H.A.L.T.

When I am disturbed
I must ask
what is wrong with me
because I find
most often
I merely need a snack
a nap
a pause
or the soothing balm of company.

I do not actually want
to stab the man
on the train
in the neck
who doesn't remove
his backpack
although I am
momentarily filled
with a vengeful righteousness.

Seeing some vague acquaintance
flying in a private plane
via Instagram
while spending a Saturday night
at home
alone
does not transform
my overall contentment
with my life and circumstance
to acidic envy
although I may feel the bite
of solitude.

I may become short
with my loving partner
because our cat
tracks litter through our home
or because she innocuously
rearranged some furniture
while I was out
when the reality is
I simply need
to go to bed.

All to say
yes, certainly
there are irritants
some even justifiable
but external forces
only effect
internal courses
to the degree
allowed.

'Waves' A Review

Waves is a family drama about a suburban family in southern Florida navigating the pressures and pains of modern life. The first half of the film focuses on the prodigal son Tyler(Kelvin Harrison Jr.) as he attempts to deal with his well meaning but overbearing father Ronald(Sterling K. Brown), a serious injury that derails his burgeoning wrestling career, and an unexpected pregnancy with his girlfriend Alexis(Alexa Demie). In the second half of the film the focus shifts to Ronald and stepmother Catherine's(Renée Elise Goldsberry) daughter Emily(Taylor Russell) as she attempts to carve out a life and identity outside the shadow of her brother.

Both Harrison and Russell give nuanced, complicated, and emotionally thrilling performances. Harrison is the more frenetic and mercurial, his character's story the more panicked and anxiety inducing. Russell is the more subdued and measured, the more melancholic and reflective. Yet both are able to effortlessly hold the camera and convey some powerful honesty. And their performance together really center the film, even though they really only have one scene together- and incredibly brutal by honest scene in their shared bathroom. The rest of the cast is less consistent but to be fair they have less to work with. For the most part Brown an Goldsberry do well as the parents but they never really reach the mark of fully flushed out characters, perhaps this is deliberate because we are viewing them from their children's perspective. Demie and later Lucas Hedges(as Emily's love interest) also do well enough but the focus is primarily on Harrison and Russell and the ambitious production design.

The camera work and color in the film are gorgeous and transportive. With 360 degree pans, tight close ups, and a lot of hand-held sequences we effectively feel we are inside the heads of Tyler and Emily, we feel what they feel, at times the film is more tone poem than narrative. Which can be disconcerting and probably isn't for everyone. But it is unique and it works to convey feeling and story above and beyond pages and pages of dialogue. Which, again, may not be for everyone but is incredibly effective. The pulsing, at times cacophonous score can be overwhelming but pairs beautifully with the cinematography to create a mood and feeling in world that the characters live in and are confined by.

Beautifully shot and emotionally electric. Full of heartbreak and hope. A startling ambition that fails big but succeeds big too.

See It.

A Meditation On Cleaning

First consider the why
what is the benefit
health, certainly
as germs and dust can gather
but more fruitful
is the satisfaction
of action being taken
with tangible result
and the feeling of ease
provided by an ordered environment.
Once considered
there is the scarcity of time
and perhaps the absence of motivation
do not be discouraged.
Set aside time each week or each month
to give to this task
then follow through
to whatever degree possible
and there will be satisfaction
in any accomplishment
regardless of size or scale.
Repeat.
Over time this will become routine
a discipline, and will no longer be a chore.
Once established
there will be an increased sense of peace
when entering and existing in
the ordered space.
Cleaning may never become a pleasure
but it need not be a perpetual concern.

'Frozen II' A Review

Frozen II is an animated musical fantasy, a sequel to the 2013 Disney hit. The movie opens with Elsa and Anna as children being told a story by their father and sung a song by their mother which go into their kingdom's past dealing with a neighboring tribe. Flash forward back to the "present" and Elsa as queen leads a celebration of the autumnal harvest. The celebration is interrupted by rogue magical elements and the city is evacuated. Elsa sets off north to find the cause and Anna, Kristoff, Olaf, and Sven soon follow. As they unravel the current mystery a dark past comes to light.

The returning voice cast are all charming and grapple with some darker material this go around, and there is the addition of some fun celebs to spice things up but that functions more as a guess-that-voice game for adults rather than actual roles that really pop. The music is playful and fun for the most part with the occasional emotional crescendo but none of the songs manages to hit the "Let It Go" resonance to propel it to a #1 hit.

Certainly charming, with some breathtaking animation and action, but the plot itself is too convoluted with attempts(maybe?) at historical/political commentary which are too vague to really land(or make much sense) and seem mostly out of place in a family(read kids) movie. The characters retain their previous infectious joy and inspiration but this is despite the story not because of it.

