (6.5/10) - No review available
55. The Shape of Water (6/10) - discussed in this review
56. The Boy (6/10) - No review available
57. The Accountant (6/10) - No review available
58. Bridge of Spies (6/10) - No review available
59. The Firm (6/10) - No review available
60. Muhammad Ali: Say My Name (6/10) - No review available

61. Joy (5.5/10)
62. Taking Lives (5.5/10) - No review available

63. La La Land (5.5/10)
64. Pulp Fiction (5.5/10) - Future Review
65. The Visit (5/10) - discussed in this review
66. The Mule (5/10) - No review available
67. 13 Hours: The Secret Soldiers of Benghazi (5/10)
68. Make Love Great Again (5/10) - No review available
69. Molly's Game (5/10)
70. Set It Up (5/10)
71. Get a Job (5/10) - No review available
72. The Interpreter (5/10) - No review available
73. Eric Clapton: Life in 12 Bars (5/10) - No review available
74. Reservoir Dogs (4.5/10) - Future Review
75. Mike and Dave Need Wedding Dates (4.5/10) - No review available
76. Brooklyn (4.5/10) - discussed in this review, and this review
77. Ocean's 8 (4/10)
78. Everything Must Go (4/10) - No review available
79. Why Him? (3.5/10) - No review available
80. The Program (3/10)
81. Open Water 3: Cage Dive (3/10) - No review available
82. Pitch Perfect 3 (2/10)
83. Shut In (2/10) - No review available
84. Premonition (2/10) - No review available

85. Rings (1.5/10)
86. Mother's Day (1.5/10)
87. I'll Always Know What You Did Last Summer (0/10) - No review available

THE IRISHMAN: Scorsese's Sensational Swan Song

Photo Credit: IMDb

Recently, legendary director Martin Scorsese took heavy fire for proclaiming that Marvel movies are "not cinema." Now, Mr. Scorsese is 77 years old, but he isn't losing it in any way. He's no dummy. He's astutely aware of the current climate of public discourse, and you can be certain that he expected backlash from such a statement. And you can see some of Mr. Scorsese - defiant and unapologetic - in one of the lead characters of his instant classic, The Irishman; Al Pacino's Jimmy Hoffa seems to know where his mouth will take him, but he goes there anyway. He's been doing things his way for an awfully long time.

The Irishman opens along the same path - as Frank Sheeran (Robert De Niro) plots out an important road trip, he whips out a map and rattles off a multi-part route. Moments later, characters bicker over cigarette smoke. In an early flashback, two men do some old-fashioned work under the hood of an American car. Sure, we're entering the world of a period piece, but maps, cigarettes and handiwork are clear symbols of a time gone by. But was it a better time?

Sheeran is The Irishman's anti-hero, and one could argue that the central plot of the film is the charting of Sheeran's career - from steak truck driver, to mob errand boy, to hit man, to right-hand man for two extremely powerful men, Hoffa and mobster Russell Bufalino (Joe Pesci, a revelation). But there's far more at play - The Irishman is a mob movie; the resolution of an infamous murder mystery; a story about family, selfishness, life itself and perhaps most evidently, Mr. Scorsese's allegorical look into the mirror of his own life and career. 

PART 1: The Honeymoon Phase

Early in The Irishman, it's pure joy to see De Niro and Pesci back together in a Scorsese film. How can we not be reminded of their classic duos in Raging Bull, Goodfellas and Casino? There's so much history there. The trio, including Scorsese, just feels right. And sure enough, Robbie Robertson's score plays right along, with cheery pop classics that bring smiles to our faces. The old gang's back together. This is great. 

And the references to those mob classics, and others, are abound. The back of a meat truck reminds us of Frankie Carbone's demise in Goodfellas; a baptism immediately evokes a pivotal moment in The Godfather; the dashboard of a car hearkens back to a memorable explosion in Casino and a list of things you need to "go to Russell for" mimics Paulie's "fuck you, pay me" list in Goodfellas. Scorsese hits all the key notes. Most of the references are welcome. 

