Control

Outside is mostly
chaos and cacophony
uncertainty and fear
But inside
Inside can be
serenity and survival
judicious and austere
Inside it is our choice to make
while alone
we persevere

'The Invisible Man' A Review

The Invisible Man is a horror/thriller about Cecilia(Elisabeth Moss) who's trapped in a controlling abusive relationship with wealthy silicon valley optics engineer Adrian(Oliver Jackson-Cohen). The film opens with Cecilia carefully and methodically escaping from Adrian's lavish prison-like estate. Two weeks later recuperating with ex-brother-in-law James(Aldis Hodge) and niece Sydney(Storm Reid) Cecilia is informed of Adrian's suicide. Shortly there after strange occurrences lead Cecilia to believe Adrian isn't dead after all.

Moss, as should be no surprise if you've tracked her career over the past decade, brings incredible emotion, power, and vulnerability to the role. An Oscar level performance in what is, in essence, a micro-budget horror. There are some faults of logic in the script but most of the productions shagginess are forgiven in the sheer volume and force of will of Moss's performance. The supporting cast are all adequate- Hodge and Reid specifically offer a much needed grounding factor and Michael Dorman as Adrian's serpentine brother is kind of wonderfully transparently evil- but none are given much screentime or room to flush out their characters. Which is fine, Moss is the justifiable lead and around her swirl the mystery and action and spookiness which is, again justly, the focus of the film.

In addition to Moss the other thing that elevates the film beyond B-movie status is the direction from Leigh Whannell, fresh off the underrated Upgrade, who brings a patience, clarity, and seriousness this type of movie don't always receive. The production is crisp and muted and the use of CGI is incredibly judicious making shots of empty doorways or slow pans to an empty chair just as or more impactful than the moments we actually see or observe the actions of the titular villain. There's an extended scene in a restaurant which is a best of the year contender.

Although not completely flushed out the film incorporates and acknowledges the position of Cecilia coming from a domestic abuse, stalking type situation and maps the conceit of the villain to our current era. So it feels both serious and comments on/incorporates MeToo while also being a satisfying piece of horror with the large thrilling set pieces that implies.

A surprising and perfect blend of tone and genre with incredible emotional stakes. Available for rent on most VOD platforms.

See It.

'Emma.' A Review

Emma. is a period dramedy, an adaptation of the Jane Austen novel of the same name. Set in early 19th century England the story follows wealthy aristocrat Emma Woodhouse(Anya Taylor-Joy) as she befriends Harriet Smith(Mia Goth) and engages in various romantic machinations.

Taylor-Joy is a young promising actor(The Witch, Thoroughbreds) but is unable here to strike the necessary comedic balance and comes across mostly narcissistic rather than a balance of self important and charming and thus kind of insufferable, a huge hurtle to overcome given she's the lead. Goth has more charm but the character is both underwritten and played with a two-dimensional vapid goofyness that only has limited traction. Johnny Flynn as Mr. Knightley fares a bit better because his sincerity is clear but his character is also allowed to be more dynamic. Gemma Whelan, as Emma's former governess, is amazing, grounded and playful but is given very little screen time. Bill Nighy seems to be the only one totally comfortable and totally effective, bouncing from humor to drama to wry absurdity fluidly and effortlessly but his role also is limited. Ultimately the cast really doesn't come together, the tone is muddled and with something this specific and stylized that makes the film really languish.

The production design is meticulous and absolutely gorgeous- the period costumes, sets, and beautiful score(with diegetic and non-diegetic music)- create a wonderful world but the adaptation is either too faithful or too lifeless to match the production elements.

It's certainly fair to ask why given how adapted Emma is and how Jane Austen is in general, given a vital function of many of the narrative takes place in a starkly and at times off putting classist milieu. There are successful modern takes- Clueless, Austenland- and period pieces still can be successful- Love & Friendship- unfortunately this version with it's excessive ignorant wealth, even overt disgust of the "poor" and automaton like servants it just fails to meet the bar of if not relevance than at least tolerance.

Available for rent on most VOD platforms.

Stream It.

Routine

Structure

has always been

our balm

for disorder

long ago

the seasons offered

practical and sacred

boundaries

the time to plant

the time to hunt

the time to harvest

and the time to shelter 

from the long and frozen night

time passed

and although we may no longer be 

symbiotic with the earth

we adhere to a time to work

and a time to play

a time to celebrate

with grand buffets

a time to concentrate

on forthcoming pay

but now we must constrict our scope

to the small, the simple, the quiet, to soap

for limited by circumstance it is routine that may offer hope.

