93rd Academy Awards: The 2021 Oscar Prediction Post

Estimated Reading Time: 3 hours 47 minutes 22 seconds

The Academy Awards are once again upon us and the biggest question about them is…does anyone give a rat’s ass?

As the show’s dwindling ratings prove, interest in the once mighty Oscars has been in steep decline in recent years. It would seem the perfect storm of a plethora of streaming service tv shows and reduced attention spans, as well as a paucity of genuine movie stars and a plenitude of identity politics has wounded, maybe fatally, the once iconic awards.

As a denizen of Hollywood, I’ve never experienced an awards season that has generated so little interest. It appears that even though, due to streaming services, movies are more available to more people than ever before, they seem to have never mattered less.

Part of the reason for that is that, for a vareity of reasons - not the least of which was Covid, 2020 was just a cinematically lackluster year. A handful of good movies came out this year, but no truly great ones, and certainly no films that ignited the public’s passions.

With that said, the reality is that it is my sworn and solemn obligation to share with you my Oscar picks. Please remember that these picks are NOT TO BE USED FOR GAMBLING PURPOSES!!

BEST SUPPORTING ACTRESS

Who will win: Yuh-Jung Youn (Minari) - Not a fan of this movie or this performance, but it checks a diversity box Academy members want to celebrate. I personally think Amanda Seyfried (Mank), Olivia Colman (The Father) and Maria Bakalove (Borat) are considerably more deserving. There’s an outside chance Bakalove pulls the upset…but don’t bet on it.

Who should win: Seyfried or Colman.

BEST SUPPORTING ACTOR

Who will win: Daniel Kaluuya (Judas and the Black Messiah) - This is a slam dunk, and deservedly so. While I liked Paul Raci (Sound of Metal) and LaKeith Stanfield (Judas and the Black Messiah), Kaluuya crushes his role as Fred Hampton.

Who should win: Kaluuya

BEST ORIGINAL SCREENPLAY

Who will win: Promising Young Woman - Emerald Fennel : This is one of the few interesting categories. I think Fennel wins because the Academy is desperate to to appease the woke wolves at its door, and Fennel is a woman so she qualifies. There’s a pretty good chance that they give the award to Aaron Sorkin for his atrocious The Trial of the Chicago 7. That movie is dreadful and the script a joke, but it taps into the whole self-righteousness of the moment. That said…I think Fennel gets the nod.

Who should win: Sound of Metal - Darius Marder

BEST ADAPTED SCREENPLAY

Who will win: Nomadland - Chloe Zhao: I think Zhao and Nomadland are the big winners come Oscar night…but if Florian Zeller wins this award (which I think he should) for his adaptation of The Father, it could be a monkey wrench into the Nomadland dominance.

Who should win: The Father - Florian Zeller

ANIMATED FEATURE

Who will win: Soul. This is a no-brainer. I liked Soul and it is certainly an antidote to our tumultuous times. Also…the Pixar machine is unstoppable.

Who should win: Soul I guess.

PRODUCTION DESIGN

Who will win: Mank - I think Mank finally gets on the board here. if it loses this category it may very well get shut out of all awards. The big competition will come from Ma Rainey’s Black Bottom.

Who should won: Mank.

COSTUME DESIGN

Who will win: Ma Rainey’s Black Bottom - I think Ma Rainey and its popular costume crew win here for a variety of non-merit based reasons. If Mank wins, which it could, that is a big deal and could portend a mini-Mank run in some behind the camera categories.

Who should win: Mank.

MAKEUP AND HAIR

Who will win: Ma Rainey’s Black Bottom. Same as above.

Who should win: Mank.

EDITING

Who will win: Sound of Metal - There’s a chance that Trial of the Chicago 7 could win (God help us), but I think Sound of Metal pulls it off. If Nomadland win then look out, that is a sign it will win a huge amount of hardware on Oscar night.

Who should win: Sound of Metal

SOUND

Who should win: Sound of Metal - Outside chance that Mank or Soul win, but that seems very unlikely. if Mank wins it is another sign of a big night for that movie…but that seems unlikely.

Who should win: Sound of Metal

VISUAL EFFECTS

Who will win: Tenet - This seems like it’s going to happen.

Who should win: I’ll be honest…I don’t know.

SCORE

Who will win: Soul - Jon Batiste, Trent Reznor and Atticus Ross: This seems like a slam dunk too. An outside chance Terence Blanchard wins for his bombastic score to the equally awful Da 5 Bloods.

Who should win: Soul.

DOCUMENTARY FEATURE

Who will win: My Octopus Teacher - I’m not sure why but people love this movie and I think the votes for potential winners Collective, Crip Camp and Time get split and the octopus wins.

Who should win: No idea.

INTERNATIONAL FEATURE

Who will win: Another Round - I think this beats out Qou Vadis, Aida by a nose.

Who should win: Another Round.

CINEMATOGRAPHY

Who will win: Nomadland - This is a bellwether award…if everything goes to plan then Nomadland should win and clean up at the Oscars. If Mank wins…its gonna be an interesting night because that signals Mank has a ground swell of support and Nomadland is floundering.

Who should win: Mank. Nomadland is extremely well shot by Joshua James Richards, no doubt about it, but my tastes run slightly more towards Erik Messerschmidt and Mank.

BEST ACTOR

Who will win: Chadwick Boseman (Ma Rainey’s Black Bottom) - This is set in stone. With Boseman’s tragic death and the narrative around the award, it would be an absolute shocker of the highest order if anyone else won. The only other potential winner is Anthony Hopkins for The Father…but that ain’t happening.

Who should win: Anthony Hopkins. Boseman is very good in Ma Rainey…but Hopkins is on another level in The Father.

BEST ACTRESS

Who will win: Viola Davis - Ma Rainey’s Black Bottom : This is one of the very few interesting categories. Frances McDormand is the front runner but I think that the fact that she won recently (Three Billboards Outside Ebbing, Missouri) and a win here would put her in Meryl Streep territory with 3 Oscar wins, the Academy will look to feed the diversity beast by awarding Davis for her sub-par performance in that dreadful movie.

Who should win: Carey Mulligan - Promising Young Woman : I thought Mulligan was better than everybody else.

BEST DIRECTOR

Who will win: Chloe Zhao - Nomadland : This too is a slam dunk. No way Fincher or Vinterberg pull of an upset. Just impossible.

Who should win: Fincher, Vinterberg or Zhao. Three different directors making very different films all did solid work.

BEST PICTURE

Who will win: Nomadland - This is happening. There is no stopping the Nomadland juggernaut. If Mank or (GOD HELP US ALL) The Trial of the Chicago 7 win, that is a sure sign of the apocalypse.

Who should win: Mank or Sound of Metal. They won’t win but I think they should. Nomadland is a good movie, but I thought these two were a little better.

Here’s the rest of the categories of which I have no opinion just a guess…

ORIGINAL SONG- One Night in Miami

LIVE ACTION SHORT - Two Distant Strangers

DOCUMENTARY SHORT - Concerto is Conversation

©2021

The Father and the Media's Dementia Simulation Machine

The Oscar-nominated The Father is a masterful film about living with dementia…and a reminder that the mainstream media is a dementia simulation machine.

The film immerses viewers in the confusion of dementia – the same sort of bewilderment caused by US media misinformation to disorient the public and make them easier to control and manipulate. 

The Father is a terrific movie that tells the story of an aging man struggling with dementia, and it has left me rattled as it’s uncomfortably reminiscent of the delusional and disorienting nature of American life.  

The film is rightfully nominated for Best Picture at the upcoming Academy Awards as it showcases a superb performance by Anthony Hopkins who was nominated for a Best Actor Oscar for his stellar work.

What makes The Father such a poignant and insightful film is that director Florian Zeller doesn’t just show the effects of dementia on the screen, he immerses the audience in the excruciating experience of dementia.

Watching the film and experiencing that disease-imposed confusion, I couldn’t help but think about how, here in the U.S. at least, it feels as if our entire culture is suffering from a collective dementia. The disorientation and detachment from reality that come with that dreaded disease are entirely commonplace in America, where we seem incapable of remembering the past, or of clearly seeing the present.

This rapacious American dementia is fueled first and foremost by the mainstream media’s manipulation and misinformation.

The establishment media have long distorted reality in order to manufacture consent around a desired narrative. This is why Americans always see themselves as the “good guys” on the world stage and not as the imperialist aggressors and colonialist exploiters that we are.

For proof just look at the flag-waving coverage surrounding the Iraq war and the WMD nonsense, or the egregious media assaults on Julian Assange and Edward Snowden compared to the genuflecting coverage of infamous bs artists like Chris Kyle, George W. Bush and Barrack Obama.

This duplicitous media approach can often be so blatant as to be ridiculously absurd, such as when CNN described the rioting, looting and arson last Summer as “mostly peaceful” protests.

The same is true regarding the current wave of anti-Asian violence. The media blame the attacks on the ever-expanding yet conveniently amorphous label of “white supremacy”, but the videos and statistics regarding these repugnant attacks against Asians show black people are the majority of perpetrators, a fact the media steadfastly fail to mention.

Another dementia-like distortion caused by the media is the perception that police are killing black people en-masse.

As a 2021 Skeptic Research Poll found, most Americans greatly over-estimate the number of unarmed black people killed by police.

When asked “How many unarmed Black men were killed by police in 2019?”, 53.3 % of those self-described as “very liberal” estimated that over 1,000 unarmed black men had been killed by police, even though the actual number is believed to be between 60 – 100.

According to the same study, 24.9% of people killed by police are black, yet those self-describing as “liberal” or “very liberal” estimated the number to be 56% and 60% respectively.

This detachment from reality is no shock as according to a Gallup poll over half the country already over-estimates the size of the black population in general, believing it to be over 30% when in reality it is roughly 14%.

The over-estimation of police killings of unarmed black men is to be expected as every killing of a black person by the police or by a white person results in massive media coverage and a declaration that the only motivation for the incident is racism. In contrast the deaths of white people at the hands of police or by black perpetrators are not considered noteworthy.

The anti-Russia hysteria is another establishment media manufactured narrative that is directly at odds with reality, but that is deeply rooted in the American psyche.

Russiagate, hacking of electrical grids, using super-secret microwave weapons to attack U.S. diplomats, and putting bounties on U.S. soldiers in Afghanistan, are just a few of the dominant pieces of anti-Russian disinformation devoid of fact that the media tout as gospel truth.

The immigration crisis is another bewildering story disorienting Americans. The media vehemently chanted the mantra “kids in cages” when Trump detained children at the border, but were silent when Obama did the exact same thing during his presidency. And now that Biden is doing it too, the media are back to downplaying its significance or ignoring it entirely.

And of course, the most perplexing media coverage surrounds the coronavirus. Originally the press excoriated anyone who raised the notion that the disease may have come from a lab in China, but now the truth that they aren’t sure where it initially came from is acknowledged.

The medical establishment is just as perfidious and deceitful as the media.

For example, Dr. Fauci knowingly lied early in the pandemic about the need for masks.

