Thursday, July 28, 2022

'The Gray Man' A Review

The Gray Man is an action/thriller based on the novel of the same name. Six(Ryan Gosling) is a CIA block ops agent who uncovers criminal activity from the new department head, Denny, and goes on the run. Denny(Regé-Jean Page) calls in psychotic contractor Llyod(Chris Evans) to hunt Six down.

Gosling hasn't lost a step charm wise or in his physical presence, it's a great part for him, he's both stoic and funny, able to deliver some thrilling action as well as some genuine emotion. He leads the film effortlessly, it's a reminder that he's a Star and deservedly so. Evans goes bigger, more broad, as the heavy, an opportunity he clearly relishes(and excels in). He brings a non-stop frenetic energy to this truly disgusting, odd, idiosyncratic villain. It's wonderful. The supporting cast is stacked and for the most part they all get a scene or two to shine- the incomparable Alfre Woodard, Billy Bob Thorton, Jessica Henwick, Dhanush- Gosling's support is Ana de Armas who continues her, just, rise.

An addicting, building, pace with action set piece after action set piece building to a thrilling(if somewhat on-the-nose) crescendo. It's got it all- gun fights, car chases, escapes, jet-setting- it seems clear that this is Netflix's attempt at a James Bond like franchise and quite frankly it is fresher and more enjoyable than those movies have been for quite a while. Some CGI sequences are sloppy and something is absolutely lost not seeing to see a movie of this scale and type on the big screen. But there's something really fun and engaging about this unapologetic, pedal-to-the-metal, 90's action throwback. 

Simple, effective, abundant entertainment.

Currently streaming on Netflix.

See It.

Wednesday, July 27, 2022

My Dad Can Eat Chips

My dad can eat chips
full size bag
to the head
in less than five minutes

We'll be on the phone
and he's crunching
and chewing, 
just excavating chips

He gets home from work
he sits down
and he eats chips
like a compulsion

It's astounding
this quirk, this skill
the pure efficiency
the guy loves chips

And yes, I am my father's son,
you better believe I can eat chips too.

Tuesday, July 26, 2022

'Fire Of Love' A Review

Fire Of Love is a documentary about volcanologists Katia and Maurice Krafft utilizing primary the footage they shot themselves along with some animation sequences and archival interviews from the Kraffts.

The most captivating thing about the film is the extensive footage of the various volcanos. Volcano science is not the focus, what the Krafft's scientific contribution was is not the focus, who they were to the people in their lives is not the focus. Other than the volcanos themselves(very cool and interesting) the main through line is a vague, twee, shallow reference to their 'love story'. It's pretty odd and is not helped by Miranda July's voice over which ultimately offers little insights and serves mostly to manufacture tone.

There's a lot to enjoy here, the shots of the volcanos and the crafts relentlessly moving toward and around them is really captivating but there are innumerable questions the film leaves which the filmmaker Sara Dosa seems uninterested in- anything really about the Kraffts other than the fact they were in love. We have no sense of their economic situation, no sense of what exactly their research entailed, no sense of their community or family and very little sense of either of them personally. It's not bad its just very obviously incomplete.

Worth it for the visuals.

Currently in theaters coming soon to VOD.

Rent It.

Saturday, July 23, 2022

Northwoods

I return after a time away
and it is not the same
peaceful still, striking
lakes and forest
followed by more lakes, more forest
to the horizon and beyond
but lacking the magic
I saw with my child's eyes
yet there is a simplicity, a clarity
perhaps it is more real
now that I am more solidly in this world
none the less comforting
rich in its familiarity
I exist in this place
and remember
and experience anew

Friday, July 22, 2022

'Thor: Love And Thunder' A Reviewe

Thor: Love And Thunder is the 4th movie in the Thor franchise and latest MCU installment. Thor(Chris Hemsworth) continues his journey of self discovery began in the previous MCU movies, this time he is reunited with Jane Foster(Natalie Portman) who Mjolnir(Thor's hammer) has bonded with as a result of her cancer diagnosis. They team up along with Valkyrie(Tessa Thompson) to bring down Gorr(Christian Bale) who has vowed to kill all gods in the universe.

