'Jack Reacher: Never Go Back' A Review

Jack Reacher: Never Go Back is an action/thriller a sequel to the 2012 Jack Reacher. Reacher(Tom Cruise), a former military police Major and current psuedo vigilante, develops a friendship with Major Susan Turner(Cobie Smuthers) over the phone after they worked together uncovering a human trafficing ring. When he goes to DC to visit her she is arrested and Reacher gets embroiled in a black market arms cover up.

Cruise shows his age in this uninspired return to Reacher. Although he brings his movie star charm to any role he plays his recent string of action heroes(save for Edge of Tomorrow) have all been relatively flat with this installment being the least compelling. Smuthers as his co-star is strong and has heart but can only do so much to elevate this pedestrian sequel. Danika Yarosh as Samantha Dayton also give a good turn but is also constrained by the conventions of the plot.

The film suffers from Lee Child's corny dialogue more suited to his paperbacks than the screen as well as action sequences which range from unreal to the bizarre. The climatic fight itself between Reacher and the assassin that has been following him the whole film is characterized not by excitement but with an aged weariness.

Boring and borderline incoherent.

Don't See It.

'In A Valley Of Violence' A Review

In A Valley of Violence is a western about a man, his dog, and revenge. Passing through sparsely populated Denton on the way to Mexico Paul(Ethan Hawk) and his dog Abbie are confronted by young hot head Gilly(James Ransone) who Paul lays out after being incessantly provoked. Marshal Clyde Martin(John Travolta) tells Paul to get out of town and never come back which he does. Camping that night on his way to Mexico Gilly and three thugs ambush Paul, kill his dog, and leave him for dead. He returns to Denton for revenge.

Hawk is adequate as the man-with-no-name stand-in but only manages flashes of menace and pathos, there is a casualness to the performance which seems incongruent with the story it is actually in. Ransone is also relatively unharmonic in his role as heavy, he mugs and shouts and there isn't a whole lot of reality to his performance, there are moments of fun but mostly it seems like he is playing it as if it was the present rather than the past. Travolta is the one big surprise, providing depth, emotion and some wry humor. He isn't given much but he takes full advantage and puts forth a complete and compelling character. Taissa Farmiga as Mary-Anne is another bright spot, she brings energy and wit but unfortunately isn't given anything beyond psuedo-love-interest.

The biggest issue of the film is that it is derivative, the main crux of the plot is literally the same as John Wick. That on top of the numerous western tropes that the film blandly recycles. There is nothing at all new about the film save for the glimmer from Travolta and Farmiga and a couple cinematic flares, not enough to rise above mediocre.

Predictable and plain.

Don't See It.

Hunger

In college I had a mentor
who said an actor is always hungry
and I think, perhaps, he meant
that an actor's life can be capricious
and meals to be indulged
because they could be few
but I also think he meant two things
when he said one
which he often did
for the gnawing tickle of hunger
can sharpen inspiration
make one more attuned to creation
force an alertness to the moment
so that it may open up to artistry
whereas, perhaps, the comfort
of a belly constantly full
breeds complacency
and dulls the edge of imagination,
I say perhaps because
Jack was never one for explanations.

'Cameraperson' A Review

Cameraperson is a documentary/visual-memoir from cinematographer Kristen Johnson. The film is a collection of scenes and scenettes filmed but unused from all of Johnson's career. Ranging from landscapes to interviews to home footage all cut together not on narrative or content but on mood and feel, one flowing into the next, creating a remarkably evocative and emotional portrait of a true soldier of cinema.

An incredibly moving portrait of a life behind the camera. The film lays naked stark beauty and startling cruelty. Revealing more about the world, life, and the human spirit with images and quiet moments than most ambitious plots can achieve. We are shown Afghanistan, Bosnia, and various locations in the US but they are all tied together by life's inevitable tragedies as well as its enduring grace. By people. By kindness. By survival and heartbreak.

A magnificent, stirring piece of art. A powerful and potent film full of heart and hope.

Don't Miss It.

Naked Enthusiasm

Exciting
to see such
bright and
shining faces
eager, open,
and naive.

Odd to recall
the energy
of innocence,
how easy
it once was
to believe.

'The Accountant' A Review

The Accountant is an action movie about Christian Wolff(Ben Affleck) an autistic black market super-accountant who's also a weapons and combat expert. We follow Wolff as he takes on a seemingly innocuous case at a robotics company where he meets Dana Cummings(Anna Kendrick) a fellow numbers nerd and discovers some illicit booking. Congruently we follow Feds Ray(J.K. Simmons) and Marybeth(Cynthia Addai-Robinson) as they try to track down Wolff. As the story progresses flashbacks reveal how Wolff was molded by his military father.

