Category Archives: film
Under the Banner of Heaven review
4.5/5
this was quite the ride, quite the experience…
an unpleasant, uncomfortable, unsettling, and undeniably grisly one, yes, but captivating, all the same.
I won’t delve into the plot details because a) it’s based on a true story, so you either know it already or you can look it up yourself and b) I knew nothing about the real-life events that inspired it and found that to be the ideal way to take in the material.
It’s a really interesting series, but one whose contents are inherently difficult to stomach. There are scenes and sequences within that I’ve struggled to shake, that have seemingly taken up residence within my body, clinging to each crevice like an incurable, eternal sickness. Each episode left me feeling so helpless and hopeless, gasping for air as I tried to make sense of the senseless; a real sucker-punch of a show. And if you were suspicious of religion before…be prepared to fucking loathe it by the end.
There is obviously a procedural element to Under the Banner of Heaven, as our (fictional) protagonist detective seeks to solve a double-murder, but there’s so much more to it than that. Within the frame of a whodunnit, lies a fascinating exploration and critique of religious institutions (specifically Mormonism.) Now, I don’t compose longform critiques much anymore, and I’m certainly not a scholar on the subject, so I’ll only briefly touch upon what I found most admirable.
–the way it depicts what it’s like to suddenly doubt all that you’ve ever known to be true. Here we see our lead character enter a severe existential crisis, spiraling further and further into disillusionment, as his foundation of faith crumbles beneath his feet. And there is no swallowing it down nor pushing it aside, as the personal and professional worlds he’s so carefully compartmentalized finally collide in calamitous fashion. Even as a nonbeliever, it was such a disheartening, devastating experience to watch him wade through those murky waters alone. I hurt for him, yet had no salve for his pain. I could not serve as his shepherd. I could not silence what must be heard. I could not shield him from what must be felt. Broken trust can never fully mend and grief is never easy. And while it is true that it is darkest before the dawn, the clarity on the horizon can set you free.
-Detective Pyre recognizing that the tenets, texts and scriptures he once considered sacred, were more likely shaped by the selfish whims and wants of man, rather than by an act of the divine. Urges misinterpreted as revelations, desires masquerading as the voice of God. There can be great danger in granting flawed, corruptible humans the power to determine what is right and what is wrong.
-the way it spotlights the hypocrisy of the higher-ups, those so desperate to control the narrative, so hellbent on preserving the image and reputation of the church, that they sought to twist the law and sweep violent crimes under the rug; preferring to protect the perpetrators over delivering justice to the victims.
Gaslighting. Intimidation. Threats of eternal damnation. Save face at all costs.
-its recognition that patriarchal systems/societies are inherently harmful, often serving as breeding grounds for dangerous, violent, very bad men.
-how it explains that faith need not be rooted in religion to be real, that doubt in church doctrines does not extinguish one’s spirituality, and that all we need to replicate that sense of hope and fulfillment is to find the beauty in the every day: in earth’s natural wonders, in friends, in family, or in the gift of life itself.
-how it describes the calm and comfort we derive from rituals, recitations and routines, even without any religious association.
Bill Taba: Dear Heavenly Father, bless Jeb’s return home to his family and my return to TV dinners, midnight Marlboros, and endless Diet Cokes. In the name of Jesus Christ, amen.
Jeb: Yeah...
Bill: Your last try.
Jeb: ( laughs ) Oh, gosh.
Bill: You know, when the colonists were wiping out my ancestors, we received a prayer of hope that one day, they’d all vanish and the buffalo would return. ( singing in Paiute ) ♪ ♪
Jeb: You think that holds some power?
Bill: Nope. When the white man saw us singing it, they just mowed us down like blades of grass with their Christ-sickles. I like singing it anyhow. Reminds me of home. We all need a home, Jeb, so I think it’s okay to sing it now and then even if I don’t believe it has power anymore. ♪ ♪
OK, I am now rambling in a review that literally no one will read, about a miniseries that literally no one is talking about anymore, so I’m going to wrap this up….riiiiiiight after I rave just a little bit about this cast…because wow, what a smorgasbord of spectacular performances. Truly, every single actor here clearly understood the assignment and gave it their fucking all…and it paid off and then some. Midway through watching, I actually had a revelation of my own…Andrew Garfield is HIM. Like, it just suddenly hit me like a bolt of lightning, that he is so beyond deserving of a spot on my favorite actor list. Big day! As far as I’m concerned, he and Daniel Kaluuya are THE guys shining the brightest in Hollywood right now and it’s a true honor to watch them excel in such high-quality fare. I mean, what Andrew has accomplished here is next-level brilliant; a marvel to behold. And though you may find my praise too fulsome in nature, my enthusiasm is legitimate. Every creative choice he makes, every skillset from his thespian toolbelt he uses, proves note-fucking-perfect. Impeccable, god-tier shit. And there is A LOT asked of him. He must present as conflicted, yet collected, broken, yet put-together, sensitive, yet assertive, frazzled, yet focused, lost, yet laser-focused, soft, yet strong, and so on, and so forth. A layered, immensely complicated character like this demands such a delicate tightrope walk, one that he makes look so easy. He never falters, never missteps, not even once. Every single choice is correct–every glance, every glare, every gesture, every tear, every sigh, every delivery, every expression, every intonation and inflection, EVERYTHING.
He is phenomenal, but so is Daisy Edgar-Jones, who delivers one of the most heart-breaking performances of recent memory. And Wyatt Russell, who is tasked with playing a character with golden-boy charm, manic energy a youthful spirit, a rebellious heart, fanatical zeal, political smarm, and murderous rage. And Gil muthafuckin’ Birmingham, who injects much needed wisdom and wit to the material. And Sam Worthington, Denise Gough, Chloe Pirrie, Seth Numrich, Rory Culkin, Billy Howle, etc. etc.
Ack, it’s just so damn good. Please give it a watch on Hulu. I can’t guarantee any of y’all will enjoy it half as much as I did, but I still think it’s worth a shot!
“Poor Things” review
4/5
“surgery is the new sex.”