And last Summer a collection of medical professionals said that no large groups should gather, except for Black Lives Matter protests, making the obscene and absurd claim that the media manufactured “epidemic” of racism was just as bad as the coronavirus pandemic.  

In addition, concerns over vaccinations are broken down by race, with white concerns stigmatized and black concerns gently understood.

Just like dementia, this insidious media and medical duplicity creates stress, irritability and aggression among the populace.

In conclusion, The Father is a masterful film insightfully exploring the tragedy of dementia, and the hypocritical, pernicious, frivolous and mendacious establishment media are a relentless dementia simulation machine. The former is worth indulging, the latter is terminal and should be avoided at all costs.

 A version of this article was originally published at RT. 

©2021

Another Round: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A fascinating film featuring a terrific performance from Mads Mikkelson.

Language: Danish with English sub-titles.

Another Round, written and directed by Thomas Vinterberg, tells the story of Martin, a teacher suffering a mid-life crisis. The film, which is nominated for Best International Feature Film at this year’s Academy Awards and is currently streaming on Hulu, stars Mads Mikkelsen as Martin, with supporting turns from Thomas Bo Larsen, Magnus Millang and Lars Ranthe.

Director Thomas Vinterberg is a fascinating filmmaker. Vinterberg was, along with Lars von Trier, one of the founders of the Dogme 95 movement from the 1990’s which featured a bare bones cinematic aesthetic that emphasized story, acting and theme over elaborate special effects and technology.

His 1998 film The Celebration, which was the talk of the arthouse at the time, was the first of the Dogme 95 films and is not just a fantastic representation of that philosophy but also just a terrific film. If you have never seen The Celebration, I highly recommend you do.

Dogme 95 no longer exists, but the spirit of it lives on in Another Round, and the film is a wondrous example of that yearning for cinematic purity in action.

Another Round is an amazing film in that it is a dark comedy but also a profound drama. This merging of humor and profundity may be the result of the tumult and tragedy which surrounded the film’s production.

The idea for the film came from a play Vinterberg was writing which was partially inspired by stories his daughter Ida told him about drinking in Danish youth culture.

Ida was set to have a supporting role as one of Martin’s daughters in the film, but tragically, four days into filming, Ida was killed in a car crash. She was 19.

In this context it is no surprise that the existentialism of Another Round hangs over the film (which is dedicated to Ida) like a heavy, dark storm cloud, and gives it the gravitas that makes it such an interesting drama. And yet, Vinterberg is still able to masterfully turn the movie into a yearning for life rather than a commentary on death.

Vinterberg’s ability, both as writer and director, to create compelling characters and dynamic drama is extraordinary, and he is assisted in this endeavor on Another Round by the magnificent Mads Mikkelsen.

Mikkelsen as Martin adds to the weight of the project, as he opens the film looking like a man carrying the heavy cross of a lifeless existence, a burden under which he is suffocating. Martin’s fear of an empty life trapped within the prison of middle-class respectability make him a tortured soul, and a compelling character.

Mikkelsen is as unique an actor as Vinterberg a director. Mikkelsen is blessed as an actor, as he is impossibly handsome, yet not a pretty boy, and his face conveys a depth and complexity that draws in viewers and tells a story all its own. Mikkelsen brings a magnetism and power to the screen and combines it with a high level of craftsmanship, which results in a truly dynamic and captivating performance as Martin.

If you’re interested (and you should be), another Vinterberg/Mikkelsen film of note is 2012’s The Hunt. The Hunt, like Another Round, is a remarkable film and it highlights what is best about both Vinterberg and Mikkelsen as artists.

Another Round is also elevated by terrific supporting work from Thomas Bo Larsen, Magnus Millang and Lars Ranthe. This trio, as well as Maria Bonnevie as Martin’s wife, bring a grounded complexity to roles that in lesser hands could have been caricature.

In case you haven’t noticed, I’m intentionally being elusive about the plot of Another Round because I think it’s definitely worth seeing and it’s best seen with as little information about the story as possible.

In conclusion, Another Round is very deserving of both the Academy Award for Best International Feature Film and of your attention. I highly recommend you see it. But be forewarned, it is an arthouse, foreign film (Denmark), so its pacing and plot may feel a little unconventional to viewers used to more mainstream fare, but also note that it isn’t so unorthodox as to be incomprehensible or off-putting. The bottom line is…if you like great cinema and great acting, you should see this movie.

©2021

The Father: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. An astounding performance from Anthony Hopkins and skilled storytelling make this movie an arthouse gem.

The Father, written and directed by Florian Zeller (based on his stage play Le Pere), tells the story of Anthony, an aging man suffering from dementia. The film stars Anthony Hopkins with supporting turns from Olivia Colman, Imogen Poots and Rufus Sewell.

Anthony Hopkins has long been one of the very best actors on the planet. Ever the consummate craftsman, Hopkins has throughout his career managed to conjure remarkable performances in roles as dramatically diverse as Hannibal Lecter, Richard Nixon, John Quincy Adams and Pope Benedict, not to mention his measured and constrained brilliance in The Remains of the Day, Howards End and Shadowlands.

Now at age 83, Hopkins surpasses all of his previous brilliance in The Father.

Hopkins is not going to win the Best Actor Oscar this year solely because the late Chadwick Boseman is such an overwhelming sentimental favorite, but that doesn’t mean Hopkins’ loss will not be a travesty.

As the dementia-addled Anthony, Hopkins brings all his astounding talents, skill and craftsmanship to bear for what might be his final piece of artistic genius. Hopkins’ performance is utterly astounding and is an exquisite masterclass in precision, detail and specificity.

Hopkins’ Anthony is a modern day King Lear filled with a ferocity and fear that gives him a sharp edge and a pulsating fragility that is never flamboyant or showy, just devastating.

Hopkins has always been a master of placing emotional circles within physical straight lines, this is how his Hannibal Lecter is so frightening and his Nixon so compelling. It is the vibrant inner life within the controlled and contained outer facade that gives Hopkins his power as an actor, and in The Father, that power goes supernova.

Aiding Hopkins is Olivia Colman who is stellar as Anthony’s daughter and caregiver Anne. Colman too gives Anne a pulsating inner wound and emotional vibrancy that makes her a complicated, compelling and captivating In some ways screen presence.

Imogen Poots and Rufus Sewell bring their considerable talents to bear on smaller roles, but elevate them and the film considerably.

In some waysThe Father feels like a horror movie because it so viscerally immerses the audience into the terror of life with dementia. The disorientation Anthony and the audience experience is unnerving and leaves you praying that this movie is the closest you will ever come to that level of dreaded disorientation.

The credit for that experience is first time feature film writer/director Florian Zeller. Zeller is a playwright of some renown and The Father is his major first step/leap into the art of filmmaking. Zeller’s wonderfully constructed script and deft direction magnificently flesh out the intricacies and insanities of Anthony’s dementia-addled mind. His storytelling is confident and seamless, and his ability to never rush, push or over-explain, turn The Father from a potential movie-of-the-week afterthought into an arthouse masterwork.

With The Father Florian Zeller is declaring himself as a filmmaker to watch going forward, while Anthony Hopkins is simply proving he is one of the greatest actors of his generation. We should appreciate him while he is still with us.

If you have ever known or cared for someone with dementia or Alzheimer’s, The Father will be a difficult but worthwhile watch, as art of this caliber can be greatly cathartic. For lovers of great acting and storytelling, The Father is definitely for you, and I highly recommend you seek it out.

The Father is currently in theatres and on VOD.

©2021

Godzilla vs Kong: Review and Commentary

****WARNING: THIS ARTICLE CONTAINS SPOILERS!!****

My Rating: 2 out of 5 stars

My Popcorn Movie Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. If you love monster movies you should like this one. If you are ambivalent about monster movies then don’t waste your time.

Godzilla vs Kong, directed by Adam Wingard, made a big splash at the box office when it premiered internationally last weekend, and has generated a lot of attention in the U.S. as it opened on Wednesday in both theatres and on HBO Max.

The film, which stars Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall and Brian Tyree Henry among many others, is a sequel to both Godzilla: King of the Monsters (2019) and Kong: Skull Island (2017), and is the fourth film in Legendary’s Monsterverse franchise which kicked off in 2014 with Godzilla.

I’m always interested in monster movies because they feature rich myths that express deeper truths regarding their time and place and are ripe with opportunities for insightful metaphor and allegory.

For instance, beginning with the first King Kong film in 1933, the Kong story was an allegory for colonialism and slavery, as he was stolen from his tropical homeland by outsiders and brought to America in chains and exploited for profit.

Cinematically born in post-war Japan by Toho Studios in 1954, Godzilla was a metaphor for the perils of atomic weapons and American imperialism, and the embodiment of nuclear age anxiety.

As the world has changed, so has the metaphorical meaning of the monsters. Kong has grown to represent, at least in American eyes, the U.S. He is a primate, warm blooded and big hearted, who is ferociously protective of those he loves, and Americans are delusional enough to see themselves and their nation in his good qualities.

Godzilla has transformed from being a lizard-brained menace to being a hero, and even the previous Legendary films Godzilla and King of the Monsters paint the cold-blooded beast as a guardian of humanity and environmental protector.

In this context, Godzilla vs Kong strikes me as an allegory about the transition from a uni-polar world with America the lone superpower to a multi-polar one where China and the U.S. are equals, with Godzilla representing China and its bid for global dominance and Kong the U.S. fighting to maintain its alpha standing.

The cinematic evidence supporting this thesis is that American favorite Kong is the main protagonist in the story, and that the U.S. military fights on Kong’s side when the monsters battle.

In a nod to China’s status and power, Godzilla proves his alpha dominance by forcing Kong to submit and also obliterates the U.S Navy when it defends Kong.

It’s also conspicuous that the moviemakers set the climactic battle between Kong and Godzilla in Hong Kong, which is a city which can simultaneously represent different things to the film’s two largest target audiences…China and the U.S.

To Americans, the Let’s Get it on In Hong Kong battle can be interpreted as Kong (U.S.A.) fighting for democracy against the tyranny of China. In China it can be interpreted as the city merely being collateral damage in the wider battle against the imperialism of the west.

Of course, with the film ending with both Kong and Godzilla saving face and being victorious, Hollywood is simply trying to kiss two asses at once and stay in the good graces of both China and the U.S. and their massive audiences.

Another interpretation could be that the third monster in the movie, Mecha-Godzilla, is supposed to be representative of the corporate titans of the tech world that are maneuvering to rule us all, and that Kong (U.S.A.) and Godzilla (China) must work together to stop the seemingly all-powerful globalist tech behemoth. Considering that the tech industry, the U.S. and Chinese government, and Hollywood are like the evil three-headed monster Ghidorah, and work in unison to horde profits, power and spread propaganda, this interpretation isn’t as compelling.

A more likely scenario is that I’m just reading way too much into the popcorn delivery system that is a mindless monster movie.

The bottom line is that as a piece of cinematic art, Godzilla vs Kong isn’t exactly Citizen Kane, but as a monster movie it’s entertaining, especially in contrast to the three Monsterverse films leading up to it which were decidedly disappointing.

