'Bloody Nose, Empty Pockets' A Review

Bloody Nose, Empty Pockets is an intimate drama masquerading as a documentary that follows the last day of a local dive bar in Las Vegas. In unobtrusively follows the two employees as they open and run the bar and as various regulars and locals come and go.

Shot in a fly-on-the-wall manor as to evoke documentary but it quickly becomes apparent that this is artifice. This conceit wouldn't be an issue if the movie was transparent but it clearly intends for the viewer to buy into it as a reflection of reality. For anyone who has seen this year's Wendy the jig is up relatively quickly as they share some actors but it becomes clear to any viewer when Michael(Michael Martin) talks about being an actor and his clearly studied and deliberate "performance" unfolds.

The mumbled periodically incoherent dialogue spews from these desperate, banal, oblivious(if still tragic) characters. They wax poetic about their failures as their increasing intoxication erupts in pointless aggression and a base lusting that reflects the worst behaviors seen in corner bars between 2 and 4am. 

There is an assumption on the part of the filmmakers that drunks are compelling but for anyone having spent any protracted amount of time around drunks while sober this is unquestionably false. They are pathetic, sad, infantile, perhaps worthy of sympathy but not of interest.

Perhaps in this year there is something to be said for the community a bar brings, and the movie has a few, extremely sparring, emotional moments, but overall the feeling is one of pointless grime. There is an obtuseness displayed as to the reality of alcoholism, a propping up of the alcoholic mythos that is not only harmful but outright dopey. For every Bukowski or Hemmingway there are millions of neglectful, suffering, destructive drunks and their stories should be careful and cautionary not celebratory.

A failure and an irresponsible failure at that.

Currently available for rent on most VOD platforms.

Don't See It.

The Alcoholic Mythos

The alcoholic is not romantic
charming maybe

pathetic occasionally

mercurial definitely

tragic always

but not romantic

on some level we know this

we recognize the mundane destruction

of addiction

the disturbing despair

of the disease

but our stories seldom reflect this truth

media props up the tired archetypes

the alluring genius creative (Mank)

the alluring genius creative that love may "fix" (Crazy Heart, A Star Is Born)

the broken man tortured by his past (Manchester By The Sea)

addiction as dominant personality trait (Colossal, Words & Pictures et al.)

on and on

the truth is alcoholism is ugly, messy, sad

foreboding and heartbreaking for those caught within it's wake

terrifying and inexorable for those caught within it's grasp

no more romantic or dramatic than any other wasting disease

it has no preference 

creative or comely, rich or rough

it afflicts with one purpose- ruin

there is seldom a narrative about the most interesting aspect of the alcoholic

their opportunity for redemption

their chance to change.

'Ma Rainey's Black Bottom' A Review

Ma Rainey's Black Bottom is a drama adapated from the August Wilson play of the same name. It follows real life 'Mother Of The Blues' Ma Rainey(Viola Davis) during a recording session in 1920's Chicago. The film opens on various band members waiting for Ma to show up for the session and ambitious trumpter Levee(Chadwick Boseman) plans his own muscial career with an eye on Ma's girlfriend. The band tells stories and kills time before Ma comes into the studio like a force of nature.

Davis gives an absolutely electric and dominant performance as the legendary singer, authoritative and unyielding but just below the surface, behind her impenetrable armor of personality, you can see her insecurities and jealously. It's a remarkable powerhouse of a turn, coming from Davis who never fails to deliver, it's wonderful to see her go so big, so powerful. Boseman, in the final role of his career, is dangerously mercurial, not the stalwart hero we've seen him before, but complicated, questionable, ambitious but deeply scarred. It's a wide-ranging and compelling character, full of contradictions and manic rage. The limited supporting players build out the cast solidly but ultimately the film is a two hander even though Davis and Boseman barely share screentime they, and their inevitable conflict, are the stories sole focus.

A perfect soundtrack with some diegetic performances bring dimension and texture to the film, the costumes and sets perfectly create the historical context for the actors to shine, but if there is a flaw it is that of any stage play-to-film adaptation, it still feels very much like a play. At times it can be too sedentary, there are, in essence, only two locations. Characters monologue and we wait for a cut-to that never comes. The same was true of Fences and August Osage County, the filmmakers are too faithful to the source material so don't utilize fully the medium in which they're working. The film feels constrained in a way it doesn't have to be and as such some of the crescendo moments don't carry the same weight, in a theater on a stage the would sing, on film it can feel a bit odd.

Davis and Boseman soar above the minor adaptation issues and the story is brought to vivid and heartbreaking life.

Currently streaming on Netflix.

See It.

'The Last Blockbuster' A Review

 The Last Blockbuster is a documentary about the beginning and mostly end of video rental stores, Blockbuster as the biggest corporate chain of these, and the last surviving store in Bend, OR. The movie uses talking head interviews from various b and c-list celebrities, archival footage, and 'real-time' footage following Sandi the manager of the Bend store as she works tirelessly to keep the store afloat.

Part nostalgic investigation, part feature length episode of VH1's 'I Love The 90's!' there is a lot to love about this little documentary. From a formal standpoint it does nothing new, all the standard pieces are there, but the subject matter is so specific and so fringe when it was once so ubiquitous it makes for an intriguing look back for those born prior to 1990 and a bizarre time capsule for those born after.

The movie is far from hard hitting but there is some interesting points and musings about corporatization, the value of community space, the attraction of physical media, and the currency of culture prior to the digital age.

I love letter to the video store and a celebration of the lone Blockbuster that has held firm.

Available to rent on most VOD platforms.

Rent It.

'Soul' A Review

Soul is an animated metaphysical dramady, the latest from Pixar. Middle school music teacher Joe(Jamie Foxx) is stuck at his job and in his life, he aspires to be a working jazz musician but never got his shot. After a promising audition Joe is set to fulfill his dreams but falls down a manhole cover. He finds himself on the path to the 'Great Beyond' but is determined to return to Earth, he escapes and accidently becomes a 'mentor' for an unborn soul, 22(Tina Fey), who agrees to try to help him get back to his life.

Foxx gives a wonderfully layered and emotive vocal performance. It paired with the animation convey one of the rawest most fully rounded human portrayals to come from Pixar. Fey is good as 22 and the growth of the character is inexplicably tied to the journey of Joe but either her performance or the character garner less engagement than was intended. The supporting cast is absolutely stacked with talent and they all deliver- Rachel House as Terry the soul accountant is incredible, Donnell Rawlings as Dez the barber brings a gust of energy and compassion, Phylicia Rashad as Libba Joe's mother is familiar but surprising, the list goes on.

The cast is peerless but the music brings the film to life, diegetic and non-diegetic music weave in and out of the story with effortless but evocative fluidity. The themes and ideas are so rich and human, the visuals, especially the various 'afterlife' renderings feel so fresh and textured. It's a truly inspiring feat they've pulled off given the tightrope of plot that could easily go from thoughtful to bleak to maudlin. If there is a fault it is that it is, perhaps, too adult for some of the youngest viewers in the household.