Ok, ok, ya I know…wrong film. But, is it not also apt? Does it not apply? Yeah, I thought so. 😉 And I’m sorry for that, because I’m sure it’s considered poor, lazy criticism to compare one work of art to another, but I’m also not a critic…nor am I good at any of this. So, I say the following with no shame…TO ME, AND IN MY OPINION, Poor Things = Cronenberg + Dali surrealism + Verhoeven+ Frankenstein + The Man with Two Brains + Steampunk + Debbie Does…I mean, um, Bella Does Paris (not the plot, per se, but the uninhibited, nonjudgmental sex as a means to quickly raise money), I guess? LMAO Now, please understand, I am not trying to insinuate that this is some ersatz rip-off of a superior project, nor do I seek to slander Yorgos’ spectacular creation… No, no, not at all. This is, without question, a highly original film full of highly original visuals. However, that did not stop my wandering mind from finding connective tissue to other works. And that’s not a bad thing! Every reference in that equation rules!
But, I have to be honest with y’all, I am not that interested in elucidating on the aforementioned. nor am I keen on composing some pointed, in-depth critique of this film. It’s not an indictment on the movie, I just don’t think my voice is really needed here. As you can probably imagine, Poor Things has inspired much discourse and discussion since its release, and as a result, I’m sure that scores and scores of carefully composed, endlessly thought-provoking, and deliciously insightful think pieces have been birthed. And I’m equally sure that for every THIS IS A FEMINIST FILM take there will be a THIS IS A MISOGYNISTIC FILM rebuke. And each opinion is valid and valuable, but the truth is, every angle will have been covered by now. There is nothing I can really offer that hasn’t already been said elsewhere, and by someone far more educated and intellectual than I. And while I have yet to dive into any published compositions, I have seen enough chatter on Twitter to know that there will be a surfeit of them to choose from. So, have at it. Bon appetit mon cheri.
But, as my loyal followers are well aware (all three of you), the vast majority of my Letterboxd/blog “write-ups “reviews” are mostly based on vibes and feelings. They’re VERY VERY emotionally driven, often leaning into some super personal territory, and that’s just how I prefer to approach this task–that’s how the words flow out and that’s who I am as a writer. Straightforward as that. I am also the first to admit that I’m not well-read, not in the slightest, and I’ve always found myself struggling with literary basics, like…the excavation of symbolism or extraction of themes. If it’s not a swift punch to the nose, then I’m prone to missing the point entirely, opting to interpret it based on how I felt, rather than how it was initially intended. And my superficial understanding of most artistic efforts, coupled with my poor comprehension skills & way off-base takes, renders what I have to say mostly meaningless. So why waste anyone’s time? Therefore, I’ll abstain from any and all attempts to pen something of substance and let the erudites do the real work.
But, I will share a few thoughts…
First and foremost, Emma Stone is a revelation. And it’s something of a marvel to watch her slip so seamlessly into this immensely challenging role, to see her capture the multitudinous complexities of such an idiosyncratic, insouciant, transmogrified character. I’ve never seen her exude such confidence before–and while she’s never been what I’d call a timid performer, this is the first time that I’ve felt like she’s really reached her peak as an actor. To play this part, she had to completely shed her Emma-persona, strip off all the layers of built-up insecurities, ignore that nagging self-conscious voice, and put all of her trust and faith into the director, the script, her co-stars, and the filmmaking process itself. And she fucking nailed it, gifting us with one of the greatest performances of recent memory, all without the slightest hint of artifice. She IS Bella Baxter.
As I watched her onscreen, I started to think about her roots as an actor, how she really cut her thespian teeth in comedies, and how much that likely helped her prepare for a project like this. Do you know how fucking hard it is to be funny on camera? How difficult it is to get an audience to laugh, to learn how to tell-and-sell a joke, to be brave enough to fully commit to the bit? You cannot second-guess yourself, you cannot exhibit signs of shame, you just have to be willing to fucking go for it. And I feel like those innate gifts and hard-earned lessons must have proved quite the asset here.
Of course, it’s also very clear that Yorgos and Emma have brought out the best in each other, artistically speaking. They’ve formed a powerful partnership, a creative connection, that’s produced two borderline masterpieces thus far with another probable banger in the can…so, yeah, I think that this is something really special, something generational even…these mutual muses in a state of silver screen symbiosis. Beyond a shadow of a doubt, Emma was the perfect fit for this part, and it was a real delight to watch her star shine so brightly.
The IMAGERY. While the initial scenes are shot in dulled black and white, we are eventually introduced to the vibrancy of the outside world, the world beyond those four dreaded walls. She’d been kept hidden, kept helpless, kept hostage, all because of a man’s selfishness that he’d misinterpreted as love. The creative decision to open the film with grainy grays proved a wise one, as it represented the metaphorical cage she found herself trapped in, the forced repetition of a limited routine, the inadequate intellectual stimulation, the failure to properly socialize her, the educational neglect, etc., etc.. It symbolized her complete and utter lack of freedom. And it did it well. Unlike most viewers, I had abstained from peeking any stills or trailers beforehand. I knew that the poster was in color, but as the screening went on, I began to doubt that we’d ever see a shift from B/W. And of course, that would have been totally fine, but I was left wondering WHY? What was the intent behind it? But, lol, lmao even…because just a few minutes later, BAM! As the door to her prison finally opened, as she crossed the threshold and stepped into a vast, unfamiliar space with a seemingly infinite horizon before her, there was an immediate EXPLOSION of rich, saturated hues, lush and thick, as if you’d been dipped into a Dali painting. Everywhere you look…ART™. Each frame dripping with this dreamlike fantasy, swirly, Seussical surrealism, and a kaleidoscope of colors. It’s Bella’s Wizard of Oz moment–and while there might not be a yellow brick road, she is DEFINITELY not in Kansas anymore. (Also, I know it’s crazy to say this, but some of the sets here reminded me of the Forum Shop at Caesar’s Palace in Las Vegas. iykyk!). Oh, and don’t you fret, the costumes are an absolute serve, too. Victorian avant-garde period pieces with puffy ruffles, exaggerated shapes, and modern-made materials–each evoking the style of the times, but also not? All just a little off, a little different, yet still seamlessly meshing with the unique aesthetic of the buildings, cities and skies above. As Bella’s brain is fed, her soul enriched, the wardrobe choices grow and evolve alongside her. Ugh, these details and creative choices are just so fucking brilliant. and seeing it in a theater was such a stunning experience; a feast for the eyes, adelectable visual treat.