The cast, no surprise, is packed with talent and Hemsworth is still delightful as Thor, Thompson also fun, and its a real treat to see Portman get an active role in the franchise. But there isn't that much for them to do. The scope of this installment is simply too broad, there's too much going on, and there is little time for the small, funny, character moments that made Thor: Ragnarok so refreshing. Bale is spectacular, no surprise- committed, dynamic, menacing, emotional- but the material around him doesn't really match what he's doing.

Visually its relatively generic and feels more muted and restrained than its predecessor, which is a shame. There are some great needle drops and a couple fun action sequences but taken together its simply too messy, too unfocused. Whether constrained by time, the MCU exces, or his own contract requirements writer/director Taika Waititi just doesn't seem to have had as much fun here, it lacks his usually expert balance of absurd humor with effecting emotion. It seems, perhaps, like its a chore.

Not terrible but not great. A bit bloated and tired.

Currently in theaters coming soon to Disney+.

Stream It.

Tuesday, July 19, 2022

'Girl In The Picture' A Review

Girl In The Picture is a true crime documentary about the life and death Suzanne Sevakis. The movie is stitched together from talking head interviews, archival footage, and reenactments and uses an animated timeline as a framing device(the same device used in the recent We Need To Talk About Cosby and Keep Sweet: Prey and Obey among others). The movie opens on the mysterious death of "Tonya" in Oklahoma then cuts back and forth in chronology as her life is revealed. 

A fascinating but sad story is layed out with significant energy and pathos and is notable in that its focus is mostly on Sevakis and unraveling the mystery of her life and honoring it and the criminal Franklin Delano Floyd is given only minor time and attention.

The construction of the movie itself is relatively standard, with the true crime boom of the last decade it seems these kinds of movies and series are being churned out pell-mell and although the individual stories may be powerful or interesting the craft has moved toward a sameness that renders them, from a visual standpoint, generic. 

Upper third in the true crime offerings but lacking much in the way of cinematic identity.

Currently streaming on Netflix.

Stream It.

Monday, July 18, 2022

Image

In The Departed
Martin Sheen's character
asks Leo DiCap's
"Do you want to be a cop
or do you want to appear to be a cop?"

a question I've since asked frequently
not in regards to law enforcement
but other labels
comfortable categories

questioned the curating of perception

asked what is the projection
and what is the reality

always it seems
it is better to be
than to seem to be.

Friday, July 15, 2022

'Persuasion' A Review

Persuasion is a period drama based on the Jane Austen book of the same name. Years after being persuaded by a family friend to decline the proposal of Captain Wentworth(Cosmo Jarvis) for financial reasons Anne(Dakota Johnson) and her family are in financial trouble and Captain Wentworth's prospects have changed for the better. The two embark on a protracted will-they-won't-they circling.

All the actors have talent, that's no question, and some make out decently but for the most part it is the tone that causes the movie to fail. Having not read it I can't speak to the faithfulness of the adaptation but it is more somber than some of Austen's other work, the characters blatantly unlikable even exceedingly irritating, avaricious, petty, in short boring. Anne, here, doesn't have the poise or depth or fundamental engagement of the typical Austen hero. On top of this there are some clunky modern devices inserted that simply don't work. There is painful direct address and one of Anne's main(but really uninvestigated) character traits is that she's an alcoholic? It's bizarre. In a baffling turn for an Austen adaptation the characters are, almost universally, shallow, vapid, and uncompelling. They have virtually no interiority which is key to Austen's work.

The production is top notch- costumes, set, score- but without any real narrative soul it doesn't matter. It's not terrible just unnecessarily dour and thin.

Like a saltine.

Currently streaming on Netflix.

Don't See It. 

Tuesday, July 12, 2022

'Marcel The Shell With Shoes On' A Review

Marcel The Shell With Shoes On is a mocumentary about the titular shell, based on the series of youtube videos of the same name. Marcel(Jenny Slate) lives in an AirBnB home with his grandma Connie(Isabella Rossellini), after a breakup filmmaker Dean Fleischer-Camp(himself) rents out the house and begins to make a documentary about Marcel and the two become friends.