Pixar's boldest, dexterous film in years.

Currently streaming on Disney+

Don't Miss It.

'Wonder Woman 1984' A Review

 Wonder Woman 1984 is a superhero movie, the second in the Wonder Woman series. The movie opens on a flashback, young Diana aka Wonder Woman is competing in the Amazon's multi-stage athletic competition and after making a mistake attempts to cheat in order to win but is prevented by Antiope(Robin Wright) and told "no true hero is born from lies". In 1984 Diana(Gal Gadot) is working at the Smithsonian as Diana and fighting crime as Wonder Woman when she comes into contact with the Dreamstone, a monkey paw style wishing object. Max Lord(Pedro Pascal) a smarmy wanna be oil tycoon is on the hunt for the stone and hapless new employee at the Smithsonian Barbara(Kristen Wiig) is drawn into its orbit with unforeseen results.

Gadot carries the movie with assurance and the character is more rounded here than the previous installment where she was fresh off the island of the Amazon's. She's powerful but vulnerable, graceful yet human. It's a tough balance but the return of Chris Pine helps to give her emotional stakes. Pine goes pretty big and his humor and charm are a much needed addition. Pascal goes even bigger and his greedy, greasy, pathetic tycoon is delightful. Wiig begins as a version of a character we've seen from her many times but transforms into something dark and sinister that is surprising and a good counterpoint to Gadot's Diana. All in all a solid performance from the leads and supporting cast.

A wonderful thrumming 80's soundtrack, bang-on period costumes, and some fairly elaborate compelling action make for a vivid production. It's entertaining, it's got heart, it's sleek. The plot is a bit cumbersome and the climactic battle falls into the old DC trap of CGI slugfest but its forgivable.

In a year basically bereft of action or superhero movies WW84 is a welcome diversion although it doesn't deviate much from the formula.

Currently streaming on HBOMax.

See It.

The Best Part In Gattaca

When Ethan Hawke's Vincent

(born without genetic tampering

unlike most people in this future world)
is swimming against 

his gene-perfect brother Anton

like they use to do as kids

where Anton always won

but Vincent won the last time 

then disappeared

and this scene is the rematch

and again Vincent is winning

and they go far out

the salty waves are crashing

the land is nowhere in sight

and Anton begins to drown

Vincent, of course, saves him

and on the beach Anton comes to

asks his brother "how'd you do it?"

and Vincent says

"I never saved anything for the way back."

'Black Bear' A Review

Black Bear is a psychological drama about a screenwriter Allison(Aubrey Plaza) who goes to a remote cabin to work on a script. Two vignettes unfold perhaps ideas for her scripts or fever dreams or memories or who knows what.

Plaza gives all she's got and she's compelling, after Parks & Rec she's made many indie films with wide ranging types of roles but also varied success. Here the material isn't worth her effort, she attempts to bring some emotional honesty and interest to what is pretentious writer/director's Lawrence Michael Levine "artsy" dramatization of his banal crude marital issues. Unfortunately Plaza is doomed to fail because the material is more appropriate for Days Of Our Lives than intrigue or catharsis. Than other main cast members are Sarah Gordon as Blair and Christopher Abbott as Gabe who are sufficient if uninspired. The supporting cast breathe much needed life into the movie but they serve basically as observers, instigators to the main trio's pedestrian "conflict".

The location, all shot at the remote cabin, is beautiful and evocative. The handheld camera work claustrophobic, nervy, and effective. The score pulsing and full of suspense if somewhat derivative. The production all in all is solid. But the substance is lacking and the movie hinges on this shift from one scenario to another with the actors shifting roles in a way that is a good thought experiment but confusing and flat in execution.

It is, in essence, a story about 30-something artists. But the behavior and issues the plot revolves around are more appropriate for privileged horny teenage theater kids revealing in the faux-drama of a cast party.

Available for rent on most VOD platforms.

Don't See It.

'Sound Of Metal' A Review

Sound Of Metal is a drama about drummer/recovering heroin addict Ruben(Riz Ahmed) who goes deaf while on tour with his bandmate/girlfriend Lou(Olivia Cooke). Lou contacts Ruben's sponsor who sets him up with a spot at a facility for deaf recovering addicts run by Joe(Paul Raci).

Ahmed certainly gives a lot of energy and focus to his performance and in the 2nd act this pays off big with his time learning/accepting his deafness and relating to his new community. He fairs less well in the beginning and end when focus is given to the over-wrought co-dependent relationship with Lou which comes across more as melodrama than compelling character study. Cooke also suffers from, presumably, the pretensions of the script in this regard. She's a fine actor but neither her nor Ahmed can rise above the quagmire of circuitous immature relationships fumblings the script lays out. Raci is wonderful, transcendent even. And the heart of the film, the really gas of it, is Ruben's time at the facility working with Joe and the other deaf participants(many played by deaf actors). That is where the real growth and humanity lies in the film and it's incredibly moving, authentic, and hopeful.

Filmed in a couple limited locations with a fair amount of shakey handheld camera work it successfully submerses the viewer into Ruben's POV. The occasional pounding metal score as well as the audio track, conveying Ruben's loss of hearing, are both very effective as well as the occasional diegetic performance. It works together beautifully to shine a light on a story that is frequently overlooked in Hollywood and Ruben being a musician adds an interesting layer of complexity. But by contrast the B plot, about Ahmed and Lou, feels very much Hollywood, feels very much A Star Is Born in it's portrayal of the romantic and angry recovering addict and in the shallow tumult of the relationship. 

Ultimately a good film that could have been a great one with an award winning performance from Raci.

Currently streaming on Amazon.

See It.

Ten Key

I had a theory for awhile
that between high school

and college

there should be a time

of compulsory service

not in the military but at a bank

to instill the fundamentals-

saving, spending, and the dreaded

budgeting

for money seems the ever-present issue

for the burgeoning adult

not out of carelessness but ignorance.

My time as a teller

taught me more about money

than classes or familial guidance

ever could

and day after day bearing witness

at times facilitating

the financial foibles of the rich and poor

noting the eccentric economy of the old

the desperate over-drafting of the young

corruption, hustles, counterfeits

I learned the current of cash flow

not secret or sacred but simple

capital as tool not sacred-cow.

It was mostly thankless work

underpaid and maybe menial

but I miss my fingers dancing

on the number pad 

imputing accounts, denominations,

deposits and liquidations

mastering that skill

soon to be extinct

if already fading- ten key.

'Jingle Jangle: A Christmas Journey' A Review

 Jingle Jangle: A Christmas Journey is a musical family holiday film about a once great toy maker Jeronicus Jangle(Forest Whitaker) who's brought low by the theft of his ideas by former protege Gustafson(Keegan-Michael Key) and the untimely death of his wife. But when his granddaughter Journey(Madalen Mills) comes to visit him before Christmas a spark is reignited.