OK, so now to the giant elephant in the room (which in keeping with the spirit of the film, would most likely resemble Salvador’s stork-legged specimen or Kush’s golden-tusked, tuba-headed beastie. If you’ve seen the movie, you’ll understand why lol.), if I’ve been so enthusiastically effusive in my praise, then why only a four-star rating? Why not more? Well, that is a valid question, and one that I, unfortunately, cannot provide a satisfying answer to…because the truth is, I just didn’t LOVE it. It’s as simple and silly as that; a pure gut reaction that I cannot seem to shake. Now, please do not get me wrong, there are moments here that felt miraculous, that left me breathless, that reached the zenith of what this medium can be–and yet, I left the theater somewhat disappointed. My viewing experience was like a walk through a renowned art museum or gallery, where I admired every piece, appreciated each exhibit, but, always felt kept at a certain distance; a palpable disconnect between myself and the works on the wall. And I can’t quite put my finger on exactly why that is, but I do attribute some of it to the script itself, which I found humorous enough, yet still a step-down from Yorgos’ previous effort. Now, granted, The Favourite is practically perfect, so yeah, the bar was set VERY HIGH, but it did leave me wondering if perhaps Deborah Davis was the mastermind behind The Favourite‘s crackling cuntiness and dry, wry wit. Not to diminish what Tony McNamara accomplished here, but I did feel that that extra sharp sizzle was missing. That said, I did greatly appreciate how he wrote Bella as more unfiltered than profane, more candid than crass–an essential delineation–all I wish it that the dialogue had been just a little funnier. But, of course, humor is subjective and I do believe I possess the minority opinion on this. So, your mileage will definitely vary.
Alright, well, I think that’s enough rambling from me, your resident movie-loving moron! TLDR: There’s a lot to adore in Poor Things, but unfortunately, not enough to earn my obsession. It held my attention, but never fully had my heart. Time will tell how it ages in my mind, but a rewatch will definitely be in order once it hits streaming. BUT, SEE IT IN THEATERS IF YOU CAN.
oh and for funsies–here are the paintings the mutant animals in Poor Things reminded me of:
Lake Mungo Review
4/5
A hidden gem. Initially part of the After Dark Horrorfest collection, Lake Mungo truly separates itself from the pack by shirking convention and creating a film that is equal parts haunting and heartbreaking. It manages to make the found-footage mockumentary subgenre feel fresh, using it as a mechanism to tell the story of family struggling to cope with the unexpected loss of a loved one. It’s about bereavement, about hope, about healing; a agonizingly authentic portrayal of the grieving process. And yet, despite those weighty themes, it’s decidedly not a family drama, which is precisely what makes it so unique, so special. Make no mistake, this movie is spooky as shit; an eerie, eldritch thriller that is downright chilling at times. Sad, sorrow-filled, AND spine-tingling.
It forgoes jump scares for slow reveals, opting to let the lingering shots, foreboding atmosphere, and disquieting score build the sense of doom and heighten the tension. Yes, you get creepy, grainy imagery, but it’s not about the SHOCK factor or the element of surprise…it’s better than that.
But, what I appreciate the most about this movie is how committed it is to conveying a universal experience in such an authentic and thoughtful way. It’s raw, real and unflinchingly honest–brutal, yet beautifully cathartic. In this family’s world, the villain isn’t a beastie with sharp teeth, a ghost-faced killer with a kitchen knife, or a masked-menace on a murderous rampage…no, this villain is somehow even more sinister than that…more destructive, more damaging, more dangerous. The villain here is death itself. It’s the horrifying reality that our ending is unpredictable, that we’re not in total control of our fates, that we aren’t always able to protect the ones we love most, that we aren’t promised a goodbye, that tragedy can strike at any moment and that there’s just never enough time. Lake Mungo forces us to confront what we all know to be true, yet work tirelessly to forget. Being cognizant of our own mortality feels cruel and unnatural. And while we all understand that no one is guaranteed a tomorrow, we struggle to accept it, burying that knowledge deep into the darkest crevices of our subconscious. But, try as we may, it’s always there, always lurking, always lingering and looking for an opportunity to grip its icy, rigidly unrelenting fingers around our necks. It wants us to notice it.
And so does this film.
For 89 minutes, we are immersed in our subject’s trauma, in their dolor, in their anguish, watching helplessly as they struggle to stay afloat amidst the crashing waves of despair. For 89 minutes, we are painfully aware of that which frightens us most. And is there really anything more terrifying than that?
I think not.
And yet, as the end credits rolled, I realized that I was no longer choking on the thick miasma of dread that had plagued me throughout. I’d been weighed down by darkness, but now all I felt was relief and release. Exhausted, but unburdened. We (the audience and the fictional family at its core) had finally received the closure we so desperately craved. And I won’t spoil the ending, but it will make you contemplate whether or not there’s any truth to the old adage that death is harder on those left behind…and what it really means to be left behind.
You’ll have to watch to decide for yourself. 🙂
So, yeah, it’s not exactly a traditional Halloween season flick, but it is certainly harrowing. And it will stick with you.
Forever.
…and ever.
Recent Watches…(09/2022-10-2022)
4/5
A love story between a boy and his dog and a director and his movie monsters.
This is Burton at his most tuned in…sharp, focused and wholly in his element. It’s tenderly crafted, weird and wacky, gross yet sweet, and reverential in the best of ways. You can tell that he put his whole whole heart into this one…and it shows. More of this please.
(Also, Sparky is now one of my all-time fav cinematic canines. What a delightful pup)
3.5/5
there is literally a minute or so long homage to Aronofsky’s The Fountain at the end of this movie. I love it for that alone. Also? a lot of relevant social commentary. Oh! And it’s good, too! Currently on the Roku Channel (October 2022)!
5/5
I feel that the first three Toy Story films are Pixar’s best,
but Coco is undeniably the most beautiful… in every way a film can be. A special, and important, cinematic treasure that moves me to tears (the ugly kind lol) every time I revisit it. What a remarkable accomplishment.
1.5/5
A solemn occasion….this marks the first entry into the “Flanaverse” (works by Mike Flanagan) that I didn’t like. Sad! It started off promising, but quickly devolved into CGI-laden, goofy nonsense. If there’s one thing I can’t stand in a horror film it’s cheesy CGI. I fucking hate it. Stop using it. 😭 I don’t mind the spooky possessed child cliché, nor the occasional jump scare, but I draw the line at bad CGI. Practical effects for life. This is a very silly movie with a ridiculous plot and I can’t believe I watched the whole thing. However…my scaredy cat mom and nibling found it inexplicably frightening…the former even said how great an actor the little girl is (??? I hate to pick on children, but I cannot agree!).
