Lotto

First thing I'd do
is save some for me and you

The second cast of the net
would be to settle all our debt

Third, buy some property
something small but quality

Four, international travel
places where you have to haggle

Fifth, I think a tailored suit
for self-esteem rather than snoot

For six a motorcycle trip
cross country, like an ocean gliding ship

When it comes to seven
time devoted to self-expression

Eighth I'll buy my weight
in jelly beans, by the crate

Nine a tour of Michelin stars
feasting on cuisine's most sumptuous fares

Tenth I'd quit my job
actually that'd be first, escape this stifling mob

'Mute' A Review

Mute is a sci-fi neo-noir straight-to-Netflix release, from writer/directer Duncan Jones, taking place in the same world as his exceptional 2009 freshman feature Moon. Like The Cloverfield Paradox it is abundantly clear why it was sold to Netflix preempting a theatrical release, it is very bad. The movie opens on a young Amish boy floating in a lake, mangled by a boating accident, we then see his mother refuse treatment at the hospital rendering him mute. Flash forward 30 years Leo(Alexander Skarsgård) lives in futuristic Berlin(why? it's unclear) and works as a bartender at a club(is it a strip club, sex club of some kind? it's unclear). His girlfriend Naadirah(Seyneb Saleh) is a waitress at the club, she of course has a murky past, and after Leo assaults a patron for harassing her and later that night she disappears. We are also introduced to Cactus(Paul Rudd) and Duck(Justin Theroux) two American army medics working for a local gangster. Leo sets off to find is lost love whatever the cost.

The cast no doubt has talent but the clunky script, protracted banal plotting, and characters that are thin to incoherent prevent any of the actors from doing anything interesting. Skarsgård is grossly miscast and very clearly out of his depth unable to give his silent character any believability let alone weight. His major acting choice seems to be opening his eyes wide. He gives you no reason to care beyond the fundamental confusion of the character's base line existence. A mute Amish bartender in a future robot strip club? I don't get it and seemingly neither did Skarsgård as he very clearly and disastrously flounders. Saleh is better as she at least has a character that makes some kind of sense, albeit a tired over-used trope. She is putting forth substantial effort but cannot breathe any freshness into the hamstrung hooker-with-a-heart-of-gold she's given. Rudd and Theroux's characters are at times repulsive and illogical. There's a lack of motivation and clarity for every character throughout the film. Many of the performances are also pained by accents which are unwieldy combos(Russian/Caribbean, German/Nondescript speech impediment) preventing basic understanding for extended sections.

The production design is mildly intriguing but with Netflix's own Altered Carbon and with last fall's Blade Runner 2049 doing this very same thing with substantial more flash and style Mute can't help but fall flat, feel derivative. Visuals and score aside it is the story, the script, which causes this promising idea to crash and burn. The noir construct is dated and borderline offensive as it is too devout to its 1940's inspiration. The context for not only each character but the entire world are so miraculously unclear the genre aspect of the film almost comes off as a spoof. Why are their Amish in future Berlin? What war are these American medics AWOL from? Why does this Amish guy live in Berlin and work at this club? How'd he even get the job in the first place? Was there a fight choreographer? Why the hell is pedophilia a subplot? It goes on and on.

A well enough made film where almost all the elements are subpar. The script, which feels like a twenty year old rough draft, needed significant revision. Although this is undoubtedly a failure Jones maintains promise of better efforts to come.

Don't See It.

'Annihilation' A Review

Annihilation is a scifi thriller based on the novella of the same name. Lena(Natalie Portman), a John Hopkins Biology professor, is mourning the loss of her husband Kane(Oscar Issac) when he shows up at their home seemingly changed. He quickly falls ill and he along with Lena are taken into a nondescript government compound which is on the outskirts of a geographical/biological phenomenon known as "The Shimmer". Through conversations with the enigmatic Dr. Ventress(Jennifer Jason Leigh) Lena discovers that Kane is the only survivor of multiple expeditions into the phenomenon. After meeting the three other women who are going on the next expedition, lead by Ventress, Lena decides to join.