'Guns Akimbo' A Review

Guns Akimbo is an action/comedy about frustrated office drone Miles(Daniel Radcliffe) who's only past time is as a righteous internet troll. When he antagonizes users on Skizm, a criminal organization that livestreams fights to the death, eliciting their ire. Various members capture him and bolt guns to his hands and force him to square off against Skizm's reigning champion Nix(Samara Weaving).

Radcliffe continues his eclectic and odd post-Potter career with this project playing essentially the everyman in this bizarre world and context, this put-upon action hero. He balances the gun play and blood perfectly with humor. Weaving has the bigger character and clearly relishes the opportunity playing this demented, wry killer with such exuberance it's wonderful. The supporting cast are all fun but none are terribly developed, which is fine, the story is propulsive not a character study.

Visually the film is gritty, quick and dirty, the soundtrack full of 80's and 90's hits. It has an odd analogue feel despite the streaming element and the large number of CGI explosions. The costumes are all beautifully practically rendered and the production design works together to create a pleasing tactile quality.

Not terribly sophisticated but engrossing and fun action, a steadily building momentum, effective comedy, and a cast that is clearly having a great time make for a surprisingly solid film.

Available to rent on most VOD platforms.

See It.

Mattress Switch

I've had my mattress
since 2010
and it met hard use
in my drinking days,
stained, warped, and torn
I lug it to the dumpster
disgusted
with it
and with myself
for not replacing it sooner
and for the past
it reminds me of
but that is unjust
so I thank it
for it's decade
of service and support
for it's years
of dreams and nightmares both.

'Spenser Confidential' A Review

*given the state of affairs I'll be reviewing movies that are available to rent or stream until movie theaters reopen*

Spenser Confidential is an action thriller about Boston cop Mark Wahlberg aka the titular Spenser. The movie opens devoid of context with Marky Mark beating up his Captain in front of his wife. Smash cut to his last day in prison where he beats up three MMA fighters and Post Malone(inmates). He's picked up by his old boxing coach(?) Henry (Alan Arkin) while running away from his hot headed ex-girlfriend Iliza Shlesinger(who's name is Cissy but I'm not sure any character actually says her name) who drove an hour to the prison to pick him up. Cool! Marky Mark meets Hawk(Winston Duke) who is Henry's boarder and protege. That night the Captain is beheaded with a machete in a school bus parking lot and Spenser is on the case. Confidential!

Wahlberg has some presence and talent but I'm not sure he as ever been successful as a lead outside Boogie Nights. Don't get me wrong he's made some good movies but they are primarily ensemble pictures. This asks too much of his narrow abilities and relies on him too heavily and the flimsy, wavering script does him and the entire cast no favors. Arkin is fine but is clearly just working. Shlesinger is surprisingly good and gives significantly more effort than the movie deserves. The same is true of Duke, an incredible actor, who gets lost in the odd unsuccessful tone and unnecessarily convoluted plot which is light on actual character. The one actor who seems totally comfortable and approaches the material with the exact amount of casualness it warrants is Bokeem Woodbine, who plays Marky Mark's old partner, it's always a delight to see him and he is unflappably cool and charming here.

Visually the movie is flat and washed out, the sound mix is awful, but the soundtrack is great. It's clearly shot on location which gives it points but overall the movie looks and sounds look a total mess. Whether true or not the production comes across cheap and with the star power of the cast that is noticeably incongruous.

A muddle of a mess of a snooze. Available on Netflix.

Don't See It.

Post Show Depression

I was going to write a poem
about the feeling after a show
that apathy that inevitably follows
the immediacy and vibrancy
the stage provides
when time slows
and it's just you, your cast,
and the audience
sharing patiently the present moment
without distraction
and it's not the laughs or the attention
it's time when all of us
are simply living
together
and sometimes I love that more than anything
so when it passes, as it's always fleeting
I wouldn't say I sadden but I do retreat.
But now
in observance of the pandemic
there will be no shows
at least for awhile
and perhaps this poem
is about something else.