Sure, the film gets bogged down in a bevy of exposition and entirely incomprehensible plots involving conspiracy theories, hollow earth and some corporate nefariousness, but all that tomfoolery fades away once the CGI creations start stomping the earth and beating the crap out of each other.

Thankfully the movie also eschews the emotional preening so prevalent in the earlier Legendary ventures and simply lets the monsters battle it out. And the big fights are well executed, proficiently filmed and efficiently choreographed for prime viewing of the carnage, something also lacking in the muddled visuals of previous Monsterverse movies.

As for the fights, my critique is that Kong is like former Heavyweight champion Deontay Wilder in that he is much too reliant on big right hands. Kong needs to develop and then utilize a jab to keep a short-armed in-fighter like Godzilla at bay. To Kong’s credit though he is a great closer with his signature double fisted beat down move.

Godzilla is just a monster…literally. Despite short arms he has a long and powerful tail that can cause serious damage when whipped, and of course boasts some of the deadliest atomic breath around. Godzilla is sort of like George Foreman before the Rumble in the Jungle in 1974…just a horrifyingly big, strong and brutal fighter.

The Godzilla-Kong fights are what everybody is tuning in to see, and while there weren’t enough of them for my taste…the ones that did happen were pretty good so I will take what I can get.

As for whether Godzilla vs Kong is good or its deeper meaning, the film business couldn’t care less, it just cares that the movie raked in $123 million from overseas markets in its opening weekend, a Covid era record.

This seems to indicate that the Hollywood beast is awakening from its Covid slumber and is prepared once again to slouch across the globe asserting its malign influence. The U.S. and Chinese governments will be thrilled to have their reliably pliable Hollywood propaganda monster back in the game.

 A version of this article was originally published at RT.

©2021

Borat Subsequent Moviefilm: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2.75 out of 5 stars

My Recommendation: SEE IT/SKIP IT. Not a great film by any stretch, and not as good as the original Borat, but it has some cringe-induced laughs and a gloriously balls to the wall performance from Maria Bakalova.

Borat Subsequent MovieFilm, directed by Jason Woliner and written by Sacha Baron Cohen and a cavalcade of others, is the sequel to the 2006 mockumentary Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakstan. The new film once again documents intrepid foreign tv personality Borat as he journeys through America. The film stars Sacha Baron Cohen as Borat with a supporting turn from Maria Bakalova as Borat’s daughter.

Sacha Baron Cohen came to prominence in 2002 with Da Ali G Show , which showcased his distinct brand of cringe comedy . Cohen’s dim-witted Ali G convinced regular and famous people alike into taking his buffoonery seriously and it made for some hysterical moments.

Da Ali G Show also featured two other Cohen characters, Bruno, a gay Austrian fashionista, and the aforementioned Borat.

Cohen brought Borat to the big screen and reaped a box office bonanza in 2006 with Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakstan, instantly becoming a cultural icon and meme generator. Cohen followed up that success with Bruno in 2009, which wasn’t as big a hit as Borat but still was a massive box office success.

Since 2009 Cohen has gone away from his signature mockumentary style cringe comedy and has tried to find success in more orthodox movies, both comedy and drama. That success has been somewhat elusive, in part because Cohen is so identified as being Borat. For instance, it is difficult to watch him star in the serious Netflix drama The Spy because you keep expecting him to do something inappropriate and say “niiiice!” Although things might be changing for Cohen as he was just nominated for a Best Supporting Actor Academy Award for his work, which I thought was atrociously bad, in The Trial of the Chicago 7.

Regardless of all that, I was surprised that Cohen came out with a new Borat movie now. It seemed like both the Borat cultural moment had passed and that dredging it up would only further hamper Cohen’s attempt at becoming a “legitimate” actor.

So when Borat Subsequent MovieFilm premiered on Amazon Prime in October of 2020, I made no effort to watch it. After months of putting it off I have finally taken the plunge.

Borat Subsequent MovieFilm is not as good as the original Borat…but it will certainly satisfy those who have a taste for Sacha Baron Cohen’s particular brand of comedy.

The movie is a shameless piece of anti-Trump propaganda (which is probably why it is nominated for a Best Original Screenplay Oscar - which is absurd), but just because it is propaganda doesn’t mean it isn’t funny. The movie is, at times, uproariously funny. The most remarkable thing about it though is that Sacha Baron Cohen is totally outshined in lunacy by his fearless co-star Maria Bakalova. Bakalova, who plays Borat’s maligned daughter Tutar Sagdiyev, is ferociously funny as she sheds all inhibitions and even leaves her famous co-star looking a bit shell-shocked.

Bakalova is nominated for a Best Supporting Actress Oscar for her performance, which is unbelievable not because she is undeserving but because the subject matter of the film is so outrageous. What sets Bakalova apart is her unabashed courage at diving into the most absurd and often repulsive scenes. The father-daughter dance at the Dallas debutante ball is so horrifying as to be gloriously amazing, and if she wins the Oscar I hope she recreates that dance when receiving her statuette.

In terms of the propaganda power of the movie, it seems more cathartic than persuasive. I mean, if you loved Trump and watched the movie it wouldn’t change your mind. Liberals will adore the movie’s political perspective and will no doubt only have their beliefs further reinforced, which isn’t necessarily a healthy thing, but this is life in 21st Century America. With all that said, I must admit that the movie felt very dated me just five months post-election.

Oddly, some of the things that Cohen uses to attempt to show Trumpists as morons and monsters actually does the reverse but he and his target audience are probably too enraptured by their own self-righteousness to be aware enough to recognize it. For instance, Borat stays with two Trumper/MAGA hat wearing men during the pandemic and uses that opportunity to show how bigoted, close-minded and hateful they are…but all that is undermined by the fact that these supposed bigots actually took a foreigner in during a pandemic and are patient and respectful towards him and go to great lengths to help him out.

Of course it should be stated that it is doubtful any of the stuff filmed in the movie is actually real. Cohen’s mockumentary style is easily manipulated and “real” moments are few and far between. But with that said, the biggest scene in the movie, and the one that got the most attention, involves Rudy Giuliani in a hotel room with a young woman. As a former New Yorker who lived there under his reign and absolutely hates Giuliani with the fury of a thousand suns, I have to say that the “gotcha” moment in this scene feels contrived and cheap. Giuliani is certainly a liar, creep and scumbag, but to imply he was playing with himself or whipping his miniscule, aggressively impotent tiny pecker out is pretty hyperbolic.

The bottom line is that Sacha Baron Cohen’s outrageous comedic style is an acquired taste, and to be frank, I have acquired it. I didn’t love Borat Subsequent MovieFilm, but it did make me laugh out loud a bunch of times, and that ain’t nothing. The film is worth watching for the laughs and to enjoy watching Maria Bakalova devour every scene she inhabits.

If you like Da Ali G Show, Borat and Bruno, you’ll like Borat Subsequent MovieFilm…but if Cohen’s style is not your cup of tea, I recommend you don’t even attempt to take a sip of this raunchy, rancid and ridiculous brew.

©2021

Sound of Metal: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An insightful and captivating drama that boasts a simple but layered narrative, a fantastic performance from Riz Ahmed and some exquisite filmmaking craftsmanship.

Sound of Metal, written and directed by Darius Marder, tells the story of Ruben Stone, a drummer in a heavy metal duo that loses his hearing. The film stars Riz Ahmed as Ruben, with supporting turns from Olivia Cooke and Paul Raci.

Sound of Metal was released on Amazon Prime streaming service back in November of 2020. I would see the advertisement for it whenever I went online but was always hesitant to watch it as it looked like a rather predictable movie on its surface. I finally made the plunge last week and watched…and boy am I glad that I did.

Yes, Sound of Metal is about a drummer who loses his hearing, but it is infinitely more than that.

For some viewers, the premise of the movie and the opening scenes may be a hurdle, but I wholly encourage you to stick with the movie because it is a multi-layered, dramatically precise, profound and powerful piece of cinema well worth your time.

Director Darius Marder apparently developed this story for over a decade, and successfully navigated the minefield of Hollywood to get it made the way he wanted it made…and it shows.

Marder’s confidence as a filmmaker (this is his first feature) oozes through every scene of the film. The movie never takes the easy or predictable route in storytelling, and every time I thought I knew what was coming I was wrong. Marder’s refusal to rely on conventional narrative arcs and story turns makes Sound of Metal very compelling viewing.

The technical proficiency on display in the movie is impressive, as the film’s use of sound to propel the narrative and heighten the drama is masterful. The way the movie allows the audience to experience Ruben’s hearing loss creates a visceral intimacy that is captivating, jarring and mesmerizing.

The film is nominated for six Oscars, two of which include Best Sound and Best Editing and it should win both awards. The sound design on this movie is exquisite and is a pivotal part of the storytelling. The editing is seamless as scenes are never rushed nor linger too long and the film is perfectly paced.

The cast are terrific. Riz Ahmed is just one of those guys…he is an exceptional actor who has an innate presence to him that is compelling and undeniable. Ahmed is able to draw viewers into him rather than needing to be showy to attract their attention. His work as Ruben is specific and complex, and he never falls prey to the desire to overly emote. This role in lesser hands could have been a great deal of volcanic histrionics, but with Ahmed it is an exquisite exercise in subtlety and nuance.

Ahmed is nominated for a Best Actor Oscar for his performance and while be probably won’t win, he certainly deserves to.

Paul Raci plays a counselor named Joe and is outstanding. Raci is a knock around type of actor who has been nibbling away at the periphery of the business for decades. This is the most prominent role in his career and he makes the most of the opportunity. Raci is so grounded and genuine as Joe I wasn’t sure he was a professional actor when I was watching him. I don’t say that as an insult, I say it to highlight how real he comes across and how devoid of performance his work truly is.

Olivia Cooke also acquits herself quite well as Lou, Ruben’s girlfriend and bandmate. Cooke is an intriguing screen presence and she makes the most of the small role she is given.

What makes Sound of Metal so profound is that it is extremely accurate and insightful when it comes to the issue of drug and alcohol recovery. The film expertly maneuvers through the choppy waters of recovery and never flounders.

Director Marder connects the audience to Ruben and we too fall under the spell of his unseen wound and issues. He seems fine to us because we want him to seem fine. When the reality of the situation is revealed it is a breathtaking moment and a staggeringly well executed piece of cinema.

I loved Sound of Metal because it’s a “simple” bit of filmmaking that makes use of the craft and skill of moviemakiing to create a piece of cinematic art. Obviously, just because something is simple does not make it easy. For instance, if you are an addict the simple solution to your problem is to stop using…but that ain’t easy.

The beautiful simplicity of the storytelling and filmmaking of Sound of Metal is why this movie is so impressive and this type of moviemaking so exceedingly rare.

I also loved Sound of Metal because of Riz Ahmed’s heartfelt and absurdly well-crafted performance. This is Ahmed at his very best and it is glorious to behold.

And finally, I loved Sound of Metal because it dramatically presents the important truth about the intricate process of recovery, one with which I am all too familiar and which America needs to learn in a hurry…that returning to normal isn’t the panacea the addicted mind thinks it is. Becoming sober doesn’t mean your life is perfect and you are instantly happy, it means life is still suffering but now you have to feel it because you aren’t drunk or high.