And in the early going, we get exactly what we expect - gunshots, explosions and bloodshed. And with the cheery music in the background, it all seems kind of fun. Scorsese has that gift - he connects us with his anti-heroes. Often, we end up rooting for them. When Tommy gets whacked in Goodfellas, don't we feel kind of bad for him and Jimmy Conway, who kicks over a phone booth in simmering frustration and sadness?

Well, why? These are murderers. Thieves. Felons. How does Scorsese do it? He draws us into their worlds and makes us wanna hang with these gangsters. At the very least, we want to see what they'll do next. Alfred Hitchcock may have been the master of audience complicity, but Scorsese can't be far behind.

And he delivers again here, with Sheeran, who seems to have killed more people than he can even remember. Somehow, there are many moments in The Irishman where we end up feeling bad for Sheeran. Obviously that's also a testament to De Niro's complicated performance; but we'll get back to that later.

Also toward the end of the first hour, we're introduced to Hoffa, whom Pacino portrays with an all-knowing smile. Pacino sinks his teeth into the role, and although we may remember the real Hoffa as a powerful man with obvious mob ties, Pacino plays him with a softness. He fights for his men in the Teamsters Union. He loves his wife and spoils Sheeran's introverted daughter, Peggy (played by Lucy Gallina as a child and Anna Paquin as an adult). He doesn't seem as hardened as Sheeran, Bufalino, or other heavy-hitters like Angelo Bruno (Harvey Keitel), Skinny Razor (Bobby Cannavale), Tony Provenzano (Stephen Graham) or "Fat Tony" Salerno (Domenick Lombardozzi).

At least in Scorsese's version of the story, Hoffa's hands weren't as dirty as you'd think.

And we get more of the same types of payoffs, with Pacino and De Niro seeming warm and fuzzy together; a stark contrast to their "beef" days of The Godfather or Heat. Remember when it was such a big deal that Pacino and De Niro actually shared a scene together in Heat? That seems like a distant memory in The Irishman, where Pacino and De Niro come across as lifelong friends with clear admiration for one another.

So, for at least the first half of the film, we revel in the reunions of Pesci, De Niro and Pacino - Pesci and De Niro even enjoy an extended scene speaking Italian - as Scorsese moves the story along swiftly with economical scenes and strong narrative momentum. Credit also belongs to screenwriter Steven Zaillian (Schindler's List, Gangs of New York, Moneyball), one of the undisputed best in the biz.

That's one of the things that separates Scorsese films from so many others - we don't double-take at any of the dialogue. Sure, Scorsese doesn't write the films, but he picks the right supporting players and oversees with aplomb. The dialogue sounds right. The writing and narrative actions always seem true to the characters. I never actively think...oh, I'm just watching a movie right now. That scene took me out of the movie. No, instead I get wrapped up in the worlds Scorsese builds. It happens so fast. Right from the get-go, his worlds wash over you.

The first half of The Irishman is a grand ol' time.

PART II: Familiar Faces Move the Story Along

Through the middle section of The Irishman, you might catch yourself thinking, ohhhh, that guy! More than a few times. 

Graham played Al Capone in HBO's Boardwalk Empire, which Scorsese executive produced. (De Niro also played Capone in Brian De Palma's The Untouchables; De Palma and Scorsese rose the directorial ranks as friends.) In The Irishman, as "Tony Pro", Graham proves a worthy adversary to Pacino's Hoffa; the two enjoy a couple of explosive-but-funny scenes laced with insults and political maneuvering. 

J.C. MacKenzie returns as the lawyer Bobby Kennedy uses to take down Hoffa - you may remember him as Scorsese's "Grenada" attorney in Wolf of Wall Street; Stephanie Kurtzuba pops up again as Irene Sheeran, Frank's second wife (she was Kimmy the stock broker in Wolf); Cannavale was also one of the electric stars of Boardwalk Empire, as well as Scorsese's Vinyl; obviously, Keitel starred in Scorsese classics like Mean Streets and Taxi Driver; Bo Dietl played himself in Wolf - here he's gangster Joe Glimco; Vinny Vella was blabber mouth Artie Piscano in Casino and John Cenatiempo is again a victim of extreme violence, like he was in The Departed. 