Slate brings her unique blend of comedy and pathos to the role, earnestly grappling with difficult honest emotion one minute and vocalizing Marcel's excessive grunts as he tries to harvest a root vegetable the next. It's simple but its incredibly deep with an ever present mix of naivete, wonder, humor, and emotional reality. Rossellini, perfectly cast, perfectly performed, she's a delight. Fleischer-Camp although mostly off screen with limited dialogue also has a kind of shockingly effective, and affecting, arch.

Mostly filmed in a single location the stop-motion animation and meticulous crafty set design make that limitation forgettable, it's visually interesting, a feat given the constraint of the scope, and as the emotional story moves forward it is always equally propelled by understated laughs. Thematically rich with much to say about the human condition as well as the present we all live in, still it works effortlessly as a kids film, a family film, and an adult film equally. There are layers to plum if you want but even on the surface it is a cute, fun ride.

Quiet, restrained yet rich and hilarious.

Currently in theaters, coming soon to VOD.

Don't Miss It.

Monday, July 11, 2022

If It Is Not True Do Not Say It

Listening to my cousins pay tribute to our departed grandma I was struck by the difference in our experiences. Demarcated partially, I think, by gender as I was her sole grandson. They extoled her progressivism, her encouragement of their education and literacy, her caring, reliable nature. These were things that I did not see. To me she was mostly cold and distant. I remember her yelling at me for not putting the toilet seat down when I was 8. Screaming at my child-self that I'd make a little old lady go butt first into the toilet bowl. I remember countless times when she would be holding court with my  cousins about gender equality and then order me to cut the grass or move some boxes or rake leaves, sending me off to some physical labor or another. I would ask her questions about my grandpa who I dearly loved who had passed and she would equivocate, deflect, not answer. As a child I feared her and she did nothing to dispel that fear. As an adolescent and adult I was truculent, rebellious, reserved but what other armor did I have? I did not feel love, I felt the weight of obligation.

They say not to speak ill of the dead but they also say speak the truth.

Perhaps I give to much credence to my wounded inner child for there are two sides to every coin, a broader context. My grandpa was an alcoholic and although he eventually got sober, that takes its toll not only on the addict but every member of the family. Strike one. She was my only surviving grandparent and in my mind and heart I wanted her to be something no human could be, some perfect platonic ideal of grandparenthood, so there was that impossible expectation. Strike two. And I was her only grandson, she struggled to relate to me, more comfortable with her granddaughters, more assured. Strike three.

But there was love although it may not have been expressed frequently or healthily. Once when we were visiting my aunt and uncle we went on a hike to a park where golden eagles nested, a species I was obsessed with at the time because of Rescuers Down Under. We hiked up to a cliff and I went to the edge to look out and my grandma yelled "Get back! Get back from the edge!" Why hike up all this way if not to have the thrill of the view, I thought. And I was angry. This was the one thing on our trip I wanted to do and she was trying to take some of the adventure away. After she snapped off a couple more orders I reluctantly came back. She could tell I was upset and said "you have to understand this kind of thing makes grandmothers nervous, we worry, I couldn't stand it if something happened to you. You can do whatever you want when I'm not there but when I'm here you need to do what I say." I could tell she was feeling incredible anxiety, she was shaken, she probably had a fear of heights that I didn't know about, but her worry for my well being was genuine. It is one of the only identifiable moments of concern or care that I can remember from her from my childhood.

Into my teenage years my alcoholism activated with significant zeal. I stole booze from her house a couple times. I had a party at her cabin, which the whole family used, and one of my idiot college friends threw up in the bathroom and we didn't fully clean it up before we left. She went up with one of my cousins later and found this mess invested with maggots. My cousin told me she was down on her knees scrubbing it up and it was heartbreaking. My point is I'm no saint, I'm culpable too, and I would imagine my alcoholism aside from the obvious problems was also particularly triggering for her because of my grandpa.