Recovery doesn’t end with sobriety, it BEGINS with sobriety. Once sober, you can start the journey of self-discovery to find the wounds that cause the pain you’ve been trying to self-medicate away. Returning to normal for the addict isn’t a return to a good place, it is a return to the place that instigated the drug and alcohol use in the first place (An example of which is establishment liberals wanting to ‘return to normal’ after the nightmare of Trump - well…the pre-Trump normal is what got us Trump!). Those in recovery must discover a new normal, one that is based on integrity and isn’t self-deceptive or self-destructive.

If you’re in recovery, Sound of Metal holds important lessons for you. If you love someone in recovery and want to understand what it is like, Sound of Metal is for you too. If you just like exceedingly well made movies, then Sound of Metal is for you too. Sound of Metal is just a terrific film and I highly recommend it.

©2021

Minari: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!****

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT. An over-hyped venture that ultimately underwhelms.

Minari, written and directed by Lee Isaac Chung, tells the semi-autobiographical story of Chung’s South Korean immigrant family as it tries to achieve the American dream in 1980’s Arkansas. The film, which stars Steven Yeun, Han Ye-ri, Youn Yuh-jung and Will Patton, has received six Oscar nominations, including for Best Picture, Best Director, Best Original Screenplay, Best Actor (Yeun) and Best Supporting Actress (Youn).

Having survived the slog of cinema that was 2020, where even the very best films of the year like Mank, Nomadland and Judas and the Black Messiah are not great films, I held out hope for Minari to ride in on a white horse and save this year of cinema from death by a thousand mediocrities.

Unfortunately, Minari is not up to the task.

Minari is not a terrible movie, but it is not a very good one either. It suffers from many flaws, most notable being it doesn’t know what it is or what it wants to be and therefore ends up being a whole lot of nothing.

For example, in theory it has all the trappings of an arthouse movie but is so painfully conventional in execution it becomes devoid of interest and artistic credibility.

Minari is sort of like a working class Korean immigrant version of Marriage Story mixed with a culture clash/fish out of water/American Dream story, but it never successfully or even adequately tells any of those stories, preferring the approach of throwing everything into the stew yet creating no flavor.

A major flaw with the storytelling approach of Minari is that it has a generalized perspective, so there is no one particular protagonist to lead us through the story. Since Chung is writing auto-biographically, it would have been interesting to have his childhood perspective lead the way. But Chung seems incapable of the skill that would require, and therefore he halves the baby and spreads perspective around which saps the story of dramatic power.

Chung is also a rather unimaginative visual stylist, as Minari is a painfully flat film with sub-par framing and composition as well as a dull and stale color palette.

There are some interesting performances in the movie, most notably by Yeun and Will Patton of all people, but Chung’s lackluster direction is unable to contain these performances and therefore the drama dissipates even when the actors are running on all cylinders. Chung’s inability to break through the conventional leaves viewers detached and disinterested in the plight of these characters despite some skillful acting work.

Chung’s biggest failing though is as a writer, as he is incapable of trusting his audience with a pure arthouse experience and therefore sprinkles in narrative arcs and beats that are cookie-cutter conventionalities that fall dramatically flat. The contrast of this conventional story being wrapped in the deliberately paced trappings of an arthouse movie creates a frustrating movie decidedly at cross purposes with itself.

Ultimately, with the generalized perspective, the conventional narrative arcs and the tedious visual aesthetic, Minari feels like a bad tv drama more than a serious piece of cinema and Oscar contender.

As evidenced by the plethora of Oscar nominations and a stunning 98% critical score at Rotten Tomatoes, Minari is being lauded as a phenomenal film. But it seems to me that this is wishful thinking rather than accurate analysis of the film on screen.

In the wake of last year’s stirring success of Parasite, a spectacular piece of filmmaking by Korean director Bong Joon-ho, Minari has no doubt been given a boost among the critical elite in the hopes of bolstering “diversity and inclusion” and recreating Parasite’s stirring success.

In the flat earth society that is our culture, Parasite and Minari are in the same category despite having nothing in common except that they share the same language and ethnicity of director. This is absurd, but it is how our culture thinks and works, especially in the era of identity politics.

If Minari were the same story but centering around the struggles of some white family, critics would rightfully ignore it for the uninspired, middling movie that it is. The fact that mediocrities like Chung and Minari are nominated for Best Picture, Best Director and Best Screenplay speaks to how precipitous the decline in the art of cinema has become and to the hyper-delusional nature of a film business glorifying “diversity and inclusion” instead of talent, skill and craftsmanship.

In conclusion, there is absolutely nothing interesting or remarkable about Minari. It is an underwhelming and instantly forgettable film that is not deserving of any accolades or praise. If you want to see a mundane, middle-of-the-road movie, Minari is definitely for you.

©2021

The Trial of the Chicago 7: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. Yikes. What an abysmal Sorkinian shitshow.

The Trial of the Chicago 7, written and directed by Aaron Sorkin, recounts the story of the infamous prosecution of a group of famed anti-Vietnam war protestors arrested for inciting riots at the 1968 Democratic National Convention in Chicago. Among the star-studded ensemble are Sacha Baron Cohen, Joseph Gordon-Levitt, Eddie Redmayne, Michael Keaton, Mark Rylance and Frank Langella.

The film, which is streaming on Netflix, has been nominated for 6 Academy Awards, including Best Picture, Best Original Screenplay and Best Supporting Actor (Sacha Baron Cohen).

The Trial of the Chicago 7 tells an extremely important story, but unfortunately, it is an abysmally crafted, relentlessly hackneyed shitshow of a movie.

One can only speculate as to why such an aggressively trite cinematic venture has been so well received.

Maybe people say they like this movie because they think this is the type of movie they’re supposed to like. In this way The Trial of the Chicago 7 is reminiscent of Steven Spielberg’s Lincoln in that It covers a “serious” historical topic meant to convey a noble truth about a current social political issue. Lincoln was a terrible movie too, but that didn’t stop critics from fawning over it during their Obama sugar high. It was like critics endorsed the film in an attempt to avoid seeming to be against the abolition of slavery - as inane as that sounds.

The Trial of the Chicago 7 is like baby boomer porn where Sorkin and his fellow boomers can signal their historic virtue all over themselves in a frantic fit of masturbatorial self-righteousness. The film allows the auto-erotic boomer fantasy to extend to current issues and protests movements like Black Lives Matter, with climax no doubt gushing forth accompanied by an orgasmic cry of “right side of history!”

Regardless (or as Dictionary.com would now say - ‘irregardless’) of why it is being praised, it is definitely being praised. At the website Rotten Tomatoes the film currently has a 90% critical score and a 91% audience score.

It is at times like these that I feel the world has officially lost its mind. .

The Trial of the Chicago 7 is so cinematically cliched, dramatically defective and pretentiously pedantic it feels like a two hour and ten minute SNL skit.

The film boasts some of the most embarrassing acting of the year. Sacha Baron Cohen is nominated for a Best Supporting Actor for his work as 60’s icon Abbie Hoffman. Cohen looks like a dad who dressed up in in a bad hippie costume to accompany his kids to a Halloween dance. It is painfully embarrassing watching the 49 year old Cohen play acting as the 30 year-old Hoffman. Adding to the suck is the fact that Cohen absolutely tears limb from limb Hoffman’s unique New England accent, and ends up sounding like Borat, a Brooklynite, Big Daddy from Cat on a Hot Tin Roof and a posh Brit all rolled into one giant acting shit sandwich.

Eddie Redmayne is just as dreadful as Tom Hayden. Redmayne is a charisma-less acting vampire that drains every scene of even the most remote bit of life. He too mauls an American accent like a newly freed Vegas tiger seeking revenge on his life-long tormentors Siegfried and Roy.

Even Mark Rylance, the great Mark Rylance, churns out a sub-par performance. Rylance plays the iconic civil rights lawyer William Kunstler, who was one of the great New York characters of all-time. Rylance’s Kunstler is so far removed from any version of reality as to be criminal. Rylance too never properly wields Kunstler’s distinctive New York dialect. But as my friend Mo Danger pointed out, to Rylance’s credit he at least seems like the only actor in the cast not in on the Sorkinian joke.

The Trial of the Chicago 7’s biggest problem though is the direction of Aaron Sorkin, who simply lacks the requisite cinematic skill to take on such sprawling and complex subject matter.

Sorkin’s ham-fisted, hit-all-the-bullet-points, broad brush, watered down approach drains the dynamic story of any dramatic power. His limp direction also leaves his actors floundering, unable to piece together performances with any dramatic coherence.

The Trial of the Chicago 7 is like a very special episode of Sorkin’s 90’s remake of Fantasy Island …The West Wing. It is so self-reverential, pandering and dramatically flaccid as to be egregiously cinematically inept.

The piece de resistance of The Trial of the Chicago 7 is that it builds to a cinematic climax where people unironically stand and clap in a courtroom. It’s like Sorkin went all meta and made a movie set in the 1960’s that had the dramatic sensibilities of a high school drama from the 1980’s.

The story of the Chicago 7 is one that needs to be told…maybe in a Netflix mini-series so as to give each character more depth and the conflagration in Chicago in 1968 more context. The Trial of the Chicago 7 fails to adequately recount the time, place, events and characters involved in one of the crazier and more dangerous times in American history, and that failure is entirely on Aaron Sorkin.

My advice is to either skip The Trial of the Chicago 7 or go all in and just hate watch the damn thing, because it is certainly a target rich environment for scorn and cathartic loathing. Either way, this movie is a blight on the cinema landscape and can’t be forgotten soon enough.

©2021

Netflix's The Dig is not a White Supremacy Rallying Cry

Estimated reading Time: 3 minutes 27 seconds

Netflix’s The Dig is a movie about a famous archeological discovery, not a pro-Brexit, white supremacist rallying cry

Only a woke academic could find hidden villainy in this perfectly benign and mildly pleasant British film. 

The Dig is a Netflix film starring Ralph Fiennes, Carey Mulligan and Lily James that dramatizes the 1939 excavation of an Anglo-Saxon burial site at Sutton Hoo that transformed our understanding of the history of early medieval England.

The film, directed by Simon Stone and written by Moira Buffini, has been nominated for five BAFTAs including for Outstanding British Film.

But not everyone is so enamored of the movie, as some see it as a pro-Brexit film espousing white supremacy.

Louise D’Arcens, a Professor of English at Macquarie University in Australia, recently attacked the film because it commits the cultural sin of  “nostalgically appealing” and “romanticizing” an “imagined continuity between Anglo-Saxons and modern British people that does not speak to the complexity of Britain today.” The horror!

D’Arcens complains the film “re-animates key tropes from the persistent British and American ideology of Anglo-Saxonism”, which she claims “was vital to underwriting white racial supremacy as a mandate for Britain’s imperial power and the expansionist concept of Manifest Destiny…”

When viewed through this distorted lens, The Dig transforms from a tame historical drama/love story into a nefarious Brexit propaganda film surreptitiously waving an ‘England for the English!’ banner.