I think this cast of characters is significant for two reasons: (1) The obvious one is, like any good director or leader, Scorsese gravitates toward people he can trust; those who have delivered for him in the past, but more importantly (2) These are the bread crumbs leading down the path to the end of an illustrious career defined by classic crime movies. These are the faces along the way. Scorsese brings them all back as reliable performers, yes; but also as symbols and markers of time gone by. 

In my title I referred to The Irishman as Scorsese's swan song - and let's be real, this legend clearly has more great work ahead of him - but this is a Scorsese film, the way Scorsese films will be remembered in history. This is a film filled with references to America's past, which in turn includes the past works of Scorsese's Hall of Fame career. 

This transition into self-reference gathers momentum in Act III. 

PART III: A Sad, Breathtaking Conclusion

Those of you who've read my reviews in the past know I'm not one for plot summary. Why would I want to give away all the goods? You should see this movie!

So, let's talk around things. Kind of like gangsters when they say, did you take care of the thing with the guy? (Another De Niro movie, Analyze This.)

At some point in Act III, the music stops. This is as deliberate as deliberate gets. The party's over. The fun and games of killin' people and runnin' rackets ain't so fun anymore. The Irishman gets personal. Personal between three main characters, and personal for Scorsese. We're seeing the arc of a film, arc of a career and arc of a life. 

Things get really heavy toward the end. You'll feel the weight of it all. 

As we inch toward the conclusion, De Niro's performance becomes trickier to evaluate. As both an actor and man, he seems to have gotten warmer over the years. There's a twinkle in his eyes. He softened his image with the Meet the Parents and Analyze This franchises, along with family man roles in Silver Linings Playbook, Last Vegas, The Intern, Joy and Everybody's Fine. I'm forced to wonder...is Robert De Niro the gangster gone for good?

Earlier I emphatically stated that I get lost in Scorsese's cinematic worlds - and I do again in The Irishman - but one question lingers...why do I feel bad for Frank Sheeran in the end? Is it because I never bought De Niro as a guy who could have killed dozens of unsuspecting people in cold blood? That question alone makes it a weaker performance than both Pesci's and Pacino's. 

Pacino's good. He grandstands as usual, but this is a memorable performance. It's good to see him go out with a smile on his face. This might be the best part he gets for the rest of his unforgettable career. 

For me, Pesci is the star of the show. This is a truly mesmerizing performance, from start to finish. Pesci has command of the Russell Bufalino character. He seems to have command of his own life, too. He's the wisest man of the bunch. It comes through in both Russell the character and Joe the man. This is a Godfather-type performance. Pesci is all-knowing, all-seeing. He speaks softly and rarely makes a wrong move. He has sharp instincts for people, personalities and business. Everyone in the film accepts Russell's word as gospel. He's a natural-born leader of men. This is probably the most well-rounded performance of Pesci's career; particularly near the climax, when he ambushes another character with devastating news. Just...perfect. 

In the end, The Irishman has it all - perfect pacing for a three-and-a-half hour movie; interesting characters and ripped-from-the-headlines material; strong performances; world-class direction; blood, blasts and laughs, and perhaps most importantly, poignant musings on life itself. The Irishman is very reflective in its final 45 minutes. Just sit back and take it in. We're all headed down the same path. 

** John Frascella's Score: 9.5 out of 10 **

EDITOR'S NOTE: I took 4 pages of handwritten notes during this film. I've never done that before. In a future post, I will publish those notes, including observations about De Niro and Pacino's acting, Scorsese's specific directorial choices, mise en scene, John F. Kennedy Jr. and more.

MY UP-TO-DATE ARCHIVE OF ALL REVIEWS AND SCORES

(The Top 200 series will continue, but the list below includes ALL of my past reviews and scores.)