4.5/5
Valerie: “Boy, I’d love to find a portal into your brain.”
Kaufman: “Trust me, it’s no fun.”
——
There’s as much here to enjoy as there is to admire.
As smart as it is clever.
As fun as it is funny.
As innovative as it is insightful.
This film is just so fucking great and holds up beautifully all these years later….and so it shall remain. The mind-blown emoji was invented to describe this script.🤯 Nobody out there doing it like Kaufman. Nobody.
PS: this features Meryl at her peak powers, as far as I’m concerned, and is easily one of her best performances.
3.5/5
successful as both a character study and as a high-anxiety war thriller, The Hurt Locker is quite the accomplishment. Not necessarily to my personal tastes, but a really fascinating look at the reasons why a soldier would continue to push the limits, continue to place themselves in harm’s way, continue to choose combat over civilian life. I loved that aspect of the film, but am just not a fan of war-centric action, in general.
Also, surprised to say it, but Jeremy Renner fully deserved that Oscar nom. Top notch work from home, truly. Couldn’t have played that character any better.
3/5
beautifully animated, but not one of my favorite Studio Ghibli entries.
although I did like the part where she said that if she were forced to marry this rando rich dude then she’d kill herself. Disney would never.
2/5
I watched 2 classic 1970s films for the first time this week.
One I loved
One I barely even liked.
And as much as it pains me to say, Carpenter’s Halloween just can’t hold a candle to Spielberg’s iconic creature feature. Is it perhaps unfair for me to compare these two iconic chiller thrillers? of course! But, here we are. 😂 It’s difficult for any film to live up to decades worth of hype and heavy praise, but Jaws surpassed every expectation I had (and then some), while my masked grunting boy, Michael Myers, let me down. I honestly have very little positive to say except I dig the score, liked the mask, and will always appreciate when someone can make movie magic on a shoestring budget. I respect the hustle. The acting, script, plot, etc. just didn’t do it for me. Jaws ripped the competition to shreds in every way. And while I’ll definitely be revisiting that title each year, this will likely be my first and last spooky season screening of “Halloween.”
3.5/5
watching the best of the best purposely play poorly while on baseball’s biggest stage is horribly depressing. like no fun at all. It’s one thing to cheat to win…and weirdly quite another to sink your own team for profit. I felt nauseous the whole time. And damn, the worst part was that those who didn’t participate were still punished the same as those who had…which is wildly unfair?!! Suspension over banishment would have been the right call, but baseball commissioners have always been bad at making decisions tbh. Right from the start apparently lol.
2.5/5
feel like I saw a different movie than most because huh? it was fine, but y’all really have this sitting at a 3.5/5 on here like it’s really fucking solid and I just don’t get it. Kid playing Finn isn’t bad, Ethan Hawke seems to be having a fun time, and I guess it was kinda sweet in a fucked up way…but ya, nothing here elevated this beyond mediocre in my book. Sorry I couldn’t get as much out of it as so many others did!
4.5/5
I hate boats, sharks, beaches, oceans, hunting, etc. but, I loved this. Spielberg magic, baby.
Dudes fighting beasties. Ahoy. I get it now.
4/5
Todd Haynes: Master of Color
4.5/5
I just love this movie so much. It’s a warm hug of a biopic that does a bang-up job of bringing Laura Hillenbrand’s book to life.
I’m unashamedly a big fan of this this film about the little horse that could. Not only did I see it 3x in theaters, but I bought the book, soundtrack and dvd, as well. I loved it then and I love it now. It baffles me that there are those who aren’t won over by it’s charms, but…their loss tbh. 😂 I’ll just be over here wiping the happy tears off of my smiling face for the next hour or so, you miserable ole glue pots. 😉
BROS review
4/5
Let me just start off by saying that I’m so sad to see that this film has become such a source of division within the (online) LGBT community. This little fun, fluffy, flirty flick doesn’t deserve to be dragged through the mud, laughed at, lectured about, or eviscerated by those who haven’t even bothered to watch it. As if performing dismally at the box office wasn’t bad enough, now its been reduced to the Twitter Discourse™ topic of the week–a fate worse than death, tbh. A movie like this should be celebrated and enjoyed with a group of friends, not critiqued ad nauseum by catty, self-righteous dicks who refuse to accept the harsh realities of capitalism. It seems as though our acronym cannot unify over a single fucking thing, not even the idea that supporting a project with a queer cast, a queer writer, a queer leading man, and a queer central romance is good, actually. EVERYTHING has to be a fight. And I’m gonna stop myself here, but just recognize that you do have some, albeit limited, power to turn the tides of the movie industry. If you want more rom-coms, go see them. If you want more stories focusing on marginalized groups, buy a ticket. Our film selections do matter, as money is the only language that the studio-heads understand and box-office returns are the only currency. I’m not trying to preach or shame,” just pointing out the obvious. Do your part or shut up. Hell, I’ve suffered through comic-book movies that I’d otherwise NEVER see, solely because I wanted to support POC/LGBT/female led films. Put my money where my mouth is (and I do NOT have a lot of money)…it’s my only weapon, my only means of enacting change. I’m not trying to be sanctimonious or preachy, just being honest.
BROS is a film that loyally, and lovingly, adheres to a traditional rom-com structure, but manages to set itself apart from the heap with its unapologetic queerness. Gay as fuck with gays who fuck. And it’s about damn time. It may not be the first of its kind, but it’s definitely the funniest.
ALSO, I know that Billy Eichner’s comedic style isn’t for everyone and that he has recently become a rather polarizing figure, but the character he plays in the film is more in-line with his real life persona, rather than a wildly manic, turned-up-to-eleven cartoon (like in Parks & Rec and Billy on the Street). I know that some find him grating and off-putting, but to be perfectly frank, in the context of the film–it works quite well? It’s an opposites attract tale, where a prickly, abrasive, sarcastic, unfiltered loud mouth falls for a straight-laced, closed-off, emotionally unavailable meathead. They make it work despite all the factors working against them. Bobby’s (Billy’s character) erm, eccentric and outsized personality becomes a source of conflict in the film–so, ya, he’s well aware of how other’s see him!