Whitaker gives a wonderfully odd performance, full of heart, delight, and cantankerous charm with an accent choice which is bizarre but playful and effective. Key is rather ineffectual as the "villain" but he convey's enough mustache-twirling glee to entertain. A lot is up to Mill's wide-eyed and determined optimism and she delivers. The supporting players are all perfectly cast and the precarious steam-punk meets old school family musical tone is pitched just right for both a holiday message and maximum enjoyment.

The soundtrack is excellent and catchy, the musical numbers lavish and exuberant. The Victorian costuming and set design are dazzling and transportive. The film is adventurous enough, fantastic enough to feel different and unique, but the feel of it- the plot and the themes are familiar enough to warm the heart. Perhaps too saccharine for the jaded but sure to please for any family.

A joyful, visually rich, contemporary fairytale. A modern holiday movie with one foot in the past nodding to classic stories with a modern look and pulse.

Currently streaming on Netflix.

See It.

'Hillbilly Elegy' A Review

Hillbilly Elegy is a drama based on the memoir of the same name. The movie follows JD(Gabriel Basso as older, Owen Asztalos as younger) as he struggles with his family situation and attempts to bootstrap himself into prosperity.

Both Basso and Asztalos are either miscast or lacking in ability. Neither presents credible human performances, perhaps the fault is from the script and source material, its as if the life of JD is romanticized, his memory polished and performed not for the purposes of truth but to convey a particularly crafted(and unbelievable) story. Amy Adams as JD's opiate addicted and abusive mother Bev struggles, a rarity for her, as the character is underwritten and the story never takes the time to really address the cycle of abuse or the real despair or cause of addiction. Glenn Close as JD's grandmother fairs better, but even she cannot transcend the fact the script is not a human story but a web of archetypes retroactively varnished to fill the particular origin story JD the person wants to telegraph. The other characters are mere set dressing- Freida Pinto as Usha JD's girlfriend and Haley Bennett as Lindsay JD's sister particularly are given short shrift.

Filmed mostly in Georgia visually it suffices but for a movie so supposedly centered on a particular region and culture it seems like an oversight. The score is maddeningly present, cacophonous telegraphing every syrupy sweet moment or thundering the anguish onscreen. It is beyond distracting, it is atrocious, paired with the performances it renders the movie farcical. 

There are substantial problems here- the characters seem to face their problems with an obstinacy and ignorance that make them unsympathetic, hillbilly culture is given lipservice but not really explored, examined, or shown in any meaningful way, JD himself is pretty shitty to his family and his girlfriend, none of the characters seem to learn anything or transform in any way. So the question is why? And the only answer is that the book on which the movie is based was a best seller. More universally the movie attempts to make this story of poverty and struggle singular when in fact it is universal. Instead of trying to communicate how universal the fight for security and success is they attempt to convey how different this group and situation is when in fact it is anything but. All types of people are affected by addiction, by poverty, by abuse, by circumstance. And in not taking into account this fact they miss the whole point, rendering Hillbilly Elegy not only ineffective but borderline incomprehensible.

A startlingly huge miss, obtuse farce, with the melodrama of a soap opera but without any of the fun.

Currently streaming on Netflix.

Don't See It.

'Mank' A Review

Mank is a biopic about screenwriter Herman Mankiewicz(Gary Oldman) that uses his writing of the script of Citizen Kane, in an isolated desert hotel while recovering from a broken leg, as the anchor point while flashing back a decade to show the events leading up to it as well as various inspiration points for the script.

Oldman is formidable which is no surprise, creating an interesting charming character, but there is a benign lack of depth to the character. Who the character is or what he actually believes is screened by the unceasing stylized period patois, word play and asides mask what is actually happening both in reality and emotionally. The script also leans heavy into the tired and damaging genius-drunk archetype, Mankiewicz who in actuality tragically died of alcoholism in his 50's, is portrayed here certainly over-imbibing but the disease is given no weight, no cost, nothing beyond the false Hemingway style trapping of the inebriant as muse. It's egregious. The supporting cast are all solid notably Arliss Howard as MGM head LB Mayer, Charles Dance deliciously as William Randolph Hearst, and surprisingly Amanda Seyfried as Marion Davies, but all are not given much to do, the plot and the style take precedence over character and as a result the film doesn't solicit much emotional investment. Odd given the Mayer character has a great monologue about movies having to effect their audience emotionally.

Directed by David Fincher(from a script by his father) the production is meticulous and confident, the visuals have a stark clarity with nods to the filmmaking styles of the period in which it's set. The score by Trent Reznor and Atticus Ross is effective if unimaginative. All in all the filmmaking itself is top notch but it cannot overcome the lack of narrative focus and the shallowness of the characters.

Much time is spent on the 1934 gubernatorial election in California which certainly has some parallels to the present but the film has no real comment about it nor general message drawn from Mank's life or the campaign in particular. We never actually get to know much about who Mank was or what his influence would be. Ultimately the film only leaves you with a desire to watch Citizen Kane.

Impeccable crafting of an underbaked script.

Currently streaming on Netflix.

Rent It.

Bread

Who was the first betrayer
the loaf or the baker

was it gummy gluten

bubbling in it's treachery

or the contagion

of the celiac inquisition

Not long ago

grain was survival

bread the signpost 

of civilization

in our abhorrence for carbs

lest we forget where our prosperity sprung

'Godmothered' A Review

Godmothered is a family fantasy comedy about fairy godmother in training Eleanor(Jillian Bell) who goes on one final mission to help Mackenzie(Isla Fisher) in order to save the Godmother school which is endanger of being shut down. Eleanor is surprised to discover Mackenzie is not a child but an adult widow of two and that perhaps happily-ever-after isn't as simple as she thought.

Bell continues her hot streak(Brittany Runs A Marathon, Sword Of Trust), the character a perfect match for her sensibilities- a combination of physical comedy, fish-out-of-water absurdity, and plenty of heart. Her open naivete and single-mindedness bring plenty of comedy but also doesn't shirk on dimension or message. Fisher plays against type- the put-upon, overworked, anxious single-parent- and pairs beautifully with Bell. Her role is certainly less fun but she provides much needed grounding for the story and her journey and struggles are given weight without being cliched or maudlin. The supporting cast are all kind of delicious with wonderful turns from Jane Curtain and June Squibb as higher ranking godmothers, Utkarsh Ambudkar as Grant Mackenzie's bro-y boss, and Mary Elizabeth Ellis as Paula Mackenzie's sister who doesn't have a huge part but quietly and unquestioningly supports her sister and her nieces and the film does not call attention to this or make up some reason for it, she's simply a good sister, that's it.

In the mold of Enchanted this fairy-tale meets real-world cross over provides solid humor and emotional payoff. The production is sleek and vibrant, the soundtrack light and catchy, with enough magic to make it fun but with enough stakes for it to eclipse fluff. It may look a little like a made-for-TV flick but the robust and talented cast paired with a playful narrative that has some actual emotional weight make it singular in this years varied holiday film offerings.