1. Inglourious Basterds (10/10) - Review Coming Soon
2. The Irishman (9.5/10)
3. Up in the Air (9.5/10)
4. Steve Jobs (9.5/10)
5. Django Unchained (9.5/10) - Review Coming Soon
6. Collateral (9.5/10)
7. No Country for Old Men (9.5/10)
8. The Wrestler (9.5/10)
9. The Drop (9.5/10)
10. Zodiac (9.5/10)
11. Kramer vs. Kramer (9.5/10)
12. Margin Call (9/10)
13. Office Space (9/10)
14. The Hateful Eight (9/10) - Review Coming Soon
15. Hannah and Her Sisters (9/10)
16. Mystic River (9/10)
17. L.A. Confidential (9/10)
18. Lady Bird (9/10)
19. Stay (9/10)
20. Gone Girl (9/10)
21. Nocturnal Animals (9/10)
22. 45 Years (9/10)
23. The Edge of Seventeen (9/10)
24. Bernie (9/10)
25. Lucky Number Slevin (9/10)
26. Tape (9/10)
27. A Perfect Murder (9/10)
28. Wanderlust (8.5/10)

29. War Dogs (8.5/10)
30. The Founder (8.5/10)
31. Jackie Brown (8.5/10) - Future Review
32. In Bruges (8.5/10)

33. Split (8.5/10)

34. Bad Moms (8.5/10)

35. Basquiat (8.5/10)
36. Love, Actually (8.5/10)

37. Moonlight (8/10)
38. Pretty Woman (8/10)
39. Kill Bill: Vol. 1 (7.5/10) - No Review Available
40. Kill Bill: Vol. 2 (7.5/10) - No Review Available
41. Three Billboards Outside Ebbing, Missouri (7.5/10)

42. The Revenant (7.5/10)
43. The Good Shepherd (7.5/10)

44. The Shallows (7.5/10)
45. Focus (7.5/10) 

46. The Night Before (7.5/10)
47. The Walk (7/10)

48. 10 Cloverfield Lane (7/10)
49. Loving (7/10) - No review available
50. Death Proof (7/10) - No review available
51. Hail, Caesar! (7/10) - No review available
52. Once Upon a Time... In Hollywood (6.5/10)
53. A Most Violent Year (6.5/10) - No review available
54. The Shape of Water (6/10) - discussed in this review
55. The Boy (6/10) - No review available
56. The Accountant (6/10) - No review available
57. Bridge of Spies (6/10) - No review available
58. The Firm (6/10) - No review available
59. Muhammad Ali: Say My Name (6/10) - No review available

60. Joy (5.5/10)
61. Taking Lives (5.5/10) - No review available

62. La La Land (5.5/10)
63. Pulp Fiction (5.5/10) - Future Review
64. The Visit (5/10) - discussed in this review
65. The Mule (5/10) - No review available
66. 13 Hours: The Secret Soldiers of Benghazi (5/10)
67. Make Love Great Again (5/10) - No review available
68. Molly's Game (5/10)
69. Set It Up (5/10)
70. Get a Job (5/10) - No review available
71. The Interpreter (5/10) - No review available
72. Eric Clapton: Life in 12 Bars (5/10) - No review available
73. Reservoir Dogs (4.5/10) - Future Review
74. Mike and Dave Need Wedding Dates (4.5/10) - No review available
75. Brooklyn (4.5/10) - discussed in this review, and this review
76. Ocean's 8 (4/10)
77. Everything Must Go (4/10) - No review available
78. Why Him? (3.5/10) - No review available
79. The Program (3/10)
80. Open Water 3: Cage Dive (3/10) - No review available
81. Pitch Perfect 3 (2/10)
82. Shut In (2/10) - No review available
83. Premonition (2/10) - No review available

84. Rings (1.5/10)
85. Mother's Day (1.5/10)
86. I'll Always Know What You Did Last Summer (0/10) - No review available