After I got sober I began to write poetry which she had a passion for. At a family get together she expressed interest in it and as a way to make what amends I could I made her a book of my poems for her birthday, shared with her this fragile and precious thing that I was cultivating. Somewhat to my surprise she loved it and was incredibly gracious. We started exchanging letters and poems and in that connection I had the grandma I always wanted. She was encouraging and guiding, she was kind and playful, and she showed, perhaps for the first time, genuine interest. We were engaged with each other on a personal level. It was wonderful. Around the time of the 2016 election she began to harass me and my cousin about making political videos because the specter of Trump(not incorrectly) terrified her. Hectoring emails, letters, conversations. That interaction was a return to behaviors I knew too well- exacting, cold demands. Our correspondence ended and shortly there after she began her gradual decent into dementia.

My grandma didn't make cookies, she wasn't maternal, at least to me, but she did teach me about poetry and support my pursuit of it. If that's all she was capable of giving me I can accept that, be grateful for it even. But I'm not going to forget her cruelty or pretend like it wasn't there.

That is my truth skewed, I know, by my own perspective. But shouldn't there be an accounting for the dead? Aren't all lives fallible? Prone to mistakes as well as triumphs, don't they equally shape the legacy and the people who are left behind? Didn't all of our families fuck us up to greater or lessor degrees and if so how can we hope to transcend that pain, that damage, if we aren't forced to reckon with it?

Saturday, July 9, 2022

A Lesson

Sooner or later
(and you'll never know which)
you are going to die
so make the most of it.

Don't sweat the small stuff.

Tuesday, July 5, 2022

'The Black Phone' A Review

The Black Phone is a horror film, based on the Joe Hill story of the same name. In 1978 a serial child abductor "the Grabber"(Ethan Hawke) is terrorizing a Denver suburb. Siblings Gwen(Madeleine McGraw) and Finney(Mason Thames) go about their normal childhoods dealing with their alcoholic father(Jeremy Davies), bullying at school, and just generally trying to survive with the specter of the Grabber hanging over them until Finney himself is taken.

Both Thames and McGraw are remarkable child actors, Thames with a realism and vulnerability that's really astonshing and McGraw with both a sweet sincerity and a foul-mouthed ferocity that's kind of stunning. Hawke too gives an absolutely incredible performance, predominately utilizing old school mask work to make this boogeyman unique and terrifying. Davies pulls no punches with how awful he is and its a refreshingly accurate look at the reality of alcoholism. The supporting cast are all solid and throughout there is a harshness and reality about it all that evokes more accurately the work of Hill's father Stephen King than the(very entertaining) rigidly PG-13 Stranger Things.

Clearly on a limited budget the film's production is executed with absolute expertise, the score gives you chills, the suburb feels like the late 70's in everyway, the clothes, the dream sequences, the scares, it's all very precise and rich. It's thrilling, it's entertaining, but it's absolutely not cute and there's something refreshing and true about that. A trap many stories with kids can fall into. And it's smart, although the subject matter has kids-in-distress there is little violence shown, it is mostly implied, the action is all from the perspectives of Gwen and Finney and what they, mostly, deal with is real world danger.

An absolute homerun.

Currently in theaters coming soon to VOD.

Don't Miss It.

Saturday, July 2, 2022

'The Princess' A Review

The Princess is a medieval action movie that follows the titular Princess(Joey King) as she comes-to after fleeing a marriage with villainous Julius(Dominic Cooper) only to be captured with the intent of forcing the issue. She must fight her way out of the tower she's locked in, save her family, and reclaim the throne.

King gives a commanding physical performance, clearly doing most if not all of her own stunts, given the thrilling and complicated choreography this is no mean feet. She doesn't have much in the way of character but the action is relatively propulsive, the momentum relatively steady, so it doesn't particularly detract. Cooper is full-on mustache twirling villain, which is fun but like virtually all the characters in the script, his is underwritten and the weight falls on the production design and action to carry the day(which it mostly does).

Good practical sets, some cheap CGI, great costuming, an anachronistic score, and stellar fight sequences all work together to make something if not by any stretch great, at least fun, playful, and promising.

Solid bubblegum entertainment.

Currently streaming on Hulu.

Rent It.