Funny, moving, and feel-good without being saccharine.

Currently streaming on Disney+.

See It.

'Fatman' A Review

Fatman is a holiday action movie about Chris Cringle aka Santa Claus aka The Fatman(Mel Gibson) who finds his government subsidies diminishing as more and more children are getting coal, in order to keep his factory afloat he's forced to take on a military contract in the off season. During this financial crisis a psychopathic child who, justly, received coal hires a hitman(Walton Goggins) to go after King Christmas himself.

Gibson, who's reputation and rehabilitation over the past decade are questionable and may be a barrier of entry for some viewers, setting his personal life aside though, he's wonderful here as world-weary, embittered, tough as shoe-leather Santa. It's a bizarre character, in an even weirder story, but it works. Gibson's able to channel those two talents which made him a star initially- his facility with action and his humor. And although he and Goggins only share a single scene together it is an absolutely electric confrontation. Goggins, as always, is deliciously textured and idiosyncratic and though the heavy is a well he's gone to many times over the past couple years, the uniqueness of the story and the odd character keep it fresh. Marianne Jean-Baptiste as Ruth Cringle is great opposite Gibson and bolsters the precarious tonal harmony.

A focused particular production balance the two discordant tones- action/thriller and holiday adventure- better than it has any right to. The premise of the plot sounds kind of ridiculous but the narrative and the characters are shockingly well drawn. It's this peculiar amalgam of Fargo and The Santa Clause anchored by the commitment and sincerity of Gibson, Jean-Baptiste and Goggins, it provides humor, action, and if not catharsis then characters with real emotion.

Substantial fun and surprising thrills for this strange genre mash-up.

Currently available for rent on most VOD platforms.

See It.

'The Christmas Chronicles 2' A Review

 Christmas Chronicles 2 is a sequel to the 2018 movie, it follows Kate(Darby Camp) now a jaded teen who is forced to spend the holidays in Cancún with her mother's boyfriend who she anticipates will propose, both the trip and the proposal she resents. Meanwhile Belsnickle(Julian Dennison) a imbittered elf uses Kate to regain entry to Santa's Village and attack it. Kate, her soon to be step brother Jack(Jahzir Bruno) must help Santa(Kurt Russell) and Mrs. Claus(Goldie Hawn) to make sure Christmas endures.

Russell, like in the original, gives it, bafflingly and delightfully, everything he's got. The same is true of Dennison who is wonderful as the angsty teen come elf villain. But Camp is obviously out classed and Hawn isn't given much to do. Unlike the original, CC2 is filled with complicated and confusing lore, seemingly cribbed from the Santa Clause trilogy, which allows virtually no time for any scene to settle or any actor to do much other than hurry the plot forward to the next scene.

Mediocre CGI, an overstuffed script, and an imbalance in the casting and the casts efforts make it clear the surprising and comparatively simple The Christmas Chronicles should have been a one off.

Currently streaming on Netflix.

Don't See It.

'Happiest Season' A Review

 Happiest Season is a holiday romcom about a couple- Abby(Kristen Stewart) and Harper(Mackenzie Davis) sharing their first Christmas together. Before leaving for Harper's familial home Abby pick's up an engagement ring as she plans to propose, on the drive there however Harper reveals that she has yet to come out to her family and has told them Abby is her hetero roommate. Despite this Abby agrees to play the weekend out.

Both Stewart and Davis both struggle, valiantly, to bring emotional reality to the retro, uncomfortable premise, it doesn't help that their chemistry is more miss than hit. The supporting cast fairs exceedingly better with Dan Levy, as Abby's best friend John, Aubrey Plaza, as Harper's high school girlfriend Riley, and Mary Holland as Jane, all giving charming, funny, and most importantly fully formed human performances. It's not that some of the characters are unbelievable but its that they are so conservative, cruel, and self involved their inclusion in a light holiday romcom strains credulity. Harper's family, and her coming out difficulties and complexity are tonally more appropriate for a gritty drama.

Writer/director Clea Duvall puts together a polished, somewhat predictable piece of entertainment but the plot machinations weigh it down and confuse to the point of exceeding frustration. And perhaps there is some reality to it, Duvall has said it is somewhat autobiographical in inspiration, however in 2020 with 30-something protagonists the situation Harper essentially tricks Abby into participating in is traumatic and unhealthy to the extreme, and we are seemingly asked to overlook it as it is the essential set up of the movie. And the behavior of Harper's family, again based on reality or not, doesn't come across as cringe comedy simply cringe. Perhaps if the characters were a decade younger and the movie was set minimum a decade back in time it would make more sense. There's a lot of promise here but it is overstuffed and the actors are held back by the protracted conflicts and the humor is constrained by the characters lack of compassion for each other.

Representation is wonderful and it is a sign of progress when a lesbian holiday romcom can come out that is as uneven as every other hetero holiday romcom.

Currently streaming on Hulu.

Stream It.

Acceptance

born to flesh and bone
it is fruitless to bemoan
the stricture of the human throne

to rail and thrash

against the indurate truth

of mortality's troth

it need not be a prison

take circumstance as given

acceptance of what is not isn't

freedom from phantom control

'Superintelligence' A Review

Superintelligence is a rom-com with a scifi twist, Carol(Melissa McCarthy) is a former tech executive in Seattle who is struggling to find her way. She's befriended by a super intelligent AI who intends to study humanity through her and assist in her reconciling with her ex George(Bobby Carnivale). 

McCarthy is charming and funny, no surprise there. Carnivale is also charming and funny and seems to relish not playing a heavy and having a role with some levity. The two have an easy but effective chemistry which is almost too subtle for the volume of the bits that surround it. Brian Tyree Henry is nice in a supporting role as Carol's friend Dennis and Sam Richardson is great as an NSA agent but the supporting cast are for the most part very minor, the story focusing somewhat on McCarthy and Carnivale but mostly just McCarthy and the voice of the AI done by James Corden.

Solid production design is somewhat perverted by a series of blatant tech product placement, presumably why it was filmed/set in Seattle was a stipulation of the funding. That aside it is a somewhat successful piece of light entertainment although in total it feels kind of retro- an echo/a reflection of something we've seen ten plus years ago. With the strength of McCarthy and Carnivale it would have been more successful as a straight two-hander the conceit- possible malevolent AI as defacto godmother- is intriguing in theory but in practice it mostly distracts from the talent of the human leads.

Diverting, playful, with heart but lacking in cohesion.

Currently streaming on HBO Max.

Stream It.

'Belushi' A Review

Belushi is a documentary about the life and career of the late John Belushi. Through archival footage, stills, and audio interviews the life of Belushi is explored. Beginning with a brief exploration of his childhood it follows his career first in summerstock, then Second City, then National Lampoons Radio, then SNL, then films, concluding with his untimely death.