Anyways, I really liked–and almost loved–this movie. It’s nice! And despite being the ONLY human in attendance*, I laughed-out-loud more than a handful of times and had a blast! So, fuck the haters and give it a chance. If you’re feeling down and craving the warm fuzzies that only a romcom can bring, then this is just what the doctor ordered. 🙂
*I posted about this on Twitter, but when I bought a ticket to this show at my local little 6-screen theater, the girl said, “well, you’re the only one, so you can sit anywhere you’d like!” To which I responded “well, I cannot say that I’m surprised!” She then told me about how they haven’t sold many tickets to it, but that she’d heard really good things. I mentioned how I’d ONLY heard good things, just not from anyone locally. And she said (astutely) that our community is just not the right demographic for it. I told her that that was the main reason I was trying to see it opening week and she responded how glad she was that I came! My city is about 100,000 strong and is historically conservative. We haven’t elected a Democrat since LBJ. We picked George Wallace. We picked Strom Thurmond. Ross Perot got more votes than Bill Clinton. We were 3:1 for Trump BOTH TIMES. This is the collective we, not me as an individual who has voted Democrat for 18 years worth of elections. Point is, it’s hell here and if you don’t think homophobia played a role in its underwhelming BO performance, then you’re extremely fortunate to live in a liberal bubble. It’s not the only reason, but it’s a real one that shouldn’t be ignored. It’s not just the outwardly hateful MAGAts who won’t see this, but the seemingly normal and “nice” ones. They don’t want to see a gay romcom. We disgust them. They don’t like our culture. They don’t like our love stories. They don’t like us being equals to them. They don’t want us to have fairy-tale endings. They just don’t. They tolerate us at best, openly despite us at worst. This is a community of “love the sinner, hate the sin” and they WILL NOT support films where we are the leads, where we are in love, where we are happy. I still remember how many walked out during my screening of Ammonite during the lengthy sex scene. They were vocal about their distaste. And that was at the arthouse theater, in our more progressive sister city, where mature, cinema-loving adults go. So, ya, homophobia is alive and well here in southeastern Texas and it fucking sucks. Just because your straight friends are allies, doesn’t mean most of America is. Don’t fool yourself.
FLEE review
4.5/5
“Home is someplace safe. It’s somewhere you know you can stay, and you don’t have to move on.”
If there’s one thing the world is lacking, it’s empathy. And while the vast majority of humans have the ability to place themselves into another’s shoes, far too few seem interested in actually doing it. I suppose it’s just easier to not give a shit, to ignore a nagging conscience, to sever the heartstrings and focus solely on investing in those who look like you, talk like you, act like you, etc. I get it. Emotions are messy, solicitude takes effort, so to hell with it, let’s just narrow the mind & proudly embrace our selfishness…
Ick.
It’s appalling to consider, but how else can we can explain society’s shocking shortage of compassion?
Most of us are born with an innate capacity to connect with other people, to be attuned to what they’re thinking, feeling and enduring. We are hardwired to empathize, yet so many fail to mine this most precious commodity, fail to unlock that which makes us human. It’s a gift, one that must be treasured and held sacred, for it’s what binds us together, what grants us unspoken insight into the psyche of every inhabitant of this planet. Empathy is our common thread. And it’s imperative that we try and tap into that potential, so that we can mend these busted seams, repair this fraying fabric and work to fix that which feels so ripped beyond repair.
Is it naïve idealism to believe that something inborn is the key to world peace? That the salve to heal a global crisis is nestled deep within our chests? Perhaps, but I still maintain that it is within reach and we must never give up trying to achieve that dream. We must keep trying or risk losing everything.
The propensity to care is already planted within the soils of our souls, but the seed must be nurtured and nourished before it can blossom into something beautiful. For some, tending to this burgeoning quality is instinctual, but for others, it’s of great benefit to have a benevolent being shepherd them through. Of course, the truth is that ALL of us are better off with a mentor in our corner, someone who can point us in the right direction and provide us with a blueprint of model behavior to follow. We are inclined to reflect the traits of those we most frequently interact with, so it’s invaluable to have a shining example to emulate. Mimicry is how many of our early social skills are acquired, how our personalities start to take shape, and our values and moral codes begin to develop. Monkey see, monkey do. So, the onus of responsibility is on the adults to demonstrate acts of goodness, altruism and munificence as often as possible. After all, we can’t know what we haven’t learned and it’s been proven that imitation is how we learn best. Unfortunately, not everyone will be lucky enough to have a positive presence in their lives, nor a kindly parental figure to look up to or be inspired by. They’ll never receive lessons on gratitude and generosity, they’ll never feel a tender embrace, nor know what it means to be loved and supported unconditionally. Through no fault of their own, these kids will miss out on so much, be deprived of so much, and have to work twice as hard to get half as far. When a guardian eschew their duties, fails to provide, and neglects to socialize their child, it’s a dereliction that not only leads to personal ramifications, but global. I know it might be difficult to comprehend how something on a small scale can have such a far-reaching impact, but the reality is that we are more interconnected now than ever before and one individual’s actions and opinions can have ripple effects that reverberate outside of their immediate circle, filtering throughout the community, country, continent and beyond.
It’s important to remember that we are all in this together and it will take great effort on each of our parts to combat this empathy epidemic.
The best antidote for ignorance, whether willful or unintentional, is exposure–exposure to different races, ethnicities, sexual identities, religions, backgrounds, ideologies, etc. There are myriad ways to accomplish this, be it through the consumption of diverse media and books, the inclusion of multicultural toys into a child’s routine, the implementation of open, honest discussions, or just through good ole-fashioned interactions with a vast assortment of folks. Even if you live in an homogenous echo-chamber, it’s not difficult to expand your horizons and seek to fill in those knowledge gaps. And you must. BUT, it’s good to have help, which is why I think it’s time for schools to integrate lessons on ethics and empathy into their core curriculum. This could serve as a first step towards an open-mind for some, a supplemental resource for others, and a win-win for all. It’s critical that we introduce today’s youth to as many new concepts, cultures and perspectives as we can. And while social media has undoubtedly brought us all closer together, it’s a technological privilege that many opt to abuse, using it as a means to weaponize hate rather than grow and evolve. The kids that behave that way have been conditioned to belittle and demean, doomed from the start, stuck in a toxic environment where bigots hurl slurs and the talking heads on tv foment dissent and division. It’s only natural for them to parrot the prejudice that they hear, which is why it’s so crucial that educators intervene and instill wisdom and insight, that they teach tolerance and acceptance, while pushing their students out of their comfort zones. These children need to recognize that, yes, we are all more alike than different, but it’s our differences that make us so special, it’s our differences that make this world a better and brighter place, and it’s our differences that should be embraced, appreciated, and respected…not devalued, rejected and feared. We need to deprogram those who never had a choice in how they were raised. We need to give them the opportunity to break the cycle of generational myopia through methods proven to curb implicit bias and increase the liking of strangers. Exposure to diversity early and often is the solution. And what’s so wonderful is that youths are like sponges who soak up whatever the authority figures are presenting and projecting. That can present a real problem, but it’s one that is easily countered with kindness.