I didn’t see any white supremacy or Brexit sub-text in The Dig, but rather an utterly banal, benign and innocuous movie examining the universality of life, death and the impermanence of things.

The Dig is one of those proficiently shot, well-acted British dramas with which we’ve become so accustomed. It isn’t great and it isn’t awful. It’s fine. It’s a middlebrow piece of entertainment geared toward Anglophiles who’ve already devoured Downton Abbey and are looking to satiate their taste for all things British.

Not surprisingly, there are numerous contradictions and illogical observations in D’Arcens’ misguided analysis.

For instance, a major narrative in the film is about class struggle. Protagonist Basil Brown (Ralph Fiennes) is a self-taught, working class excavator from Suffolk, who is hired by wealthy landowner Edith Pretty (Carey Mulligan). Their budding relationship must navigate the suffocating class structures of the time period.

The class narrative is also highlighted when Charles Phillips (Ken Stott), a pompous archeologist from the British Museum, invades Sutton Hoo, belittles Basil and ultimately takes credit for his tremendous discovery.

Yet D’Arcens interprets the Phillips-Basil clash as not being about class but rather “highlighting ongoing tensions between Britain’s rural counties and its metropolitan centre” with rural meaning pro-Brexit/bad and metropolitan anti-Brexit/good.

This assessment seems oddly regressive as it lionizes the elite (Phillips) and vilifies the working class (Basil).

D’Arcens also bemoans the film “drawing uncritically on a historical tropes of expansionism – despite the fact the violence of colonialism and occupation is well understood today.”

This is directly at odds with the disparaging appraisal of Basil as a bad guy avatar for Brexiteers. Basil is the victim of the colonialism of educated metropolitan Philips. Like countless British colonialist before him, Phillips comes to Basil’s “foreign” land of Suffolk, takes power, steals treasures and brings them back to London. Yet, incongruously in D’Arcens’ deconstruction Phillips is also a heroic symbol of anti-Brexit sophistication.

D’Arcens then writes,

“One of the great reckonings in the film comes when Basil’s wife, May, urges her disaffected husband to return to the dig. She tells him:

 ‘You’ve always said your work isn’t about the past or even the present. It’s for the future, so that the next generations can know where they came from. The line that joins them to their forebears.’

This appeal to the idea of genetic continuity is rousing and profound, but also exclusionary and insular. May assumes racial and cultural uniformity in Britain, and shared forebears for all.”

Good lord, this is in no way an appeal to “genetic continuity” or an assumption of “racial uniformity”.

A major storyline in the film is that WWII is about to begin and the survival of Britain is at stake. This isn’t about genetic continuity or racial uniformity because the ethnogenesis of Anglo-Saxons developed between migrant Germanic tribes that came to the island back in the 5th century and indigenous Britons, thus Germans conquering Britain is not a genetic or racial threat. Hell, the royal family has German bloodlines.

The existential crisis facing Britain in the film is not a racial or genetic one, it is a national one as it is their (multi-racial) nationality that will disappear if the Germans prevail, not their race or genetic line.

D’Arcens continues, “(May) speaks to the film’s 21st century viewers, many of whom would not see an unearthed Saxon as a forebear, and might rightly wonder what “future generations” the film has in mind for Britain.”

If multi-cultural 21st century Brits, regardless of their race or ethnicity, don’t acknowledge a centuries dead Saxon king as a forebear for their nation, that says more about their historical ignorance and ethnic arrogance than anything else.

D’Arcens closes by lamenting, “…as cinematic archeology (The Dig) looks far more to the past than to the future.”

Considering The Dig is a movie set in the past and tells the story of characters discovering an even older past, this is an incredibly inane climax to a wholly inadequate analysis.

In conclusion, The Dig is not a great movie, but it also isn’t a dangerous one. It’s a mildly pleasant film that will most definitely not turn you into a brutish Brexiteer or Anglo-Saxon supremacist…I promise.

 A version of this article was originally published at RT.

©2021

A Decaying Culture Diminishes the Value of Life

Estimated Reading Time: 3 minutes 27 seconds

In a culture obsessed with serial killers and murder stories, it is the state-sanctioned violence we ignore that is most corrosive

The tragic death of Sarah Everard has me questioning my choices in entertainment, but it’s the brutal actions of my government over the years that have done more to create a society desensitized to the value of life.

In the wake of the grisly murder of 33 year-old Sarah Everard in London earlier this month, there has been much debate about how to make women feel safer.

For example, the rather radical idea of a 6 p.m. curfew for men has been discussed. Considering that men stuck at home will just marinate in our morally twisted media which features a plethora of programming that highlights men killing women…that might not make women feel any safer.

Having just finished watching the Yorkshire Ripper documentary on Netflix, I couldn’t help but wonder if the prevalence of such gruesome subject matter in our culture cheapens the sanctity of life and thereby inspires killers.

Our culture’s fascination with violent death can often intentionally or unintentionally transform into a celebration of people who kill. In our fame-obsessed, reality-tv world, being famous and infamous are now virtually synonymous, and it doesn’t matter how you get the spotlight, just that you do. By lavishing our attention on murdering monsters we often turn them into celebrities.

I’m not immune to the lurid appeal of a serial killer story, but it feels like a chicken and egg debate pondering if I watched the documentaries on the Night Stalker and the Yorkshire Ripper because Netflix made them or did Netflix make them because they knew I’d watch them?

The most interesting serial killer narratives are the ones that explore not so much the serial killers but our obsession with them.

For example, Zodiac is one of David Fincher’s best movies as it tells the true story of Robert Graysmith, a political cartoonist who turns into an obsessive Zodiac Killer researcher. Fincher mining our fear of becoming obsessed with the Zodiac Killer rather than our fear of the Zodiac Killer is what makes the film so captivating.

Fincher’s Netflix series Mindhunter dives even deeper into that theme as it follows two FBI agents as they interview serial killers such as Edmund Kemper, David Berkowitz and Charles Manson in order to try and understand how they think. Ultimately, the brilliance of the show is that it mirrors its audience by being obsessed with the minds of serial killers.

But does immersing oneself in the crimes and mindset of a killer do damage to our individual or collective psyche?

It is much too simplistic to argue tv shows and movies about serial killers transform men into murderers.

It’s more accurate to say that the moral guardrails of our culture, most notably religion, have so decayed and been so diminished, that there seems no counter-balance to the darker things that naturally intrigue us. In other words in our fallen world there is no flicker of illumination to give us respite from the relentless darkness.

These serial killer narratives once felt cathartic and even psychologically healthy when contained within a culture with clear moral and ethical boundaries that acknowledged the precious nature of life. Now that these moral and ethical boundaries have blurred, and the religious foundation for them has been removed or revealed to be fraudulent, these serial killer stories now feel much less cathartic and much more toxic.

The result of this is, as killer John Doe tells us in Fincher’s iconic Seven, “We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it is common, trivial. We tolerate it morning, noon and night.”

This is true of our culture as news and entertainment are inundated with murder, mayhem and depravity morning, noon and night.

Whether it’s scenes of attacks on Asians, or cops brutalizing civilians, or “mostly peaceful” violent protests, or documentaries on The Night Stalker or Nazis, we are perpetually force-fed a toxic media stew leaving our bellies bloated with bile and barbarity.

It is unimaginable that the culture’s consistent mantra of “if it bleeds it leads” is healthy, as it destabilizes the weak-minded, desensitizes us to the value of life and dehumanizes all of us.

Nearly a decade before the flag-waving pornography of the Iraq War’s “shock and awe” bombing campaign, Oliver Stone’s under appreciated Natural Born Killers (1994) skillfully explored this idea of a violent culture creating murderers and a malignant media transforming them into celebrities.

It is not surprising that a culture that made media sensations of Ted Bundy, Richard Ramirez and Charles Manson, celebrated more “respectable” serial killers like George W. Bush, Dick Cheney and Donald Rumsfeld when they unleashed their carnage.

It seems to me that the media’s glorification of the industrial scale, state sanctioned, military industrial complex murder machine does more to damage our collective psyche and diminish our sense of the preciousness of life than stories about lone murderers.  

I’m less worried about the psychological effects of a serial killer documentary than I am about America’s ambivalence regarding their war crimes committed in Yemen.

I’m less worried about Seven inspiring a lunatic than I am about the U.S. and U.K. killing people in Syria, Iraq, Afghanistan and Iran.

I’m less worried about Ted Bundy’s body count than I am about the body count of Bush, Blair, Obama, Trump and Biden.

The murder of Sarah Everard is a tragic symptom of the disease of indifference to the sanctity of life that ravages our culture. But the majority of blood on our collective hands is not just a result of watching too many serial killer movies but from turning a blind eye to the violence done in our name to innocent people across the globe.

 A version of this article was originally published at RT.

©2021

Zack Snyder's Justice League: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.75 out of 5 stars

My Recommendation: SEE IT. An imperfect film, but if you like superhero movies, it’s worth the effort.

THE SNYDER CUT IS HERE AND IT WAS WORTH THE WAIT

After much consternation, speculation and hype…the eagerly anticipated Justice League “Snyder Cut” has finally premiered on HBO Max and I watched all four hours of it.

If you don’t know about the Snyder Cut then you’re probably a healthy human being living a normal life, but just to get you up to speed here are all the relevant details.

Zack Snyder, who has directed such notable hits as 300 and Watchmen, became the artistic force of the DC Comics cinematic universe in 2013 when he helmed Man of Steel, a reboot of the Superman origin story.

Snyder followed that up by directing Batman v Superman: Dawn of Justice in 2016 and its sequel Justice League in 2017. Unfortunately, due to the sudden and tragic death of his daughter Autumn, Snyder had to drop out of post-production of Justice League, and was replaced by Joss Whedon.

Whedon, at the behest of the movie studio Warner Brothers, re-shot a lot of material and made substantial changes to the tone and tenor of Justice League in the editing process, thus obliterating Snyder’s original artistic vision.

When finally released in November of 2017, Whedon’s version of Justice League was panned by critics and performed poorly at the box office.

Ever since then rumors have swirled of a “Snyder cut” of Justice League which restored Zack Snyder’s original artistic vision. A group of hopeful fans started a movement, #ReleaseTheSnyderCut, in order to pressure Warner Brothers to do just that and let the world see Snyder’s version of the film.

After years of hemming and hawing, Warner Brothers finally relented and agreed to release the Snyder Cut, and even gave Snyder a rumored extra $70 million to reshoot some scenes and re-edit.

The result of all of this is Zach Snyder’s Justice League, now streaming on HBO Max.

Let’s be clear, Zach Snyder’s Justice League isn’t Citizen Kane, nor is it a superhero masterpiece like The Dark Knight, but it is a thoroughly satisfying and entertaining DC superhero movie that is infinitely superior to Joss Whedon’s Justice League.

As the end credits role in the Snyder cut a cover of Leonard Cohen’s “Hallelujah” plays, and it seemed very apropos considering the movie feels an answered prayer for long-suffering DC fans.

The greatest changes Snyder made to Justice League were restoring its dark theme and tone and doubling its running time from two hours to four hours.

Zack Snyder has always been much more a cinematic stylist than a proficient storyteller, and so giving him two extra hours to flesh out narratives and character arcs is enormously helpful.