The movie is odd in that it was clearly repurposed from an attempt at an oral-history book, so although there are extensive audio interviews, most notably with Belushi's widow Judith Belushi Pisano, it feels as if it should have been an audiobook, and aside from her testimony there is not much new that hasn't been covered numerous times over the years in biographies, documentaries, biopics, and E! True Hollywood Stories. That's not to say it's not well done, it is, but there is nothing new as far as information and no new side of Belushi that is explored. And the runtime feels a bit bloated, the languorous pace and incessant audio interviews over still photographs strains patience within the context of a feature.

Addiction is sad and destructive, death as a result of addiction is always a tragedy, and that more so than his talent have defined Belushi's legacy. As such its strange the movie does not delve deeper as to his talent nor his addiction, not attempting or daring to explore his singular comedic perspective(simply summarizing it) or lay any responsibility for his drug use at his feet or anyone elses.

The lesson of Belushi and so many others is that success, fame, wealth these things will not make you happy, they carry with them no contentment or satisfaction unless you already have a measure of those things. Alcohol and drugs do not enhance the artist they only serve to gradually consume them. And famous people, rich people, more so than others have little to no accountability in their lives and as such it is more difficult for them to face the reality of consequence that an addict needs to make a change. It's sad but it's not mysterious, it's tragic but it's not mythical. And Belushi seems to trade on the same old troupes, more interested in the legend of Belushi rather than the man.

Currently streaming on Showtime.

Don't See It.

'Gamemaster' A Review

Gamemaster is a documentary broadly about modern tabletop gaming and loosely follows four aspiring game designers. Through talking-head interviews, archival footage, and some miscellaneous Cinéma Vérité at conventions and following the four subjects around the casual documentary delves into the passion and the industry of tabletop gaming.

A slamdunk for any tabletop gaming fan and an interesting enough dive for the layman, there's nothing particularly original or flashy about the form but the subject is unique and niche enough to hold attention and there is some intriguing points made about tabletop gaming as an artform in and of itself and the it's possible influence. Although not a major theme the movie does examine diversity and inclusion within the industry, or lack there of, so it is not a simple hoorah.

With the advent of streaming, documentaries, famously the cheapest too produce, have become the go-to to fill out streaming platforms library and although they rarely hit the mark of Cinema the breadth of subject matter and the somewhat democratization of who can actually make one and make it available is exciting.

Light entertainment, a look at a former powerhouse industry that endures.

Currently available on Amazon.

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Dawn, Day, Dusk, Dark

Gradations of light
reflections of
the soul's health 

or torment

'Jiu Jitsu' A Review

Jiu Jitsu is a scifi/martial arts movie about an amnesiac fighter Jake(Alain Moussi) who bounces between the US military, a secret society of which he's apparently a part, and a murderous alien. Jake must face his fears, with the help of eccentric hermit Wylie(Nicolas Cage), and stand up to Brax the predator derivative alien threat. The world is at stake!

Moussi along with basically the entire cast is woefully wooden, and the convoluted meandering script do no favors for these (excellent) martial artists and stunt people turned actors. Cage is the only one who is giving anything in the realm of a performance and although he's fun, as always, he's not doing anything particularly unique(for him) or putting in a ton of effort.

The low budget CGI isn't half bad, and the action sequences/fight choreography are well done and even have some ambition, although not always successful it's at least competent bordering on interesting. But the story is so abysmally paced, the back bone of the narrative so amorphous, it's not entirely apparent what is supposed to be happening at any given time, none of the characters motivations are ever really clear so they simply float through this already undefined wasteland of a story.

Currently available to rent on most VOD platforms. 

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'The New Mutants' A Review

The New Mutants is a superhero movie with a veneer of horror about a group of young mutants just discovering their powers who are being kept at a secure facility in order to undergo therapy to, supposedly, prepare them for release. The movie opens on Dani(Blu Hunt) awakened by her dad in their home when some kind of disaster is devastating her reservation, she fleets and falls unconscious only to awaken in the facility under the watchful eye of Dr. Reyes(Alice Braga). She meets the other teens in attendance who have various powers- Rahne(Maisie Williams), Illyana(Anya Taylor-Joy), Sam(Charlie Heaton), and Bobby(Henry Zaga). At first at odds then beginning to grow closer(a la Breakfast Club) the group then begins to be plagued by dark visions and Dr. Reyes motives come into question.

Hunt is a little green here but to be fair she's asked to do some substantial heavy lifting, although not totally effective she's passable. Williams is clearly committed and does a better job than the relatively light subject matter really calls for and her and Hunt's chemistry is wonderful if a bit, appropriately, twee. Taylor-Joy, Heaton, and Zaga are all decent but the movie comes in at a very clipped 90 minutes and although the momentum never suffers some of the character development does.

Competent, contained, and entertaining there is certainly room for improvement but this defacto X-Men spinoff lands securely in the 18-25 demographic in which it was intended. There is no real sign of why this production was so troubled, delayed multiple times with reshoots, as it works just fine although not particularly inspired. The haunted house lay on to the superhero story is an interesting one and would have paid greater dividends if more time had been spent on flushing out the characters outside of one brief montage.

Currently available to rent on most VOD platforms.

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Bay Window

Like the prow of a ship
traversing not space but time

In this age of confined solitude

it pierces the wave of hours

A portal to the tides occasion

held aloft by the days duration

Cutting through the clock's soft chime.

'Kajillionaire' A Review

Kajillionaire is a dramedy about a con-artist couple- Robert(Richard Jenkins) and Theresa(Debra Winger)- and their adult daughter Old Dolio(Evan Rachel Wood). The three barely subside with two-bit cons which seem to be rarely successful, they live in a delineated storefront office space that is overcome with bubbles from an adjacent factory twice a day. In order to make back rent they enact a scheme to collect travel insurance during the course of which they meet Melanie(Gina Rodriguez) who inexplicably becomes part of their grifts.

Wood gives a perfectly balanced performance between quirk and pathos, with an odd restless physicality and a dull low register vocal affect, she's able to play a Character while still conveying heartbreaking emotion. Jenkins and Winger are simply too awful to be tolerable, whether this was acting choice, direction, or the script they are painful to watch and absolutely bring down the film from eccentric interest to misery. Rodriguez brings her charm and magnetism to bear and it's effective, her chemistry with Wood is undeniable, but the character is so thinly drawn her involvement with this trio at any point strains credulity, she functions in a way like an inverted manic pixie dream girl, a simplification that doesn't do her talent, or the narrative potential of this set up, justice.

Particular and evocative production design, and a bizarre but effective score, make for a solid and interesting frame work with a couple very interesting shots and sequences- the pink bubbles glooping down in the trios "home", an extended sequence where the main characters pretend to be the family of a dying man while they search his house for his checkbook, Old Dolio dancing for the first time. But ultimately the sum is somewhat less than it's parts. It feels unfinished, a rough draft, the modulation of characters uneven, the story in and of itself not only bizarre but preposterous, the "happy" ending almost moot by the total grinding desperation of what proceeded it. Ambitious and intriguing but bleak to the point of pointlessness save for the award-worthy performance of Wood.