So, ANYWAYS, here’s where FLEE fits in, here’s where FLEE can fulfill a larger purpose.
The great Roger Ebert once said that, “movies are the most powerful empathy machine in all the arts. When I go to a great movie I can live somebody else’s life for a while. I can walk in somebody else’s shoes. I can see what it feels like to be a member of a different gender, a different race, a different economic class, to live in a different time, to have a different belief.
This is a liberalizing influence on me. It gives me a broader mind. It helps me to join my family of men and women on this planet. It helps me to identify with them, so I’m not just stuck being myself, day after day.
The great movies enlarge us, they civilize us, they make us more decent people.”
And he’s right. He’s so, so right. Film, as a creative medium, is one of our most effective empathy facilitators and should be utilized in the classroom to expand student’s world views. Movies are more than just mindless entertainment, they’re vehicles for personal and intellectual growth. A 90 minute film can break down sociological barriers that had built up over a lifetime. It can open a child’s eyes a little wider, providing them with an opportunity to experience life as another lives it, to see what they see, and feel what they feel…lessons that are difficult to impart through text or lecture, but effortlessly communicated through a visual medium. Give them that. Give them the chance to change, to move beyond their preconceived notions and let go of their ingrained attitudes and negative perceptions of those that don’t look, talk or think like them. The desire to care is already there, so let’s introduce them to art that can flip a switch and help them embrace diversity. Movies can alter the believe that different means “other.” Movies can dissolve all that impedes our ability to connect with one another. Movies can do that. Movies did that for me. Movies are fucking magical.
Use them.
Use FLEE.
Sure, there are innumerable cinematic contributions that could fulfill this need, but FLEE feels especially pertinent and universally relevant right now. It is a masterful, magnificent work that seeks to shine a spotlight on the refugee crisis, focusing on the real life experience of a young boy escaping war-torn Afghanistan in the 1980’s. And thought the specifics of Amin’s story are obviously unique to him, the film speaks for all of those forced to flee.
And It couldn’t arrive at a more pivotal moment in our history. Right now, there are millions and millions of innocent civilians who find themselves displaced and in search of sanctuary, millions and millions who are presented with two terrible options…abandon the only home they’ve ever known or risk facing poverty, persecution and/or possible death. It’s a wildly unfair predicament with no perfect outcome or solution…a choice between bad and worse. Their only crime? Wanting to survive, wanting to feel safe, wanting to be shielded from the conflict in their native lands. They don’t want to leave, but when the climate become untenable, the alternative is too dire to consider. And once they embark on their journey, it only gets harder before it gets better….if it gets better at all. It’s a gamble, but with no viable alternative it’s their only hope.
Who among us wouldn’t risk everything to protect those we love?
Animated in a refreshingly unique, beautifully imperfect graphic-novel style, this hand-drawn documentary follows our protagonist from age six to adulthood, relying on self-narrated flashbacks to convey the physical rigor and emotional tenor of his nightmarish ordeal. The various illustrative techniques used to visually distinguish between the concrete details of his past, the crisp, clear reality of his present, and the fragmented memories that he’s long-repressed, are all expertly executed and seamlessly interwoven…and the end result is quite the stunning achievement. The artistic team was able to thoughtfully capture all of Amin’s complexities and nuances, while also crafting a rich, immersive rendering of the environment he inhabited. And despite steering clear of rotoscoping and filmed footage, there is still a very authentic, lived-in quality here. It was a creative decision that paid off, not only by granting the subject anonymity, but also by giving the director near limitless potential to interpret these hellish events. Animation offered him the perfect canvas upon which to craft his narrative, maximizing the impact of Amin’s arduous trek while generating more empathy for his plight. It’s difficult for us to digest these heartbreaking stories, to process the horrific imagery and confront the pained anguish in these brave soul’s faces. Syria, Ukraine, Sudan, Venezuela, Myanmar, just to name a few…the atrocities start to blur together as we grow numb to the sufferer’s struggle and strife, opting to look away, to tune it all out or refuse to engage because of how much it hurts and how beyond our control it seems. But the medium that FLEE utilizes helps us swallow it all down, lets us safely slip into Amin’s skin and feel his emotions so acutely…distant, but not disconnected. And soon we start to realize that he is not unlike ourselves, that he’s an equal, a relatable figure that we can bond with…foreign, yet familiar. We marinate in Amin’s anxiety, feeling the weight of his burdens, the sting of societal rejection, and the crippling cultural shock of starting over in a strange new land. The palpability of his fear suffocates, the loss of identity cuts deep, the overwhelming grief consumes and the forced isolation breeds a type of loneliness that no human should ever know. We experience what it’s like to face unrelenting hostility, to be targeted by blinkered bigots and confronted with ire and scorn at every turn. It’s undeniably taxing to walk alongside him, to tread in his trembling, trepidatious footsteps, but somehow it’s never so overwhelming that we can’t go on–which isn’t to say that it downplays the severity of the situation, just that we’re so engrossed and invested that we refuse to turn our backs, refuse to leave him behind. We want to stay, we want to see this through. The visual style absolutely plays a role in helping us digest the more difficult aspects of his recollections, buffering the brutal bits with fuzzy lines and abstract imagery, thus upping it’s palatability…but, it’s more than that, much more…it’s the personal touch that makes this film so special. And it IS special. The framing device allows the story to unfurl organically through a series of interviews between two close friends, wherein Amin shares parts of himself that he’s never told anyone before. As the conversation continues, he settles in and becomes more comfortable opening up and pulling out memories that had lain dormant for decades…his traumas, triumphs and tribulations. It’s a very intense and intimate, but breathtakingly poignant. He is a charming, charismatic individual with an easy laugh, affable nature, and a warm, dulcet voice. It’s an honor to be invited to listen in on this session, to hear him recount the life he’d left behind while reclaiming his past in the process. I was taken aback by the level of vulnerability on display, by the consistent candor, and rawness of the revelations. Amin was only able to divulge his deepest, darkest secrets because of the immense trust built between these two men, the type of trust that can only be earned, never forced, never faked. These are secrets that weren’t buried by shame, but suppressed for the sake of his sanity and safety. So, that mutual respect was key. There is no exploitation here, only willing exploration. It’s not obligatory, but voluntary. And it’s not a one-dimensional snapshot of a refugee, but a portrait of a man with a full life…of a son, a brother, a friend, a student, a survivor, a success, a professional, a college graduate, an Afghani, a Dane, a husband, a cat-lover, a home-owner and a member of the LGBT community.