'The Way Back' A Review

The Way Back is a sports drama about former high school basketball star and current struggling alcoholic Jack(Ben Affleck) who is given an opportunity to coach his old team. Less a typical feel-good sports story and more a character study the film follows Jack as he invests in the team, makes attempts at sobriety, and grapples with familial and marital wreckage.

Perhaps an odd casting concurrence of art-imitating-life Affleck gives his best performance since his last collaboration with director Gavin O'Connor in 2016's The Accountant. He's able to authentically channel the reality, tedium, despair, and sheer devouring grind of alcoholism that few films about the disease get to or even attempt preferring to romanticize it or follow prescribed conventions(looking at you Star Is Born). But that is tempered by a clear compassion and resilience that balances the potential bleakness. And the character makes progress but, much like life, it's not linear. Another brilliant piece of casting is Al Madrigal as Dan the assistant coach/geometry teacher, primarily known for his comedic work he gives an incredibly vulnerable, subtle, and effortless performance balancing Affleck perfectly and bolstering up the reality of the film. The supporting cast are equally done, the team, Affleck's family and ex-wife, notably the always incredible Michaela Watkisn as his concerned sister. But the focus, justly, is on Affleck, this is more a film about alcoholism and grief not basketball which it's too it's credit.

Excellent percussive editing and hand-held visceral camera work create a transportive feel for this, ultimately personal emotional drama, the feelings of peril, the struggle, the progress are all conveyed not only by the script and performances but by the pitch perfect production elements.

The rare and surprising Hollywood film that gets alcoholism right and offers more hope than rubbernecking destruction.

See It.

'First Cow' A Review

First Cow is a western from writer/director Kelly Reichardt about a cook Cookie(John Magaro) who travels with trappers in the Oregon territories. He becomes friends with Chinese immigrant King Lu(Orion Lee) and the two begin a baking business with the milk stolen from a wealthy landowners cow.

Magaro and Lee have a low-key electric chemistry, a comfortable but powerful connection that lights up the screen. Magaro is the more reserved, the more emotional, distinctly out of place in the frontier with a passion for the creativity of baking. Lee is more at ease, contented, and warm but also the more ambitious and adventurous. Over the course of the sedate story the two's friendship blossoms in the most moving, organic, and quiet ways. Although early in the cinematic year the two put in performances in contention for best of the year. The supporting cast are also remarkably authentic, patient, and quiet dynamic.

Visually the film is stunningly transportive without being showy, shot in 4:3 aspect ration that enhances the feeling of both reality and magic. The score is also masterful and all the production elements weave and elevate an already powerful narrative and superb performances.

Reichardt is a master of tone and restraint without skimping on extraordinary humanity. There's a stillness about the film, a silence, but also an incredible intimacy and sense of exuberance. A one of a kind film that is essential viewing for these uncertain times.

Don't Miss It.

Coronavirus

Honestly
I'm more concerned
with enduring
all the discussion and coverage
of the viral outbreak
than weathering
the actual viral outbreak.

This has really given all my
ovine suburban co-workers
a license to open up and gab.

Anti-Depressants

I took them for a while
then stopped
for though
they brought the bottom up
they also
brought down the top

'Sonic the Hedgehog' A Review

Sonic the Hedgehog is a family action comedy based on the SEGA video game franchise of the same name. The movie opens on extraterrestrial anthropomorphic hedgehog with super-speed Sonic(Ben Schwartz) criss-crossing San Francisco being pursued by Dr. Robotnik(Jim Carrey). The movie then cuts back to Sonic's arrival on Earth and the circumstances perpetuating the confrontation.

Schwartz vocal performance is wonderful, he nails the rebellious edge, the impetuous, but most of all the carefree cocksure humor. Carrey clearly relishes the chance to go so big giving an Ace Ventura era type of performance, something we haven't seen from him in quite awhile, and it's really fun. James Marsen as Tom Wachowski is surprisingly affable and light and grounds the movie and the character of Sonic that really holds together the at sometimes extremely absurd plot.

The visual blend strikes a surprisingly effective balance, melding reality with some pleasing omages to the video game source. Ultimately the story is relatively simple, assisted by the structure- beginning at the end and flashing back to how we got there- which is necessary given the how over the top a lot of it is. In general video games fail because they are taken too seriously, here the humor, playfulness, and fun are focused on and as a result it may not be high art but it is certainly solidly entertaining.

Rent It.