In the tradition of Aladdin 2: The Return of Jafar and The Lion King II: Simba's Pride this may have been more appropriate as a direct-to-video release.

Stream It.

When You're Gone

I like it when you're gone
for an afternoon or evening
I vacuum and consolidate the garbage,
cook and listen to my
books on tape,
watch my shows
maybe even pee
with the door open
luxuriating in the privacy.

For a day
I stay busy
more cleaning-
wiping counters, scrubbing sinks,
sweeping stairs-
perhaps reorganizing drawers
or mopping floors
maybe I'll try a new dish
something ambitious
to impress on your return.

A weekend
I can tolerate
but the tasks begin to reach
color coding DVDs
cleaning baseboards
reading entire books
journaling then ordering dozens
of prints on Shutterfly
to augment said journaling.

I enjoy it mostly
but there's only so much
solitary fussing that can be done
before the reality sets in.

After days
I notice a dulling
yes, I miss you
your laugh
your comforting embrace
your conversation
and encouragement
your simple companionship
but I realize more acutely
the absence of our partnership
which over years has become
just as vital a part of me
my identity
as my love of movies
my compulsive cleaning
my hometown Rockford
my motorcycle
as defining
as anything that makes me me
and in your protracted absence
I feel a startling weakness
and I am reminded
how much strength you give me
how enlivening is our love
and though I know I can endure
I'd rather not
so please come home.

'Ford v Ferrari' A Review

Ford v Ferrari is a sports drama about the Ford team competing at the 1966 24 Hours of Le Mans headed by Carroll Shelby(Matt Damon) and Ken Miles(Christian Bale). The film opens with Shelby's own victory at Le Mans and the implication of his subsequent illness preventing him from continuing to race. Scenes of Shelby as a struggling sports car salesman and scruffy racing manager, with Miles as his virtuoso driver, are cut with scenes of Henry Ford II(Tracey Letts) and his underlyings deciding to create a car to unseat Ferrari's dominance at Le Mans. Shelby is tapped to enact this victory.

Damon and Bale are a great two-hander as the inspired innovator and the hot-headed maverick respectively, both totally comfortable, effortless but totally engaging, in their roles and show again that they both deserve their moviestar status. Damon however is outclassed by Bale, which is not a big surprise, Bale is one of the greatest actors of his generations, deploying here his skinny look, and his magnetism is off the charts. The roles are fun and compelling but not particularly challenging and there's nothing wrong with that, it's a pleasure to see Damon and Bale with good material. The supporting cast is stacked with talent, who are all comfortably good but the only real character that has some dimension, or even really any particularly flaws, is Lett's Ford who plays with some interesting contradictions with the limited time he has.

Visually the film is deliciously clean, all the racing and action, all the mechanics and procedures, are conveyed with a restraint and clarity that is unusual for sports movies or really action movies of any kind. It's incredibly refreshing, and all the more exciting, to see and experience everything without the confusion of dark/rainy/shaky camera work. The driving itself is a real triumph which is thrilling but also has a certain grace and beauty.

There is nothing particularly big about the film, ultimately it's relatively simple and straightforward but it is good and inspiring and lovingly crafted. Not splashy fine dining but reliable comfort food.

See It.

'Knives Out' A Review

Knives Out is a murder mystery about the suspicious death of wealthy crime novelist Harlan Thrombey(Christopher Plummer) and the ensuing investigation by D/Lt. Elliott(Lakeith Stanfield) and private detective Benoit Blanc(Daniel Craig) into the large family all of whom are suspects.

The film boasts a true ensemble and though Craig and unwilling protagonist Ana de Armas as Marta are the defacto leads(at which they excel especially Craig who clearly relishes not being Bond, having fun, and having a sense of humor) it is truly the cast at large that pulls off a remarkable stable alchemy. Each character get's there on section of spotlight, each actor clearly defining their character with vivid personality but believable depth, none of whom overwhelm but all of whom totally enrich this already propulsive and thrilling who-dun-it.

Set mostly in the palatial estate of the Thrombey's visually the film has a subtle style but it is primarily the soundtrack and editing that build and sustain the infectious and delightful pace. A throwback to and wry comment on Agatha Christie stories and in the vein of Clue and Murder By Death this murder mystery delights in revitalizing some conventions and up ending others all while striking the perfect balance to deliver what, in some ways, is a genre classic.

A wonderful engaging mystery with delightful personalities and humor to spare, easily one of the most solid and original pieces of entertainment in 2019. A happy return to form for writer/directer Rian Johnson.

Don't Miss It.