'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."