The same was true with Snyder’s Batman v Superman: Dawn of Justice. The theatrical release of that movie was two and a half hours, but Warner Brothers later released a directors cut titled “The Ultimate Edition”, that added an additional thirty minutes and it is a far superior, and much more dramatically and narratively coherent movie than the original theatrical version.

The Snyder Cut’s four hour running time may be a barrier to those ambivalent about superhero movies or with limited attention spans, but it adds much needed depth, context and coherence to the story and I found the movie to be surprisingly captivating the entire time.

Another noticeable and needed change Snyder made was in giving more time to Ray Fisher’s Cyborg and Ezra Miller’s Flash in order to flesh the characters out. Both Cyborg and Flash got short shrift in Whedon’s version and in the new cut they prove themselves to be very compelling characters.

That’s also true of villain Steppenwolf, which went from being a rather dull cardboard cutout in Whedon’s version to being a powerful and multi-dimensional character in Snyder’s cut. 

The newly added scenes with DC supervillain Darkseid also resonated, and elevated the film by giving added context.

The recent crop of DC films have often been maligned by critics and audiences for being too thematically dark, unlike the supremely successful Marvel films which are often fun and light fare.

Joss Whedon’s Justice League floundered though because it tried to bring Marvel frivolity to DC’s existentialism. To its great credit, the Snyder cut unabashedly embraces DC’s dark roots and shuns any Marvel imitation.

While Snyder is no Christopher Nolan, he is an accomplished cinematic stylist, and regardless of what you think of his style, it is unquestionably true that both Batman v Superman and Justice League were considerably improved when the entirety of his vision was allowed on screen.

When the suits at Warner Brothers have meddled with Snyder’s vision, his DC films have suffered critically and financially.

If Warner Brothers were smart they’d learn to leave the artists they’ve hired to direct their flagship properties alone, because those directors are better at making good movies than any suit pushing banality and conformity over artistry.

The next Batman movie, The Batman, is being directed by Matt Reeves, who is terrific, as evidenced by his two fantastic Planet of the Apes movies that were exquisite blockbusters. Reeves could help Warner Brothers and DC start fighting back against the Marvel behemoth, but only if they let him do his thing and don’t meddle and muddle things up like they’ve done with Snyder’s films.

As for Zach Snyder’s Justice League, it isn’t for everybody. It may be too long for some, or too dark for others, but despite being an imperfect film, it certainly hit a sweet spot for me.

 A version of this article was originally published at RT.

©2021

Coming 2 America: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. This movie proves that Eddie Murphy’s comedy fastball is a faded, distant memory, which transforms this movie from a limp comedy into a devastating tragedy.

There was a time when Eddie Murphy was the biggest comedian and movie star on the planet. In the 1980’s he had a string of comedy blockbusters, 48 Hrs. (1982), Trading Places (1983), Beverly Hills Cop (1984) and Coming to America (1988), that made him the epicenter of comedy culture. Back then it was Eddie’s world and we were all just living and laughing in it.

Murphy’s meteoric rise to fame began on Saturday Night Live , where he debuted in 1980, at the tender young age of 19, and hilariously held court until 1984. Murphy was a electrifying presence on the show and an equally dynamic stand up comedian, as evidenced by his stand up comedy specials Delirious (1983) and Raw (1987).

Coming to America (1988), directed by John Landis, was an intriguing film as it showcased Murphy’s scintillating talent, his abundant charisma and his remarkable versatility. The film was rated R so Murphy’s more profane comedic edge could be spotlighted, but it also had a love story at its heart, which allowed Murphy to mine his more sweet and good-natured side.

Coming to America was an original and captivating comedy that seemed to portend Murphy’s star growing even larger. But unfortunately, instead of being the launching pad to even greater heights, Coming to America ended up being the last good thing Eddie Murphy has ever done. Yes, there were some mildly acceptable movies that came after it, such as The Distinguished Gentleman (1992) and Bowfinger (1999), but these banal efforts pale in comparison to Murphy’s glorious mid-80’s apex.

33 years later Eddie Murphy and company are back with a Coming to America sequel. Coming 2 America, which premiered on Amazon Prime Friday, March 5th, is the 30 years too late Coming to America sequel that no one was asking for and that none of us deserve.

The film, directed by Craig Brewer, is a rehashing of the 1988 original, with Eddie Murphy and Arsenio Hall back reprising all their iconic roles. The problem though is that Eddie Murphy long ago lost his comedy fastball and his comedy caddy Arsenio Hall never had a fastball to begin with.

Another obstacle for the film is that cultural shifts over the last 33 years have created an audience of fragiles too delicate to handle any raunch, so the bare breasts and R rating from 1988 are history and now Eddie Murphy is forced to live in a rather tepid PG-13 world which is woke approved.

The end result of all this is that Coming 2 America is egregiously and remarkably unfunny. The lone bright spot in the nearly two-hour endeavor is the brief scene when Murphy and Hall don the make-up and bring back their famous barbershop alter egos and take some digs at the absurdity of the woke world we all inhabit, but besides that minor bit of humor, there isn’t a laugh to be found.

A big reason why there are no laughs is because there are a lot of painfully unfunny people in the movie.

For example, Leslie Jones plays a long lost and forgotten one night stand from Prince Akeem’s old days, and she is beyond dreadful. Ms. Jones’ career success is one of the great mysteries of the modern age as she has never, ever been funny…not even by accident. To her credit, at least she is consistent in being aggressively awful.

Jermaine Fowler plays Akeem’s bastard son LaVelle and seems like a survivor of charisma bypass surgery. Fowler is so uninteresting and embarrassingly unfunny on-screen I would rather watch my own autopsy than suffer through watching him “act” again.

The gorgeous Kiki Layne plays Akeem’s princess daughter, and spearheads the girl power narrative that drives this jalopy right off the cliff. Layne is a beauty but she is as wooden and dull an actress as you’ll ever come across. Every scene she appears in comes to a resoundingly screeching halt as her dead eyes act like black holes sucking the life out of everything in their orbit.

There is no point in criticizing any of the forced plot points or the film’s groveling social politics, because none of those things would have matter if the damn thing were just funny. But sadly, Eddie Murphy is just not able to reignite that elusive comedy and charisma spark that propelled him to the heights of the entertainment industry nearly forty years ago.

Murphy is unimaginably rich, so he didn’t make Coming 2 America because he was short on the mortgage payments. I think Murphy made Coming 2 America and 2019’s underwhelming Dolemite is My Name, because he actually wanted to do something worthwhile once again.

I think the wheels began to come off the Murphy wagon when he stopped doing stand up comedy back at the end of the 80’s. Murphy was such a star that he became detached from real people and reality and it was easier not to do the hard work of being good at stand up…which takes a lot of hard work.

For years I’ve heard stories from dozens of people about Murphy’s could not care less work ethic on films in the 2000’s and early 2010’s. It’s not uncommon to hear actors and crew bitch about a star they’ve worked with, but the stories I kept hearing all told the same story. According to these folks Murphy was a lazy, entitled, ego maniac who did barely the bare minimum on movies. He even used to insist that a double be used for every shot he was in where he didn’t have dialogue…we aren’t talking over the shoulder stuff, we are talking Eddie wide shots and reaction shots stuff. Even for spoiled movie stars, this sort of thing is outrageous. T be clear, I don’t know if these claims are true - they might just be the result of the usual jealous sniping and bitching against stars, I just know I’ve heard them quite a bit.

In this context, it becomes apparent that Eddie Murphy stopped giving a shit about thirty years ago and only started giving a shit again in the last few years because his star had faded to the point where he wasn’t telling punchlines, he had become one. But during those decades of aggressively not giving a shit, Murphy lost the spark that made him so special back in the day, and now he can’t reignite it.

I think that sucks because the world is a better place when Eddie Murphy is Eddie Murphy and not some comedy eunuch churning out flaccid garbage like Coming 2 America. Sadly, I don’t think we are ever going to see Eddie Murphy be great again, and Coming 2 America is a prime exhibit making that case.

In conclusion, I really wanted Coming 2 America to be great but I would’ve been thrilled if it just boasted some quality Eddie Murphy moments. Sadly, the film isn’t anywhere near great, in fact, it is terrible. And worst of all Eddie Murphy looks entirely incapable of being Eddie Murphy anymore, which transformed Coming 2 America for me from being a bad comedy into being a profundly sad tragedy.

©2021

The Mauritanian: A Review and Commentary

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT/SEE IT. A great story but not so great movie. Not worth paying to see but its subject matter is crucially important and makes the film worthy of a watch when it becomes available on a streaming service for free.

The Mauritanian, directed by Kevin Macdonald, tells the true story of Mohamedou Salahi, who in the wake of 9-11 was tortured and held by the U.S. at Guantanamo Bay detention camp for 14 years without charge.

The film, which as of March 2nd is in theaters and available on Video-On-Demand, is adapted from Salahi’s memoir Guantanamo Diary, and stars Tahar Rahim, Jodie Foster, Shailene Woodly and Benedict Cumberbatch.

The Mauritanian is a great story, but unfortunately not a particularly great film. Despite some effective moments, particularly the torture sequences, and a solid performance from Tahar Rahim as Salahi, it’s a mediocrity that’s not nearly as good as I wanted it to be or that it needed to be. One can’t help but wonder what a better director could have done with such dramatically potent material.

The film suffers because it looks like a tv movie. This rather flat and dull aesthetic keeps the story dramatically constrained and so we are never drawn into it.

The performances are equally middling, with the lone exception being Rahim, who plays the riddle that is Sahir with a charm and humanity worthy of note.

Jodie Foster won a Golden Globe for her work as a defense attorney Nancy Hollander in the film but I found her performance to be rather banal. Shailene Woodley gives an equally lackluster performance as another lawyer Teri Duncan.

Benedict Cumberbatch plays Marine Corps lawyer Lt. Col. Stuart Couch, who was assigned to be the prosecutor on Sahir’s case. Cumberbatch deploys a Southern accent to his Couch (who is a real person) and it is egregiously awful. When British actors miss on American accents, particularly New York and Southern accents, it is so mannered and lifeless as to be painfully distracting, and Cumberbatch’s butchering of the dialect is gruesome to behold. As I watched Cumberbatch lose his wrestling match with the Southern drawl I couldn’t help but wonder…were there no American actors available to play this part?

That said, while the movie isn’t worth paying $20 to see On Demand, I still recommend The Mauritanian when it becomes available for free if for no other reason than it is an important story that contains some vital lessons for our current turbulent time.

As Orwell taught us, “to see what is in front of one’s nose needs a constant struggle”, and in the United States of Amnesia, our prodigiously propagandized populace is conditioned to be myopic in the moment and utterly blind to the past. This makes for a pliable citizenry that can be led around by their noses by a mainstream media designed to do just that. This is heightened by gullible Americans lacking the intellectual vim and vigor to swim against the powerful current of establishment narratives in a search for some semblance of truth.

Thankfully The Mauritanian is at least a visual aid to remind America of that which it is consistently capable, namely, brutal authoritarianism fueled by frantic emotionalism.