Currently available for rent on most VOD platforms.

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'The Trial Of The Chicago 7' A Review

The Trial Of The Chicago 7 is a period courtroom drama based on the real trial following the 1968 Chicago riots. The film follows the trial and flashes back to the events that lead up to the '68 democratic convention and the subsequent riots.

The ensemble cast is brimming with talent but the story moves so quickly, is conveniently truncated to heighten the titular trial, that no character has enough screentime to be an actual person. Sacha Baron Cohen as Abbie Hoffman gets the closest and Jeremy Strong as Jerry Rubin is actually playful but the rest aren't given much time or much in the way of actual characterization. Eddie Redmayne as Tom Hayden particularly suffers from this thinness of detectable personality and comes across as an two dimensional bore. There are far too many characters and too much ground to cover to do the story justice in a feature run time as such some incredible talent is wasted- Kelvin Harrison Jr. as Fred Hampton alone would be worth a feature.

The period production is effective and you can't argue with the hook and momentum or writer/director Sorkin's dialogue but the film has a Hollywood slickness to it, an inappropriate breeziness, that given our current socio-political upheaval seems somewhat baffling. The courtroom sequences particularly are broad to the point of ludicrousness, and it's possible they reflect the reality but if so more attention should have been paid to there construction. Given the recent popularity of true crime I don't think any viewer watching The Trial Of The Chicago 7 would not know immediately that it would be overturned on appeal, and as such the trial itself has little to no tension, and what we are left with is thin characters in a court room drama more in line with the taste of Sorkin's 90's heyday(Rainmaker, Time To Kill) than our present.

Currently streaming on Netflix.

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'Rogue City' A Review

Rogue City is a French crime thriller about the anti-robbery/anti-gang division of the Marseille policy department. The story follows Vronski(Lannick Gautry) as he navigates and participates in an incredibly convoluted snarl of corruption with local drug traffickers and his own department.

Seemingly aping 80's US action films the cast all look and act straight out of the Stallone/Schwarzenegger heyday. There is little to no character development, little to no actual acting going on aside from either impassivity or sneering cruelty. And unlike the US 80's films from which it is seemingly inspired it has a nihilistic bleakness to it that prevents it from actually being fun.

Filmed on location in the south of France the locales are wonderful and every cop has a bafflingly gorgeous and large villa. The look of all the actors, virtually every character has long shaggy hair, is retro to the point of ludicrousness. The script is presumably some attempt at Training Day by way of the intensity of Deer Hunter and it is an astonishing failure. Every couple is cheating on each other(maybe that's just French or the scripts attempted shortcut to character), threats of rape are the criminals go-to, and the transparent and consistent corruption of the cops is presumably acceptable because of the circumstances, at least within the context of the story. The brief action sequences are decent but far from enough to balance out the vileness and tedium of the characters and narrative.

In a year mostly bereft of action fair due to scheduling delays Rogue City is definitively not even a mild substitute.

Currently streaming on Netflix.

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Form And Substance

Consider the nature of a thing
it's form and function

take for instance

a squeaky floor

and a sturdy board

on one you may

tread lightly

in order to avoid its shriek

on the other

one may walk stolidly

in deference to it's strength

or perhaps deliberately clomp

to revel in the creaks and clatter

or slide along the smooth

robustness like a playful satyr

Consider the nature of a thing

it's form and function

each with it's part to play

in life's marvelous conjunction

'2067' A Review

2067 is a science fiction movie set in a dystopian future where all plant life has been wiped out and the surviving human population is slowly dying from the limited synthetic oxygen supply. Orphaned city power plant worker Ethan(Kodi Smit-McPhee) fixes the ailing nuclear reactor with his best friend Jude(Ryan Kwanten) when they called in to meet with the top brass at the synthetic oxygen company Ethan's father use to work at as a head scientist. They discover he invented a time machine to communicate with the future and they received a message to "Send Ethan Whyte" thinking this could be the key to a cure and human survival Ethan is sent forward four hundred years. But things are not what they seem!

Smit-McPhee is a little out of his depth as the heroic lead and this is exacerbated by the stilted dialogue and some rough plot mechanics. Kwanten is a bit more confident and comfortable and the two have decent chemistry but the ambitious ideas aren't quite bolstered up by the mostly flat characters and overwrought emotions.

Slick and creative production design and an effective score help to elevate 2067 beyond the garish and there are some genuinely intriguing scifi concepts but script itself is under-baked and can succeed only to a point.

Currently available to rent on most VOD platforms.

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Duty

Life is full of responsibility
small daily obligation

they can overwhelm, erode

however easy 

or inconsequential

by shear volume 

and ceaselessness

but there is satisfaction

in commitment fulfilled,

in balance.

I had agreed to give 

my oldest friend's

teenage son

a motorcycle ride

and although

the logistics

were quite circuitous

the deed itself

was energizing.

Mega Man 2

From out of the mist

of twenty five years

a blue clad man

spewing orbs,

memories of fevered hours

inside the gloom

of the Muldowney's basement

in pursuit of Dr. Willy

and his rogue creations.

'The Witches' A Review

The Witches is a fantasy/dark comedy based on the Roald Dahl book of the same name. In 1968 a young boy, Hero Boy(Jahzir Kadeem Bruno), goes to live with his grandmother, Grandma(Octavia Spencer), in Alabama after the tragic death of his parents. After encountering a witch at the local general store the two go to hide out at a nearby hotel. Unfortunately the hotel is hosting an anti-child cruelty convention at the same time which is in fact a cover for the yearly witch gathering headed by the Grand High Witch herself(Anne Hathaway).

Bruno shows natural talent and exceptional ease on screen, using his charm and emotion to ground the story but also able to play up the more horrific/comedic/absurd notes. Spencer, as always, is a delight, the beating real heart of the film, able to fluidly move through the various tones and moods so nothing is discordant, a significant challenge given the material. Her performance is especially impressive given a majority of her scenes are with CG animals. Hathaway as the extremely over-the-top thickly accented GHW is fun but not particularly inspired especially, and perhaps unfairly, with the inevitable comparison to Angelica Huston who played the same roll in the 1990 incarnation with more menace and relish. The supporting cast are all decent but no one really floats to the top, not a surprise, given the pacing is relatively(and justly) clipped and any spare time for character development is given to Bruno and Spencer.

A wonderful soundtrack and immaculate production design create a wonderful world for the story but writer/director Robert Zemeckis bizarre fixation with CGI and trudging through the uncanny valley significantly detracts from the experience particularly with regards to the CG animals and the witches aesthetic.

A solid cast, some intriguing ideas, and a mostly successful production make for decent entertainment but nothing that surprising. The biggest disappointment is that its potential is clear but it fails to meet it.

