Thirty Seconds to Mars – ‘America’ Review

Thirty Seconds to Mars – ‘America’ Review:

“It may sound like a mean joke to say that the best part of the album is when it cuts to silence at the end. But when America’s closing track “Rider” abruptly stops before the three-minute mark, just when it seems to be gearing up for another minute of power ballad grandeur, it’s surprising and unusually satisfying. It’s a rare glimpse at a Thirty Seconds to Mars that’s willing to subvert expectations. And it’s a testament to the power of judicious editing—a virtue that a Hollywood pro like Leto should place more value in with his music.”

Jared Leto’s New Netflix Movie Might Be the Worst Film of the Year So Far

Jared Leto’s New Netflix Movie Might Be the Worst Film of the Year So Far:

I am convinced the only way this movie would make sense would be if you were to a) tell me this is actually a two-hour Gucci commercial; or b) prove that Jared Leto is, in fact, a cyborg. Otherwise, I don’t want to hear it.

He does not so much act in this movie as model a series of wide-eyed looks that are supposed to signify stoicism (hence, my Gucci theory); he looks like a robot trying to play a human.


Accurate. He is a method actor.

‘The Outsider’ Review: That Netflix Movie Where Jared Leto Joins the Yakuza Is Even Worse than it Sounds – IndieWire

‘The Outsider’ Review: That Netflix Movie Where Jared Leto Joins the Yakuza Is Even Worse than it Sounds – IndieWire:

Our tale begins in a bleak Japanese prison, where Nick Lowell has been serving an unknown period of time for an unspecified crime. Flawless skin and hair slicked back, Nick looks hilariously good for someone who’s supposed to have been in jail for the better part of a decade. Which is not to say that it feels unrealistic — after all, the character is being played by a 46-year-old actor who looks 30 on a bad day, the only rational explanation being that Leto is somehow rejuvenated by bad reviews, and made “Suicide Squad” in a sinister bid to live forever).

In the meantime, Nick shoots a lot of people in the head and falls in love with Kiyoshi’s gorgeous sister (Kutsuna Shiori), as though she were the only girl in Japan. She insists that she doesn’t need Nick’s protection, but he’s just so big and strong, and what mortal woman could possibly resist a guy who delivers every sentence with such strained intensity that it sounds like someone is standing on his windpipe? It’s like no one ever bothered to inform Leto that he was done playing Niander Wallace.

Beyond that, Nick is a total blank. We don’t know why he was in jail or who he might have been before he got there, and Andrew Baldwin’s screenplay never gives us any reason to care. The character is little more than empty vessel for violence (the universal language), but the movie refuses to treat Nick like a stray dog who isn’t allowed inside the house.

On the contrary, it thinks of him as a darkly compelling anti-hero, convinced that he’s dynamic enough to bring new life to old clichés.

Most frustrating of all is how “The Outsider” refuses to shift its focus away from its title character, even when the film makes a point of how this story might be more engaging from a Japanese perspective. Kiyoshi in particular represents a wasted opportunity. A lifelong gangster who can’t exist beyond the underworld ecosystem, Kiyoshi is indebted to Nick, but also struggling to make sense of the foreigner’s loyalties.

Can a gaijin ever be trusted like family, or will his motives ultimately be self-serving? It’s an interesting question in a story that’s otherwise completely devoid of interesting questions, but “The Outsider” is too enamored with its foreign star (and/or too allergic to the idea of moving Asano to the foreground) to ever engage with that idea in a meaningful way. The more this film begs to be told from the inside out, the more Zandvliet shoots it from the outside in. It’s enough to make you wish he hadn’t shot it at all.

Grade: D

“The Outsider” begins streaming on Netflix on March 9th.