Portman gives an compelling performance, subdued and contemplative. Leigh seems to be the one most able to translate and transmit the bizarre and surreal tone the story intends to evoke. Gina Rodriguez, Tessa Thompson, and Tuva Novotny as the other three members of the team all do good work, Rodriguez especially is magnetic, but aren't given as much screen time. There is a sense in the second act, as the team makes its way into The Shimmer, that there was a lot cut, it feels rushed and disjointed not in a deliberate way. There is palpable chemistry between the five core ensemble and they all have flashes that really captivate but ultimately the story, such as it is, and the production design carry more weight than the performances.

Visually the film is stunning, inspiringly odd and captivating. The various elements of The Shimmer are bizarre, beautiful, and sometimes horrific. The story is simple to the point of almost being an experiment, there are flashbacks to fill in some context and backstory but it is ultimately not really necessary. There are a couple major elements that depart from the book with varying degrees of success. Like it's source material the film is difficult to pin down, disquieting, and not altogether satisfying. But it is beautiful, deliciously strange, and unique if somewhat troublesome.

See It.

"I love you"

There was a time
when I use to pour myself
from a bottle of Jim Beam
isolated, lonely, and desperate.
Any woman
who showed me
a modicum of interest
or affection
I would drunkenly
proclaim my love for
in hopes it would fill
my emptiness,
bring order
to my chaos,
mend my
brokenness,
to no ones surprise
it never did.

Sober now
I'm mostly whole
and at peace
available to to give love
and receive it.
I met a woman
who is partner, lover,
and best friend
with whom I have
an emotional
symbiosis
I no longer take and take and take
and can say "I love you"
with conviction
know it's depth
and implication
no longer a ploy
or forlorn pronouncement
but real, sincere, and understood.

The Definition of Success

I recently finished The Sudden Appearance of Hope the World Fantasy Award winner from last year and it's very captivating. The central conceit is that the main character is forgotten, anyone she meets, once she leaves their presence she fades from their memory. The villain of the piece isn't an individual but this app called "Perfection" which is a combination of social media, life coaching, and conformity. "Perfection" tells people what to eat, where to work out, what to wear etc. and is based on a point system and only the wealthy can afford to achieve high scores. It creates a new elite, an aristocracy for the 21st Century. It exploits the desire for Hollywood-esk standards of beauty, fame, and influence. One of the major themes the book gets at through the lens of this perverse app is success. What is it, who is it for, by what standard is it measured. And that's something I've been thinking a lot about recently.

I've written recently about my frustration with my current professional situation. Certainly not terrible but more a low grade of discontent which is increasingly draining. I'm looking for other options and making some progress but still feel a little trapped, stagnant, static. On top of that a couple weeks back Jimmy, one of my best friends in comedy and in recovery, decided he'll most likely be moving next year. The compounding effects of the first situation and the surprise of the second kind of sent my mind racing. Raised that age-old and futile existential questions- what am I doing with my life. And I think it really boils down to feeling like a failure, not with respect to my actual actions, achievements, and goals but with respect to what other people are doing and expectations not set by me but by some weird unattainable societal amalgam.

If I'm not making X amount of money I'm a failure, if I'm not married I'm a failure, if I don't have kids I'm a failure, if I'm not famous I'm a failure, if I don't look a certain way, weigh a certain amount I'm a failure, if I stay in Chicago I'm a failure etc. etc. When these thoughts come the slope gets slippery awful quick. But the reality is these thoughts, these feelings are all just expressions of fear and ego. I can be happy/content by doing those things which make me happy/content, by living my life with conviction and integrity, by being of service to my friends, family, and employer. My happiness/contentment has nothing to do with what other people are doing. Has no place in comparison to, it is independent from.