The film does a service by reminding viewers of a few critical things.

First that Guantanamo Bay prison is still open and people still languish there, despite Obama’s promises to close it when he became president in 2009.

Second, that al-Qeada and the U.S. were allies in the war against the Soviets in Afghanistan. It doesn’t get into great detail or anything, but even that little bit of information might be shocking to those who’ve conveniently forgotten that fact (or never knew it in the first place) and other much more damning facts about America and al-Qaeda’s fruitful relationship, then and now.

And third, that war criminals like George W. Bush, Dick Cheney, Donald Rumsfeld and Barrack Obama, and their immoral minions, have never been punished for their atrocities, which is an abomination considering those that exposed their crimes, such as Julian Assange and Edward Snowden, rot in prison or are forced to live in exile.

As The Mauritanian highlights, post 9-11 America went into a full-blown hysteria. The result of this hysteria was the Patriot Act, massive surveillance, rendition, torture and the mass murder and mayhem of the wars in Afghanistan and Iraq.

 America has only gotten more hysterical in the following two decades. In recent years we’ve had one mindless panic after another. There’s been the Russia panic, the #MeToo panic, and the racism/white supremacy panic…all of them delusions and illusions built on minimal evidence and fueled by irrationalism and self-righteous fanaticism.

These panics have been used to distort reality and manipulate people into fighting for draconian and totalitarian measures to combat them.

The most alarming hysteria is the new “domestic terrorism” panic that sprung up in the wake of the Q-Anon Capitol riot of January 6th.

In reaction to this Q-Anon clownshow the political establishment and media have gone full Spinal Tap and upped the hyperbole to 11…9-11 that is.

The delusional discourse that the Capitol riot was a 9-11 level event has led to politicians demanding a “9-11 Commission” type of investigation. I wonder if the new Q-Anon Commission, maybe headed by the new “Reality Czar”, will be as toothless as the contrived show trial that was the 9-11 Commission?

Watching The Mauritanian I couldn’t help but think that Washington and the mainstream media want to do to troublesome “conspiracy theorists”, traditionalists, Christians and Trumpists what Bush, Obama and company did to Mamadou Salahi…make them suffer and disappear. Unfortunately, many regular liberals who have either sold their souls or lost their minds, moral compass and way after years of being heavily propagandized and indoctrinated, wholeheartedly agree with this assessment.

This furor and frenzy over “domestic terrorists” and “white supremacy” is inversely proportional to the actual threat from these manufactured shadows dancing upon America’s cave wall. 

9-11 was a savage and heinous attack, but the U.S.’s over reaction to it brutalized innocent people and ended up transforming the brush fire of Islamic radicalism it was meant to extinguish into an inferno that engulfed the world and torched the Constitution. It seems very likely that a similar over-reaction to the Capitol Riot will result in the same counter conflagration on American soil, and the phantom threat of “right-wing radicals” and “white supremacists” will thus be made manifest.

In conclusion, The Mauritanian isn’t great but is worth watching because it serves a noble purpose, which is to remind Americans of their unquenchable thirst to demonize and dehumanize those they deem as terrorists. Though the targets are now different, America’s evil impulse is as powerful as ever, and so is its susceptibility to hysteria and rampant emotionalism…and that portends a terrifyingly dark future indeed.

 A version of this article was originally published at RT.

©2021

The Asinine and the Absurd 78th Annual Golden Globes Awards

Hollywood once again proved itself to be the moral authority of our time when a bevy of stars took to the stage Sunday night at the 78th annual Golden Globes Awards to rail against President Joe Biden’s unconstitutional, murderous air strikes in Syria, his caging of illegal immigrant kids, and his failure to fight for a $15 minimum wage, Medicare-for-All and a $2,000 stimulus check during this calamitous coronavirus lockdown.

Just kidding.

With the bad orange man gone from the White House it was back to Hollywood business as usual at the painfully lackluster, socially-distanced Golden Globes where there was a lot of performative virtue signaling regarding diversity but no actual political courage on display.

The Golden Globes have long been a running joke as the Hollywood Foreign Press (HFPA), a collection of 89 “foreign entertainment journalists” who vote on the awards, notoriously care less about artistic quality than lining their pockets, corporate swag and basking in star power.

The L.A. Times recently did a searing investigation of the organization and, shock of shocks, found them to be corrupt…I think Captain Obvious was the reporter who broke the story. 

Hollywood’s big takeaway from the L.A. Times story though was that the HFPA is racist because it has no black members.

This was highlighted throughout last night’s show as flaccid comedy duo Tina Fey and Amy Poehler, as well as numerous presenters, made snide comments about the racial “scandal”. This led to one of the more riotously funny moments when an Indian woman and Turkish man who are members of the HFPA had to grovel on live tv about how bad they were for not having black people in their group. Diversity!

Ironically, after all the bemoaning of HFPA racism the three of the first four awards given out went to black actors, Daniel Kaluuya for Judas and the Black Messiah and John Boyega for Small Axe, and to the first black led Pixar film Soul.

Later in the night the Best Actor and Best Actress in a Motion Picture Drama awards also went to black artists, the late Chadwick Boseman for Ma Rainey’s Black Bottom and Andra Day for The United States vs. Billie Holiday.

Stupid Golden Globes can’t even stay on brand when it comes to their own racism.

One of the few bright spots in previous Golden Globes has been comedian Ricky Gervais serving as ornery host. Gervais’ scathing opening monologues at the Globes are some of the best comedy of recent years. Never one to pander or genuflect to his star-studded and empty-headed live audience, Gervais instead consistently eviscerated the cavalcade of self-satisfied and self-righteous stars luxuriously partying before him.

Unfortunately, this year Gervais wasn’t hosting so instead of his uncomfortably honest and gloriously cutting comedy we were stuck with the insipid nice girl comedy of Tina Fey and Amy Poehler.

Another redeeming quality of the past Golden Globes awards has been watching celebrities get drunk at the dinner party style affair. Sadly, this year’s show was “socially distanced” so random shots of sloppy drunk celebs were replaced with awkward moments on zoom. .

Sans Gervais and drunk celebs the Golden Globes were reduced to being nothing but a handing out of awards no one, even the people winning them actually care about.

Besides the endless babbling about diversity and inclusion, the political talk was pretty minimal. Sure, Borat made some stale Trump and Giuliani jokes, and Mark Ruffalo bemoaned the “hideous dark storm” of Trump “we’ve been living through” and Aaron Sorkin mentioned democracy being under siege, but that was about it.

What is so striking is there were ample opportunities for Hollywood heavyweights to speak up about current issues, but they refused.

Sean Penn, one of my favorite actors and activists, was there, and besides looking like Moe from the Three Stooges, he didn’t do much of anything except display a shocking lack of testicular fortitude. He could’ve spoken up about Biden’s illegal attack on Syria, like he had done about the Iraq War…but he didn’t.

Jodie Foster won best Supporting Actress for her work in the film The Mauritanian, a movie about the injustice of a prisoner held in Guantanamo Bay for fourteen years without charge. But Foster never mentioned Guantanamo Bay, injustice or the immorality of the War on Terror in her acceptance speech.

Famed anti-war activist Jane Fonda, who once went to North Vietnam while the U.S. was at war with them, was awarded a lifetime achievement award but never mentioned Biden’s illegal airstrikes in Syria, or his support of murderous tyrant Mohammed bin Salman in Saudi Arabia, or the continuation of the “kids in cages” immigration policy. She instead just regurgitated the usual woke pablum of diversity and inclusion.

Chloe Zhao won best director and best drama for her film Nomadland, which examines those crushed under the boot of American capitalism. Yet she never once mentioned Biden’s failure to push for the $15 minimum wage, Medicare-for-All or a coronavirus stimulus check which he promised, three things which would immeasurably help the suffering people featured in her film.

With Trump gone and the corpse of Joe Biden being the one obliterating Syrians and caging kids at the border, Hollywood elites are now all too happy to lose their stridently socially conscious rhetoric in favor of status quo cheerleading and social justice ass-kissing.

In 2017 in the wake of Donald Trump’s election Meryl Streep “bravely” spoke out in defense of immigrants at the Globes, which was curious since she had been completely silent during the previous 8 years when Obama set deportation records and put “kids in cages”.

It seems Hollywood is following in Queen Meryl’s faux-noble footsteps by deciding to stay quiet now when speaking up would take courage.

Everyone knows Hollywood is not exactly filled with the bravest souls that are driven purely by integrity and their commitment to principle. But the amount of self-righteousness mixed with craven cowardice on display at the Golden Globes last night was remarkable even by Hollywood’s depraved standards.

In conclusion, if the Golden Globes are any indication, awards season is going to be filled with the most venal, vacuous and vapid posing and preening imaginable, but it won’t feature any principled protests against Biden administration policies, no matter how abhorrent they may be.

A version of this article was originally published at RT.

©2021

Nomadland: A Review and Commentary

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An exquisitely crafted film that boasts a powerful yet grounded performance from Frances McDormand.

Oscar front-runner Nomadland chronicles the working class despair wrought by American capitalism, but still manages to kiss Amazon’s ass.

The film gives a gritty glimpse into the struggle of the working poor but genuflects to corporate power instead of exposing it.

Nomadland, starring Frances McDormand and written and directed by Chloe Zhao, tells the story of Fern, an older woman who lives in a van and survives as a seasonal worker in various locales across America.

The film, which is currently in theatres and streaming on Hulu, is based on the non-fiction book Nomadland: Surviving America in the Twenty-First Century and uses some of the real people from the book to play themselves in the movie.

Nomadland is fantastic and an Oscar front-runner, but it’s not for everybody as it’s an arthouse, verite style film with a loose narrative structure that lacks predictable dramatic beats. It is less a straightforward story than it is a melancholy and mournful meditation.

It is the topic of that meditation - American capitalism, impermanence and grief that makes Nomadland such an intriguing piece of cinema.

The story begins with Fern being forced to leave her long time residence in Empire, Nevada after the town’s US Gypsum plant closes and the once bustling area is abandoned.

Fern then takes to the road to run from her grief over losing Empire and her husband and travels throughout the west searching for seasonal employment.

She makes friends with fellow travelers, all suffering in similar circumstances, as she lives out of her van while working menial jobs in Nevada, Arizona, Nebraska and South Dakota.

Chloe Zhao’s deft directorial touch gives the film a looser pace which results in a narrative with great space to breath. Zhao allows space, silence, framing, lighting and a very effective soundtrack work in unison to finely cultivate the drama instead of imposing it upon viewers.

The sense of isolation and desperation felt by Fern is heightened by cinematographer Joshua James Richards’ gorgeous panoramic shots of the vast and beautifully bleak western landscape.

Like the desolate landscapes, the deep lines in McDormand’s gloriously cinematic face also tell the story of all the hardships and heartbreaks throughout the years that have brought Fern and her working class kind to the brink of extinction.

Speaking of extinction, the film repeatedly refers to dinosaurs, and the sub-text is clear, the meteor of globalization, financialization and anti-unionism has hit and Fern and the working class in America are dinosaurs destined to aimlessly walk the darkened earth searching for scraps until they drop dead from exhaustion.