Amin is a subject worth studying with a tale wholly deserving of the documentary treatment. I was deeply affected by this project and moved in ways that I never could have expected. My hope is that this experience was as healing and therapeutic for him as it was enlightening and uplifting for me. His past, as traumatic and treacherous as it might have been, played a role in shaping him, but it doesn’t define him. And despite all of it, he found happiness. He found freedom. He found love. He found home.
Refugees and immigrants have always been frostily, if not violently, received by xenophobic nativists hellbent on keeping the “other” from “invading” their communities and countries. This certainly isn’t a new phenomenon, but it’s a fiery hate that must be extinguished. I’m so sick of watching these rightwing extremists try to criminalize and condemn asylum seekers, so tired of their jingoistic efforts to callously dehumanize and denigrate entire groups of people. Ethnocentrism is a disease. Racism is a virus. Hundreds of millions are infected. And I believe that films like FLEE can be part of the cure. Right now, those who need to see it the most, won’t, so, let’s introduce them while they’re still malleable and receptive enough to dissolve their personal animus and biases. It’s long overdue, but right on time.
Princess Mononoke review
4.5/5
The Studio Ghibli version of FernGully….
but better?
Dark, violent, and emotionally complex, Princess Mononoke is, at it’s core, a beautifully rendered wake-up call for humanity; an emphatic plea for us to re-evaluate our relationship with nature, to seek harmony between the two realms and find a healthy balance between environmentalism and industrialism. It certainly isn’t a subtle film, but any heavy-handedness is offset by the stunning visuals, compelling narrative, and the overwhelming sense of urgency & universality in it’s messaging.
And while not as idyllic & precious as My Neighbor Totoro or Kiki’s Delivery Service, I would argue that this is another example of a Miyazaki story without an actual villain. Our human antagonists unquestionably behave villainously, but they are not evil. Complicated? Yes. Nuanced? 1000% But, their motivations are not overtly sinister & each of them firmly believes that their actions are right & just. Their misdeeds are not the result of calculated cruelty, innate wickedness or black heartedness, but self-preservation…at the expense of all else. We are especially susceptible to this particular brand of myopia, where we focus so intently on our tribe’s wants & needs that we grow blind to how our selfishness might negatively impact those outside it. Empathy takes effort & discipline, but for the sake of the species, it’s imperative that we all aim to sharpen those skills & grow more connected to the world around us.
The boars, apes, wolves, and all the other forest creatures are justified in their pulsating contempt for humanity, but neither side is presented as all right or all wrong, all good or all bad (life is rarely that simple)… rather, each faction is guilty of doing whatever it takes to protect their own…to survive. The obvious instinct is to go on the offensive, to attack rather than work towards a compromise, but it is essential that we try to reach some version of symbiosis before it’s too late. The onus is on us to facilitate change because we have the weapons, we have the numbers, we have the technology to always win in these smaller, head-to-head battles–but, if we don’t alter our relationship with the environment…we will lose the war.
Miyazaki indicts, but does not crucify humans. He accurately paints us as problematic, but with a clear path to redemption…a way to heal the deep wounds dividing nature & culture. We must shed our egos & recognize that we are all in this together, that no life is more or less important than another, and that long-term sustainability is only possible if we place peace & unity above all else (including or especially profit). It’s so easy to succumb to the ills of greed, power & self-interest & lose sight of what really matters, but we have to fight to find our way back…to learn from our mistakes and recover what was lost (or risk losing EVERYTHING).
Underneath it all, every earthbound being seeks love, safety, comfort and respect and that’s what should bind us, not divide. We all want the same things & in a perfect world, we’d find the proper balance to healthily coexist. Unfortunately, our errors will continue, our mistakes will grow more costly and with each new enlightened human… two more destructive ones will follow…. so, yeah, we are likely doomed to fail, but we MUST try and delay the inevitable. If we don’t try, then we truly are the monsters….we are the demons.
“Cruella” Review
3.5/5
imagine not enjoying this delightful film–could NOT be me!
Ok, so, I’ve seen a handful (pawful?) of critics opine as to whether or not a target audience for “Cruella” exists…or to put it more bluntly, they’ve asked: “WHO IS THIS FOR?” And, well, um…me, I guess? I’m a 35 year-old woman who loves sympathetic origin stories, who enjoys exploring the more complex, gray areas of humanity, who has watched every season of Project Runway, who digs The Devil Wears Prada, who was a punk rock princess growing up, who has a weakness for camp, who adores both the Emmas, who seeks out female-fronted films, who likes the creativity involved in reimagining classic tales and who appreciates the fuck out of onscreen eye candy (actors, costumes, set-design, etc). So, yeah, I was pretty damn pumped and, thankfully, it didn’t disappoint!