Sometimes it feels like there are certain boxes to check in order to be happy, in order to be or achieve success. And that's simply not the case. Success is not defined by social media attention, bank balance, or professional advancement. It is defined by love and honesty and hope and connection. At least to me. And that's the thing, the world, society, does not get to define what success in my life looks like, does not get to define the parameters of my happiness. I do. And perhaps right now my work life is a bit unbalanced but I'm working on changing that and I know it won't last forever. Yes, come next year my life will look pretty different when my best bud leaves town but I have tons of friends and acquaintances, that loss will open up opportunity. If there are things I want to be doing, goals I want to achieve, I can take the small actions which lead toward those things, and whether I attain them or not I can take satisfaction in the trying. In the living. Because if I look at the present, the here-and-now not the hypothetical future(bleak only because my imagination has made it so), I have so much to be grateful for- health, passion, friendship, romance, family, fiction, cinema, granola, a motorcycle, cool new DSW boots. If I take the time to think about it the list goes on and on.

'Black Panther' A Review

Black Panther is a political thriller/superhero film, the latest installment in the MCU and the first solo film for the character after his introduction in Captain America: Civil War. The film opens on an animated sequence of the founding of Wakanda, flashes forward to 1992 where King T'Chaka confronts his brother N'Jobu about his black market arms dealing. In the present day T'Challa(Chadwick Boseman) takes up the kingship in the wake of his father's death and must grapple with social and political unrest. He must decide if he will bring Wakanda out of hiding, using its advanced technology to help the world or will he keep his nation's prosperity hidden in order to ensure it's survival and safety. The choice may be made for him as violent and erratic Erik "Killmonger" Stevens(Michael B. Jordan) makes his way toward Wakanda and T'Challa leaving bodies in his wake.

Boseman is exceptional as T'Challa/Black Panther- grounded, zen-like, compassionate, but also capable. There is no doubt of his superhuman prowess but Boseman plays the hero without the common violent relish which seems to so inhabit the MCU. He is a king first and foremost, a politician, a leader, a family member, and although absolutely a warrior that seems to be his most undefining trait. Lupita Nyong'o as Nakia, a Wakandan spy and T'Challa's ex, is regal, tough, and has great chemistry with Boseman. But the real star, the scene stealer, is Danai Gurira as Okoye. Her performance is utterly assured and utterly captivating. Distinguished, cunning, charming, virtuous, she's able to bring this supporting character into such dimension, with such layers, and such total magnetism it's astounding. Two of the best scenes of the film and perhaps the year feature Gurira- the first in the extended casino fight sequence which features her sweeping red dress and low African drums as she battles four henchmen, the second where she confronts W'Kabi(Daniel Kaluuya). The sole mistep in performance is Jordan's villain, and he is by no means bad, he is good however isn't able to reach the dynamic of some of his cast mates, seems at times forced, trying a bit too hard. As the character is easily the most complicated this is barely a criticism. For the sake of brevity, the remaining supporting cast is stacked with great actors all of whom give wonderful turns.

The production design of the film is breathtaking. A unique technologically advanced society that is decidedly African. The costumes, the sets, the gadgets, the accents. It all works together with perfect harmony to create something decidedly unique and compelling, drawing you in not only with the characters and story but the exquisite world building. Speaking of the story it is the best and certainly most refreshing to hit the MCU. It is more a story of government than of superpowers. More about context, history, and culture than an army of CGI aliens. More about family than a mythic stone. Not to mention rich in allegory. And as such is light-years more fascinating than virtually any property in the same genre.

Remarkable, emotional, important, and necessary.

Don't Miss It.

Relief From Impending Doom

Years ago
when I poured myself
from a bottle of Kentucky's own
Jim Beam
my default
my neutral
my normal
was a deep
and oppressive
Foreboding.

Years sober
I thought
I was above, beyond, the perils
of anxiety
and dread
but hubris
is ever
the downfall
of Icarus, Oedipus, and me.

My job
has become twisted
and acidic
each day
increasing degrees
of unpleasant
with the sense
of some iminent
catastrophe.