Affleck is sufficient as the autistic assassin, along with action he provides enough understatement and eccentricity to be believable but also enough unwitting humor to make the movie, perhaps unintentionally, campy. This is the latest in Kendrick's seemingly endless parade of quirky love-interest/side-kicks and although she is always fun to watch does not offer anything fresh. Simmons and Addai-Robinson are both great actors but aren't given much purpose in the story. Bernthal as the heavy is magnetic as always but he as well is given relatively short shrift as far as character depth. Overall the performances are fun and serviceable but never seem to go beyond simply entertaining.

Objectively the movie is pretty ludicrous yet it does a relatively good job of balancing and embracing the absurdity. Although not a full on parody the movie is a good action movie that doesn't take itself very seriously. Or perhaps the humor is unintentional, either way it is enjoyable.

Entertaining if unchallenging.

Rent It.

'13th' A Review

13th is a Netflix documentary by Ava DuVernay which focuses on race in the US criminal justice system. The title is in reference to the 13th Amendment which abolished slavery however with the provision "except as a punishment for crime". Through archival footage, contemporary news, and talking-head interviews DuVernay investigates and elucidates the systemic and ever evolving ways the US government suppresses and monetises minorities and the poor. The film covers 1865-1968 rather quickly and digs in starting in the 70's with the War On Crime, War On Drugs, and the beginning of the prison industrial complex. The film gradually moves forward chronologically marking the increase in the US prison population along with the institution of mandatory minimums, the privatization of the prison system, special interest writing legislation, profiling, police violence etc.

The film relates a vast amount of information with clarity and momentum. It breaks down complex issues in a relatable understandable way. As the title suggests the film acknowledges that although slavery was abolished by the 13th amendment those in power simply reframed the rhetoric and policies that were utilized in order to profit on and subjugate minorities, African-American's in particular and African-American males in specific. This was done by capitalizing on stereotypes, with rhetoric and legislation, and making criminality, in the public mind, synonymous with blackness.

13th is vital in our current time. It provides a concise and propulsive summation of our current state of the nation. It gives us the what and the why in no uncertain terms. And although it does not provide a website for us to go to and donate or a piece of legislation to call our congressmen regarding it is a loud and compelling call to action. We must participate, we must protest, we must hold our elective representatives accountable.

Important and inspiring.

See It.

Weight

I've always craved
fried meats
and sweet treats.
Always effortlessly gained
or struggled to lose
Always been aware
of society's passive judgement
Always internalized
that dreaded word
FAT
Never had a period
of physical constant
Never forgot
my thighs, rolls, or gut
Never had pants
that didn't wear out in the crotch
BUT
Despite the media's constant bombardment
and peoples thoughtless comments
the reality is that I
not the proverbial other
define my worth
and though I must contend
with image expectation
I need not compromise, bend, nor break
to the poison spouted about weight.

'The Birth of a Nation' A Review

The Birth of a Nation is a historical biopic about Nat Turner, played by writer/director Nate Parker, and his 1831 slave rebellion. The film opens on a ritual with Nat as a boy being told by an unnamed man that he is meant to lead. Mrs. Turner, the plantation mistress, notices that Nat can read and gives him the bible and helps him with his reading. Years pass. Nat as an adult falls in love with a fellow slave Cherry(Aja Naomi King) and is made to preach to adjacent plantations in order to quell any rebellious sentiments. After seeing the degradation of his fellow slaves as well as personal abuses he leads a group of slaves in an uprising.

Parker as the lead has flashes of real brilliance and inspiration in the midst of a mostly conventional and sedate performance. King as the romantic lead is serviceable but entirely reactive. Aunjanue Ellis as Nat's mother provides some much needed emotional dimension but seemingly exists only in relation to Nat. Arnie Hammer as Nat's master is out of his depth and gives a relatively flat turn. Jackie Earle Haley is underutilized as the villain, hitting caricature not character. The cast boasts considerable talent but they are all hamstrung by the script and the formulaic tone.

Visually the film is unremarkable, nothing deficient but nothing dynamic. There are two moments of magical realism(a dream sequence and a prophetic image of a bleeding ear of corn) which show promise but which the film doesn't carry through on and seem almost from a different film. The score is incredibly distracting with multiple unnecessary syrupy orchestral swells which detract as oppose to heighten important moments.

The plot itself is problematic. The female characters are all underdeveloped and exist only in relation to the male characters(not an uncommon cinematic shortcoming but still a glaring issue). This is especially noticeable in the two rape scenes in the film which only serve to further Nat's motivation. These are relatively egregious examples of Hollywood's often used trope- rape-as-plot-device which in 2016 in our current artistic climate we cannot give a pass to. Nat's transformation is also muddled and although there are rousing moments we never get a real sense of the basic what and why of the story. One can't help but compare it unfavorably to the considerably more dynamic 12 Years A Slave.