Currently streaming on HBOMax.

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'Time' A Review

Time is a documentary about Fox Rich, entrepreneur, abolitionist, and mother of six, as she fights for the release of her husband who is serving a 60-year sentence for an armed robbery they both committed, she entered a plea bargain and served 3 years out of a 12 year sentence, and he tried the case receiving a vindictive sentence. The film unfolds through extensive home video footage shot by Rich cut with produced footage from the present.

In unassuming black and white with a lyrical almost dream like piano score the film fluidly morphs through 20 years of the family's struggle, focusing predominately on Rich but by extension her children, crosscutting them as children and as young men. Not only is it a powerful political film, more intimate than it's counterparts The House I Live In and 13th Amendment, it is a meditation on time, courage, and love. The film doesn't necessarily get into policy specifics in regards to systemic oppression and mass incarceration it focuses on how these institutions directly effect people, families, and life. What the cost is on a human level. It's incredibly potent.

More wispy dream or gentle breeze than fiery social statement it none the less gets to the heart of the issue by focusing on the individuals effected, the pain and frustration and anxiety, the valor and endurance needed to survive let alone triumph. It focuses on empathy rather than policy and perhaps that can change minds more effectively than information. A must watch for these turbulent times.

Currently streaming on Amazon.

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'The Craft: Legacy' A Review

 

The Craft: Legacy is a supernatural horror movie about a group of teens practicing witchcraft, mostly unsuccessfully, until a new girl Lily(Cailee Spaeny) moves to town and joins their circle. The four become friends and grow in power, putting a spell on the school bully Timmy(Nicholas Galitzine) to be a better person. But as Lily flourishes socially and magically she butts heads with her soon-to-be stepdad Adam(David Duchovny) who may be more sinister than he appears.

Echoing the original but with more sensitivity and camaraderie and less infighting the main four- Spaney along with Gideon Adlon as Frankie, Lovie Simone as Tabby, and Zoey Luna as Lourdes- all have energetic, youthful chemistry and balance their empathic friendship with the thrill of discovering magic perfectly.  It's unfortunate that a lot of their friendship and spell-learning is montaged through, perhaps a budget constraint. Galitzine is a refreshing romantic interest, totally believable and vile as the bully and equally charming as "woke" Timmy after the spell. Duchovny is woefully miscast as the heavy and doesn't appear to be doing much acting, it's an intriguing script point to make the villain essentially a men's rights activist masquerading as self-help guru but this thread isn't particularly developed nor is Duchovny particularly menacing. It's always a pleasure to see Michelle Monaghan who plays Lily's mom but she's not given much to do save fret and unconvincingly be in a relationship with Adam.

A killer soundtrack, excellent restrained effects(until the end), and a slick look make this sequel to the 1996 cult hit fun and successful but it's too brief run time and it's underdeveloped conflict leave you wanting more. Especially unfortunate given, clearly, it is bursting with potential and promise.

Despite its shortcomings a valiant and entertaining effort from writer/director Zoe Lister-Jones(of Band Aid fame), hopefully she'll get to make a sequel to flush out the great characters she's set up and bring in the four original witches.

Currently available for rent on most VOD platforms.

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A Meditation

Upon waking
consider the events of the day

where may I face conflict

where may I encounter resentment

Remember

whatever the difficulty

You are not disturbed

unless you allow it

You are not the buoy

buffeted by the waves

You are the waves

You are not the sand

amid its ceaseless shifting

You are the rock

upon which the waves break

You are not the panic

of the faceless crowd

You are the saguaro

the desert sentinel

patient and calm

as the sun bakes

and the wind blows

'Bad Hair' A Review

Bad Hair is a horror/comedy set in 1989's LA about an unassuming but ambitious young broadcaster Anna(Elle Lorraine) who gets a weave in order to further her career. Although she begins to climb the ladder thanks to her new look there is an unforeseen and terrifying price to pay.

Lorraine is an incredibly emphatic lead, careening from terror to avarice to humor with surprising ease. She's a wonderful match for the odd genre-bending tone of the film and never sacrifices real emotion during the more heightened or absurd moments of the plot. The supporting cast is absolutely stacked with talent- Laverne Cox in a delicious turn as Virgie the dark magic hair dresser, Vanessa Williams as Zora the new corporate head of Anna's network, Lena Withe and Yaani King as VJs, Blair Underwood as Anna's professor uncle- on and on. Even to relatively small cameos the cast is packed with talented actors you'll recognize and it's a pleasure to see such a wealth of almost entirely black talent, save for James Van Der Beek in a brief role as a sneering executive.

Shot with a grainy quality that conveys the period and a solid soundtrack, the film delivers fully on it's horror premise, provides enough moments of absurdity to relieve tension, and works slightly as social commentary. Whatever the central metaphor is its not particularly clear or carried through to completion but it doesn't really matter. It's packed full of ideas, scares, and laughs with enough behind it to have some teeth.

An ambitious, messy, fun genre-bending horror film more akin to the bizarre, lyrical In Fabric although it will most likely be(unfairly) compared to Get Out.

Currently streaming on Hulu.

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'The Wolf Of Snow Hollow' A Review

The Wolf Of Snow Hollow is a comedy/horror about a small town that is plagued by a series of gruesome murders. It follows Officer John Marshall(writer/director Jim Cummings) as he gets increasingly manic as the bodies pile up and he's faced with a series of dead ends.

The tone in general is bizarre and Cummings particular performance frequently crescendos into farce in a way that questions what the intent actually is especially in scenes where the character is struggling with his alcoholism. Is it mean to be funny? Is it meant to channel some actual pathos? It's unclear. The supporting cast are able to ride the tonal shifts much better, using subtlety and situation to play up the humor without derailing the horror/thriller plot, aside from Cummings it's pretty effective. Most notably Robert Forester in his last film role and Riki Lindhome of Garfunkle and Oates fame.

Clearly inspired by Twin Peaks with a healthy dose of Cabin In The Woods it's intriguing without question. Well shot, well scored, well cast, it's almost a solid strange pulp yarn but Cummings acting is what really prevents it from being a success.

Currently only available to buy on most VOD platforms, most likely will be streaming on one of the major platforms after the initial release window.

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D&D

With pretending

put to bed

alongside adolescences

there is a special joy

in discovering

spells and magic

treasure and adventure

perfectly preserved

and waiting

with the roll of a die

and a willingness

to play.

'Ava' A Review

Ava is an action/thriller about an assassin, the titular Ava(Jessica Chastain) who begins fray mentally, asking her subjects why they have a contract for their life before killing them. After a botched job she returns to her hometown of Boston to confront her past but ends up on the run for her life.

Chastain is a tremendous talent and has that magnetic star quality that makes her imminently watchable but here she can only do so much with the overwrought dialogue and convoluted plot. The supporting cast is stacked- Geena Davis, John Malkovich, Colin Farrell- but none of them are given much in the way of character or screentime. Ultimately it's kind of a baffling waste of Oscar recognized talent.