But yesterday
I called in sick
and today
got sent home
due to the potential
of lingering germs
the rest and relaxation
were rejuvenating
a relief from employment strain
and hope of new opportunities.

'Mom And Dad' A Review

Mom And Dad is an absurdist horror/thriller about a nameless affliction that strikes parents, instilling in them an insidious desire for murdering their own children. The film opens on nuclear family the Ryans- doting and doughy dad Brent(Nicolas Cage), out of touch somewhat up tight mom Kendall(Selma Blair), angsty teen Carly(Anne Winters), and precocious youngest Josh(Zackary Arthur). They go about their normal weekday routine but half way through Brent and Kendall are struck with a homicidal rage and converge at their home to bring the progeny down.

Cage puts in one of his better performances in recent years, he hasn't lost a step but the story here is actually decent allowing him to go off the leash a bit but also provide some pathos. In a flashback he has a monologue after destroying a pool table that is surprisingly poignant. Blair also has a good turn walking the line of commitment and over-the-top humor with ease. Neither of these exceptional actors are particularly challenged but they are having fun and the text and subtext are interesting enough for them to stretch a bit beyond the unjust B or C list to which they've been relegated.

The film has a sharp and saturated frenetic momentum, lurching from scene to scene, confrontation to confrontation, with almost casual explosions of violence. There is a comment both about middle-aged ennui and modern-day parenting within the blood and gore but its not particularly clear in the streamlined 80 minute run time. Mom And Dad has a bizarre and propulsive violent charm about it. Maybe not entirely successful but intriguing.

Rent It.

Doldrums

Watching The Phantom Tollbooth
as a kid
those soupy swampy sucking
Doldrums
were terrifying
but only after years
do I recognize the metaphor-
as an office worker
plagued with apathy
it is my reality
shackled by sameness
drained by drudgery
soothed by stability-
I fear there is no watchdog
Tock
to wake me up
so change
though fearsome
must come from me
happiness no guarantee

Eating Ramen With Friends

It's easy to forget
what with winter's cold
and society's fragility
the simple pleasure
of sharing laughs
over a hearty broth,
the ease of fellowship
with long time friends,
the rejuvenating qualities
of both spicy noodles
and fluid conversation,
as our noses run with heat
and chins glisten
with tasty grease.

Commitment

Had a fun show tonight with Sight Unseen, we played some absurd, reprehensible characters and thinking about it afterward I'd say there wasn't a lot of funny lines per say, we just doubled down on these awful characters we were playing and the humor came from the situations and behaviors. Not a terribly astute observation but an interesting distinction none the less.

Set-up punch-line joke type jokes are more associated with stand up and although certainly there is that type of comedy in improv and sketch, character based content is what those mediums really exist for. And what makes for a funny show or performance is the same thing that makes for a compelling dramatic portrayal- commitment. Call it authenticity, call it honesty, believability, what have you. A characters sincerity, their realness, and the performers commitment to their POV is where laughs come from not the clever things they say.

Character is probably the main focus of Sight Unseen, we inherently go at improv in that way but just this week I noticed a couple other examples that stuck out to me. A friend just premiered a web series and its well put together, funny, but the most interesting sequence is one that doesn't have rapid fire jokes or meta elements but where there's just a fully formed, albeit extremely odd, character.  I also started watching Future Man this week and it's surprisingly fun. It's a sci-fi comedy emphasis on the latter and it is full of references and jokes but it works because of the sincerity of its titular hero played by Josh Hutcherson and the commitment of the two co-stars Eliza Coupe and Derek Wilson.

This is all to say that joke-based comedy works wonderfully in the right format but can be pretty thin when involving anything resembling a narrative- either individual scenes or fully flushed out stories. Because in drama and comedy it's ultimately the characters with which we identify. Which anchor a story and which all the pathos and humor are derived from. And the further committed the actor is to character, the more immersed, the more convincing, the more lived in, the greater potential for catharsis(laughter or tears) for we the audience.