I mean, yes, it’s still unabashedly a family feature, so of course there are goofy, silly aspects to it, but it is surprisingly adept at appealing to both younger and older audiences. And, before I hit play, I decided to turn back time & try to reconnect with my past self, hoping to view the film through two distinct, yet connected, lenses: the current iteration and the kid version. Adult me obviously left feeling well fed and satisfied. But, what would little Sunny think? Well, after nestling into that childlike headspace, I found myself assuming the vantage point of someone who loved the animated original, who memorized Simon & Schuster’s Guide to Dogs, who played with the movie tie-in McDonald’s toys every evening in the bathtub, who didn’t understand haute couture & high-fashion, but loved playing dress-up….what would that girl think of this? It’s impossible to know for sure, but I am fairly certain that she would have enjoyed it, too! I would have gone into it petrified that I’d bare witness to a mad-woman & her henchmen slaughtering and skinning a bunch of polka-dotted pups….a) because I was a huge huge HUGE dog lover & thus firmly on team Dalmatian and b) I’m not someone who belongs on an FBI list! But, thankfully, this film opts to skirt that issue, just briefly touching upon the possibility that she…might MIGHT think they’d make for a fabulous fur frock. But, for the bulk of the run-time, dogs seem to like & respect our glamorous, gifted anti-hero (and vice-versa)! Dogs were friends! Dogs were allies! Sure, it starts off with her having a…rather complicated relationship with the trio of spotted hounds, but it morphs and shifts as the movie progresses. Adult Sunny cried about ten times start-to-finish….and I believe that young me would have, too. We’ve always been a little too mushy, a little too emotionally invested, a little too moved when it comes to matters of the heart. I am a natural empath, after all. And, to a certain extent, that trait resides within Estella, as well. She cares. She feels. She loves. She knows & extends compassion (at times). That is a part of her, even if there are darker elements present, too. In the original 101 Dalmatians, Cruella was portrayed as a full-on psychopathic demon creature; a truly terrifyingly unhinged woman without a shred of decency. And I, for one, fully support the softening of the character. I mean, why the fuck not? The translation from cartoon to live-action provided an opportunity to ground the story in reality–I mean, not COMPETELY, obviously, but enough to make her feel human. I was ten when the Glenn Close version was released & found myself positively petrified of her exaggerated facial expressions and over-the-top theatricality–so I skipped it (and to this day I’ve yet to see it!)! I was a timid, sensitive little thing (and to a certain extent, I still am). So, I assure you that I would have been much more receptive to this specific adaptation.
So, I guess to answer those critic’s queries: this film was for me….then & now. I can also confirm that it was for my 40 year-old sister, my 11 year-old niece and even the 6 year-old enjoyed it (though she admittedly fell asleep towards the end!). I don’t know y’all, but I thought it was fun as fuck. Delightful at times, tragic at others, and never taking itself too seriously. I mean, it’s not the best movie ever made, but it didn’t need to be and it wasn’t trying to be! HOWEVER, it *IS* great at being entertaining, at balancing tone, at gifting us some delicious back-and-forth banter between two sensational actresses, at pleasing the ears with a killer soundtrack (even if, yes, some of the needle drops are dopey as hell–I assure you that kids will like that!), at showcasing sumptuous sets, at creating cool, clever costume designs (that both Emmas rock the hell out of), and just… delivering on what was promised. What more did you want this film to be? It is exactly what we were expecting and, in my case, that’s a very good thing! You can hate Disney all you want, but this was a solid outing & I have no serious gripes. I’ll definitely be re-visiting it in the not-so-distant future!
The Mauritanian Review
3.5/5
a fairly formulaic procedural that dutifully checks off all the genre boxes without ever feeling tedious or tiresome, The Mauritanian manages to escape mediocrity thanks to a compelling subject matter & a quartet of convincing performances. My main quibble is that the dialogue has the tendency to veer into trite, clunky, uninspired territory. I can’t help but wince every time a character’s words ring inauthentic. Give me realism, even if it’s just a bunch of pleasantries, legalese and shoptalk. I mean, some writers have a gift of penning dialogue that sings, that flows, that pops, that just…works, even when it’s clear that no one in the history of mankind has ever spoken that way–Sorkin immediately comes to mind. But, this isn’t a film with flair, it’s a by-the-book courtroom drama…so, I’d prefer it to feel as true-to-life & believable as possible (while still managing to entertain. BALANCE my friends!). I know I expect too much, but I think we can all agree that the script could have used a bit more work and that it’s easily the weakest element. The main draw here is the stellar cast & the central story–one that is equal parts harrowing, infuriating, and painful to endure–and it’s absolutely worth a watch for those reasons (and those reasons alone–save for one prolonged torture segment that’s actually quite interestingly shot…nightmarish, twisted, frenetic, disorienting). And as with most “based on a true story” films, we know the outcome before it begins, yet the conclusion still proves satisfying, bringing us a much-needed sense of relief and release…now that doesn’t mean we forget the horror and hell that preceded it–the blatant, sadistic abuse of power, the soulless corruption, the cruel & unusual military tactics, the terroristic, retaliatory, inhumane mistreatment, –but, we do get a touch of warmth, a dash of hope, and a welcome glimpse into his post-prison life. Our nation beat him, bloodied him, but never broke him. Our nation let him down–stripping him of his dignity, his family, his freedom–but, two brave, principled individuals stepped up. He is a survivor of the most egregious of injustices and I’m glad this film was made, I’m glad his book of letters was published, I’m glad his lawyers/friends exist, and I’m grateful that, in the end, truth prevailed.
“Wolfwalkers” review
5/5
I want to hug this film.
I’m ashamed to admit that I don’t watch a lot of animated features–it’s not an intentional bias, but I definitely have a bad habit of prioritizing live-action fare. I always intend to check off titles on this ever-growing list of revered animated films, but somehow they keep getting pushed to the back of the line. I need to work on that, trust me, I know. But, at least I overcame that subconscious prejudice last night, making time for this Oscar-nominated darling….because….wow, just wow.
I *LOVED* it. I know this is going to sound like hyperbolic nonsense, but I literally sobbed off-and-on throughout the entirety of this masterpiece. It started within 20 minutes (Merlyn!) and didn’t truly let up until after the end-credits rolled. It was a combination of elements that had my eyes brimming and nose sniffling–the unparalleled beauty of the animation, the impressive world-building, the astute, well-integrated observations on the human/nature relationship, the folklorian mysticism, the burgeoning friendships, the familial bonds, the blend of mirth & myth, the lush layers of the rendered forest, the strong, affecting vocal work, the stirring score and note-perfect song choices, as well as the high, high stakes driving our lead character’s impulses and decisions. I simply could not hold it together, moved to tears by nearly every facet of this enchanting, brilliantly-constructed cinematic treasure. It’s pure, undiluted magic & an absolute delight to watch. I implore everyone to head on over to Apple+ and dive-in!
You will NOT regret it. Guaranteed.
and this should go without saying, but if you’re a dog-lover….you’re ESPECIALLY in for a treat. arroooooooo!
a maze and perplex 