The action sequences are clear and exciting and Chastain makes for a fun and unique action lead but there's simply not enough of them and too much convoluted soap opera-esk family drama- Ava has a drinking problem(underdevolped and in lieu of actual dimension), there is some mystifying backstory with her dead father cheating on her mother, her ex-fiance who is now dating her sister has a gambling problem etc. etc. It all kind of compounds to the point where none of it is effective, it doesn't seem to matter. The plot is simply too confused for a genre that should be clean and concise and above all thrilling.

A great cast, an interesting premise, with a lack of follow through.

Currently available for rent on most VOD platforms.

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'The Opening Act' A Review

The Opening Act is a dramedy about wouldbe stand-up comedian Will(Jimmy O. Yang) who quits his job in order to MC at a Pennsylvania Improv, the bulk of the run time takes place over the four day gig.

Yang shoulders the bulk of the narrative work and is charming and goes through a definite if subtle transformation. It's an odd balancing act for a movie about comedy to have, basically, a thoroughly sincere thrust. There are some great comedic sequences and a couple less successful relying on cringe but overall it's a small but effective, accurate if occasionally saccharine look at stand-up and someone trying to get into it. A much needed breathe of vitality comes at the end of the first act with the entrance of Alex Moffat playing Chris the feature of the weekend, the middle act, who despite his lascivious and at times mercurial behavior takes Will under his wing. It's an impressive feat to pull off making this houndog not only charming but funny and three dimensional. The other homerun is of course Cedric The Entertainer playing a has-been version of himself- Billy G- who ligths up the screen whenever he's on it. He provides Will with advise and overall gives an understated, sweet, emotional turn. There's also an avalanche of well known stand-ups who appear but it's only Moffat and Cedric The Entertainer who have substantial enough screentime in which to play.

The more complicated comedic sequences(a truly absurd cab ride) don't work as well as the subtle ones- Billy G feeding Will a bite of his soup, Moffat eating ribs late at night saying he's on the tiger diet, and the minutia of preparing for and performing over the course of the weekend. The glaring issue in a movie about stand-up is that there's not enough stand-up. We see basically two bits from Chris, two from Will and him overcoming a heckler, and only one from Billy G. It's a missed opportunity not only to see these three comics perform but to get more to the heart about what being creative is about.

A fun, effective, inside-baseball look at stand-up comedy with an impressive turn from Moffat and a good first leading role for Yang.

Currently available for rent on most VOD platforms.

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The Grid Plan

On my first adult visit to Chicago
(I say adult as it was for business not for pleasure)

My sister, a resident, gave me directions

and when I asked for clarification

she told me the city was on a grid

and described to me The Grid Plan-

numbers emanating out from The Loop

north and south and east and west

whereby I could place myself within it's net 

at whatever intersection I might be-

and after a moment, understanding

like trumpets or cymbals crashing

the beauty of such order nearly brought me to knees

and as I made my way out into it's depths

I knew exactly where I was and how to get to where I'd be

the idea quite extraordinary, the practice ingenuous ease 

there are those detractors of the grid

who rail against it's corners and command

but there is majesty in boxes, purpose in straight lines

and when it comes to function the grid is close to the sublime.

'Get Duked!'

 Get Duked! is a comedy-thriller about three delinquent teens and one sheltered home-schooler set out to win the Duke Of Edinburgh Award, a outdoors exercise in teamwork, foraging, and orientating. After they're dropped off a sinister figure in well tailored hunting clothes is seen in the distance. What unfolds is one part Most Dangerous Game, one part Stand By Me, and one part teen raunch comedy. It's a bizarre and surprisingly delightful alchemy.

The group- Samuel Bottomley as Ian(the nerd), Viraj Juneja as DJ Beatroot(the rich kid turned wouldbe rapper), Rian Gordon as Dean Gibson(the world weary tough), and Lewis Gribben as Duncan MacDonald(the delightfully gonzo dunce)- have wonderful easy chemistry and are all remarkably assured in their performances. Providing authenticity and near constant humor while still providing small but unmistakable evolution as characters and as a group. Ian begins as the odd-man-out but the film doesn't fall into the trap of making this a plot point, the other boys almost immediately accept him, and as a result more time is taken with what it should be, the jokes and the bonkers encounters the group has. The supporting cast all fit perfectly with this very delicate and odd tone, this absurd sincerity but also this playful theatricality- most notably Eddie Izzard and James Cosmo(of Braveheart fame).

Surprisingly picturesque scenery pair with a number of scenic flourishes- a "music video" they make while hiking, an extended drug/rave scene in a barn with a bunch of farmers, a riff on a startling pegan ritual. The hiphop soundtrack with some diegetic attempts from DJ Beatroot keep the momentum going and underscore how fresh the story is. In the end the film may also actually have something to say, and with a story that has so many plates in the air, so many tones going on, it's pretty impressive.

An out of left field stunner of a comedy, exciting enough for a Halloween thrill.

Currently streaming on Amazon.

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'Dick Johnson Is Dead' A Review

Dick Johnson Is Dead is a documentary from cinematographer turned director Kristen Johnson, her second feature after her stunning 2016 debut Cameraperson. The film follows Kristen as she comes to grips with her aging father's mortality, using his as both a documentary subject and as the star in abstract sequences and fictitious enactments of his impending death.

The film is difficult to describe, a meditation on death, a celebration of life and family, perhaps part therapy part transcendental exploration. As with Johnson's previous work it's stunning and original and full of incredible empathy and feeling. Unflinching but also incredibly compassionate. Small moments of Johnson interacting with her father, who is gradually succumbing to dementia but whose sense of humor is unwavering, as they pack up his office and prepare to move him cross country to live with her are juxtaposed with the making of various vignettes of Dick's accidental deaths, dealing with crew and stuntman with a sequence set in heaven. It's incredibly ambitious, at times bizarre even baroque, but what comes through is the incredible power of life and love, the inevitability of death, and leaves you to question what we do with the time we have.

There are many sequences to highlight but part of the pleasure is in it's surprises, it's joys, it's heartbreaks. In it's understated tone and steady pace it reaches the sublime.

Currently streaming on Netflix.

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The Herd

As we made our way through the herd
I thought
grass
I thought
wind
I thought

peace

following the path as best we could

these primordial creatures to our right and left

I thought

prairie

I thought

plain

I thought

cloud and sun

we mustered what magic we had

to move quietly through the herd

undisturbed.

Road Trip: Theodore Roosevelt National Park

 Hiked the Petrified Forest Loop today, long rolling hike through mostly grasslands, the pictures don't do the vast calmness justice. Although the petrified wood was very cool the biggest highlight was being surprised by a bison going up a hill and then having to make our way around and a grazing herd to continue on the trail. A stunning, moving day, fitting as it's our last of the trip.