An admirable if flat and unsurprising freshman offering from writer/director/star Nate Parker.

Don't See It.

Youth Of Today

I went back to Rockford this weekend to visit my family and Adam and his boys. Maintaining the connection with my oldest friend and watching his boys grow up has been one of the great honors and pleasures of my life. Perhaps some might view it as mundane, biology plus biology, but being a part of Ethan and Eli's lives, being there as they learn and grow and develop interests is truly miraculous. Ethan read us a book at dinner and as a fourth grader his reading is more sophisticated than mine was in middle school. Eli has shot up like a weed since I saw him over the summer and is now in kindergarten and clearly flourishing. Adam and I watched the Cubs game while the boys watched BMX videos, Ethan's new obsession.

Also got to catch up with my sister and spend some time with my niece Maris. They were in town to take some family photos and my mom and I went along to help. It's a real incredible thing to witness and be a part of, new life and growth, where even something as gross as baby puke seems wonderful.

Perhaps because I'm getting older and biologically more interested in children or perhaps, inevitably, with age comes perspective and I've come to see the beauty in coos and crawlings, in little victories and childhood defeats. Been able to truly see and appreciate all the small changes, insights, and progress kids make as they grow. It's such a gift and I'm so grateful to have such wonderful friends and family and doubly grateful I'm in a position I can show up and be apart of the next generation.

Gossip

For one mostly devoid of vice
I derive great pleasure in knowing
who is naughty and who is nice
have no fear, discretion is ongoing.

I no longer drug or drink
so excitement can be spare
I'm happy to play shrink
and be an attentive ear.

After losing all social drama
there's a void left for spectacle
vicarious the modus operandi
either real or uncredible.

At times I miss emotional theatrics
the thump and hiss of turmoil
but it is enough, periodic secrets
to be apart but not embroiled.

'Operation Avalanche' A Review

Operation Avalanche is a faux-documentary thriller depicting the faked moon landing conspiracy. A group of  four CIA audio visual nerds come off an assignment assessing the threat level of Stanley Kubrick and wind up being assigned to investigate a suspected Russian mole at NASA. Our four heroes lead by Matt(played by writer/director Matt Johnson) discover NASA doesn't have the technology to pull of the moon landing so begin shooting footage to assist in an international deception.

Although energetic writer/director and lead Johnson is so goofy and harmless he undermines the tension he attempts to create. The acting overall is somewhat minimal the focus being more on the technique and the plot. There is a lack of depth and nuance to almost every performance perhaps because the film is, deliberately, rough around the edges. Even so the relatively rudimentary acting doesn't really detract from the overall experience.

What's most compelling about the film is its cinematography, either actually using 8mm, 16mm, and 35mm camera's or digitally recreating those various camera's effects the images themselves create a rich and transportive experience. It's clear that Johnson loves movies, making movies, and the history of movies and that excitement and joy comes through in the extremely varied and elegant construction of the film. He's not much of an actor but he is one hell of a filmmaker.

The plot itself is a bit unclear and silly but the filmmaking technique and the energy(if not the talent) of the cast propel this rough and exciting indie.

Rent It.

Street Talk 27

After work, outside a bodega. A drunk man crouches two feet in front of the door talking to himself.

Drunk Man: Wha we got...Hmmm...is that...

As I open the door and start to walk in the Drunk Man lunges into the door way with me. For a moment we're scrunched in the door frame shoulder to shoulder. Partly my momentum and partly a wave of anger propel me forward and jostle him in the process. Essentially forcing my way in first. I immediately regret it but it happens so quick I don't know how to respond.

Drunk Man:(seemingly much more sober, standing by the entrance shuffling through his bags) What? You think you tough? You think you strong? You ain't that strong.

I stand in line to buy cigarettes looking straight ahead not saying anything.

Drunk Man: I'm ready. You want me to teach you something, you want me to show you something. Who are you, you nothing. You ain't that big, I'd whop you easy. I'm right here. You in some big rush. Everyone in a rush.

He continues to make vague threats as he rummages through his bags, presumably finding whatever he came back in to the store for. As he leaves he makes a big show of holding the door for two people who are entering. As if to, justly, shame me for my rudeness.

After I purchase my smokes I walk home feeling gross. Dirty. Certainly the Drunk Man was off putting and perhaps deliberately antagonistic but everyone deserves respect regardless of their condition. There is no benefit in being baited to matching unpleasantness with the same. Acting out of anger or aggression, lashing out, is never satisfying. There is no righteousness in it even if in the moment there is some fleeting justification.

Although distressing it is a good reminder. Whether on a commute, dealing with people professionally, friends, collaborators, total strangers, what-have-you it is better to be gracious, kind, and forgiving. It makes for a much happier life.