The film also frequently references carnivores, the symbolism of which is that American capitalism eats up and spits out working class people like Fern. In one scene Fern is horrified watching a crocodile in a zoo devour skinned rabbits for lunch, her primordial horror is driven by the fact that American capitalism is the crocodile, and she and all the poor people she loves are the rabbits.

Fern and her friends all bought into the lie that is the American dream, and now they find themselves older with dwindling energy and resources, alone and vulnerable living out the American nightmare. They’ve worked hard their whole lives and have nothing to show for it except for the existential terror of life without any safety net.

Despite the finely crafted filmmaking, McDormand’s powerfully grounded performance and the film’s chronicling of the wandering underclass and rightfully bemoaning the Titanic-esque economic state of America, it disappoints because it refuses to name or chastise the corporate villains hiding in plain sight.

For example, Fern works every Christmas season at an Amazon warehouse. The film actually got permission to shoot in a real Amazon fulfillment center, and that undoubtedly compromised its integrity.

The Amazon related scenes seem as if they were scripted by the company’s human resources and marketing departments as they’re basically shameless ads for the corporate behemoth.

Fern is shown leisurely meandering down vast warehouse walkways smiling and waving to other employees, and having fun in the break room with new friends, and telling others about how much money she makes and how the company covers the cost of her long-term van parking while she is an employee. The reality of employment at Amazon is much different, as the union busting, worker exploiting Bezos beast brutally cracks the whip on its employees like a frantic pharaoh building a pyramid one box at a time.

On its surface Nomadland is a descendant of the Sean Penn directed film Into the Wild and John Ford’s famed adaptation of Steinbeck’s working class masterpiece Grapes of Wrath.

Fern is somewhat a cross between Into the Wild’s free-spirited protagonist Alexander Supertramp and The Grapes of Wrath’s Tom Joad. The problem though, as highlighted by Nomadland’s shameless acquiescence to Amazon, is that Fern is Supertramp without spirit and Joad without spine.

Maybe the film’s lack of testicular fortitude in regards to Amazon is just another piece of sub-text, surreptitiously alerting viewers that the real problem is the modern demonization of masculinity and the feminization of America. In this way Fern is a castrated Tom Joad, not only unable, but unwilling, to fight against oppressors, instead preferring to collaborate in her own exploitation and denigration. 

More likely though is that the film’s Amazon ass-kissing is a function of that corporate monstrosity’s massive influence over Hollywood. Amazon is now a major movie and tv studio, and the suck ups and sycophants in Hollywood know that to get on Amazon’s bad side is a potentially fatal career move…so they pucker up and play act at caring about working class concerns rather than actually doing something about them.

Nomadland will probably win a bunch of well-deserved Oscars, but unfortunately the film is The Grapes of Wrath without the wrath, as it ultimately genuflects to the corporate power that created the working class tragedy it masterfully chronicles.

 A version of this article was originally published at RT.

©2021

Judas and the Black Messiah: A Review and Commentary

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A flawed but fantastic film that vibrates with a formidable vitality that also features two Oscar-worthy performances by Daniel Kaluuya and LaKieth Stanfield.

Judas and the Black Messiah, which opened in theatres and on the streaming service HBO Max on February 12th, recounts the true story of the betrayal of Fred Hampton, the charismatic chairman of the Illinois chapter of the Black Panthers, by Bill O’Neal, an FBI informant.

The flawed but fantastic film, written and directed by Shaka King, features a fascinating story and scintillating performances from Daniel Kaluuya as Hampton and LaKeith Stanfield as O’Neal, which makes it among the very best movies of this thus far cinematically calamitous year.

I have never been much impressed by Daniel Kaluuya as an actor. I thought Get Out was ridiculously overrated and thought his performance in it was too. But as Fred Hampton, Kaluuya utterly disappears into the role and creates as charismatic and compelling a character as has graced screens all year. Kaluuya’s Hampton vibrates with a natural magnetism and intensity that is glorious to behold.

As great as Kaluuya is, and he is great, LaKieth Stanfield actually has the harder job and does equally outstanding work. O’Neal is a tortured and tormented soul, and Stanfield masterfully shows us all his shades. Stanfield’s subtle, complex and detailed work is most definitely Oscar-worthy, and is a testament to his impressive skill and craftsmanship.

Other performances don’t fare quite as well as Kaluuhya and Stanfield though. Jesse Plemons, an excellent actor, does the best he can with a terribly under written role as an FBI agent, and Martin Sheen, also an excellent actor, is so dreadful as J. Edgar Hoover it is like he’s acting in a different, and much worse, movie.

The biggest issue with the film is that its secondary narratives, one which involves Hoover and the other involves Hampton’s girlfriend Deborah Johnson, lack a dramatic cohesion and power, and they distract from the main story and scuttle much needed momentum. The Hoover angle is distractingly cartoonish and the love story between Hampton and Johnson is uncomfortably lifeless, as Dominique Fishback is, to put it mildly, underwhelming in the role of Johnson.

Other issues with the film are that Shaka King’s direction was not quite as deft as I would have preferred. The script and the editing also could have been a bit tighter, but with that said, the film definitely has an undeniable energy to it and pulsates with a power that is impressive.

One final issue was the sound mixing. I watched the movie on HBO Max and the sound mix was utterly abysmal. Much of the dialogue, Daniel Kaluuya’s most of all, got lost under the music in the mix. This could be a function of HBO Max, which unfortunately is a horrible technical streaming service, or it could be I am going deaf, or it could be the sound mixing was atrocious…who knows…but it was irritating.

Predictably, most critics are using the film to connect the more recent Black Lives Matter movement with the revolutionary Black Panther movement of the 1960’s spotlighted in the film.

This is an intellectually egregious and mind-numbingly vacuous interpretation of the movie and its narrative.

The film isn’t about our current manufactured myopia regarding race, it’s about power and the great lengths those with it will go to subjugate those without it and maintain the status quo.

Infamous FBI Director J. Edgar Hoover, embarrassingly portrayed in the movie by Martin Sheen in an obscenely amateurish prosthetic nose, deemed the Black Panthers “the greatest threat to the internal security of the country” for among other reasons because their free breakfast program for kids wasn’t just for black kids but for all kids.

In response Hoover unleashed COINTELPRO (Counter Intelligence Program) and its dirty tactics on the Black Panthers just as he had done previously to Malcolm X and Martin Luther King and other leftists.

As highlighted in the film, the Black Panthers/Hampton were seen as direct threats to the power structure of the U.S. because they worked to bring all poor and working class people together, be they black, Native American, Latino and even Confederate flag-waving whites, against a common enemy, the ruling class, which subjugated and abused them.

Hampton, MLK and Malcolm X weren’t targeted by COINTELPRO’s massive surveillance and infiltration operation and ultimately assassinated under extremely suspicious circumstances because they were standing up just for black people, but because they were working to bring all peoples together to fight against the corrupt and criminal political power exploiting poor and working class in America and across the globe.

In comparison to the towering revolutionaries of Hampton, King and Malcolm X, Black Lives Matter are shameless courtesans to the establishment.

The FBI obviously don’t see BLM as a threat, hell it is such a collection of useful idiots the feds probably started it in the first place. The power structure’s greatest fear is that poor and working class black and white people will stop directing their anger at each other and start directing it at Washington, Silicon Valley and Wall Street. BLM is a critical tool to thwart that impulse and keep the proletariat separated by race…conveniently divided and conquered.

This is how something as innocuous as “All Lives Matter” is transformed into a racial slur instead of a rousing rallying cry. BLM gives away its establishment protection game by so aggressively making enemies out of potential allies, proving they’d rather separate people than bring them together for a clear common cause – stopping police brutality.

There are other signs that BLM is the establishment’s controlled opposition.

For example, when a protest by QAnon clowns at the capitol building turned riot it was immediately labeled an “insurrection” and false stories about it were propagated throughout the mainstream media and the feds hunted down the perpetrators, but these same feds and media supported the BLM “mostly peaceful protests” that attacked police stations and government buildings and took over portions of major cities like Portland and Seattle and turned other cities into looted, chaotic, burning madhouses for months.

Another example is highlighted in the film when Hampton belittles the idea of a school name change as some kind of substantial victory. BLM specializes in this sort of self-righteous symbolism, empty sloganeering (Defund the Police!) and toothless grandstanding that intentionally doesn’t address the actual conditions under which poor people suffer. It is all style over substance, as BLM would rather bring down statues than hunger, homelessness or homicide rates.

What makes Judas and the Black Messiah so poignantly tragic is that it shows that the FBI, which the left now adores, have always been the frontline workers for American fascism and their victory over genuine dissent has been spectacular.

This is why we now have vapid, race-hustling racial grievance grifters like Al Sharpton instead of intellectual giants like Malcolm X and MLK. And why we got the “hope and change” charlatanry of Barack Obama, a maintenance man for the status quo who dutifully bails out Wall Street while Main Street crumbles, instead of the revolutionary Fred Hampton. And why we are fed the lap dog of Black Lives Matter play-acting at defiance while being whole-heartedly embraced by the corporate and political power structure, instead of the bulldog of the Black Panthers putting genuine fear into the establishment.

The Black Lives Matter contingent think they’re Fred Hampton, but they’re frauds, phonies, shills and sellouts, just like Bill O’Neal. And that’s why I recommend Judas and the Black Messiah…not just for the film’s cinematic dynamism or the standout performances of Kaluuya and Stanfield but because it rightfully exposes those bourgeois BLM bullshitters.

 A version of this article was originally published at RT.

©2021

Looking California and Feeling Minnesota: Episode 29 - One Night in Miami

In this week's episode of everybody's favorite cinema podcast, Barry and I take a look at director Regina King's One Night in Miami. This episode includes a discussion on the difficulty of turning plays into movies, Barry's bold recasting of the movie Airplane! and me melting down over the current state of film criticism.

Looking California and Feeling Minnesota - Ep. 29 : One Night in Miami

Thanks for listening!

©2021

The Little Things: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. A derivative and abysmally dull movie that is devoid of any redeeming qualities.

The Little Things, written and directed by John Lee Hancock, is a neo-noir cop movie set in 1990 that tells the story of Joe Deacon, a Kern County Deputy Sheriff, who returns to his L.A. roots and teams with L.A. County Detective Jim Baxter to try and find a serial killer. The film, which premiered on Friday January 29th, 2021 in both theatres and on the streaming service HBO Max, stars three Academy Award winners, with Denzel Washington as Deacon, Rami Malek as Baxter, and with Jared Leto as Albert Sparma, the suspected serial killer.

In 1995, David Fincher’s neo-noir cop movie Seven, starring Morgan Freeman and Brad Pitt, became a smash hit and propelled Fincher, Pitt, Kevin Spacey and Gwyneth Paltrow into the stratosphere of the Hollywood A-List. In an interesting what-could-have-been twist, Denzel Washington, who was already a mega-star in 1995, turned down the role in Seven which eventually went to Pitt. One can’t help but wonder how different the movie and the history of Hollywood, would’ve been if Denzel and not Brad were the centerpiece of Seven.

It seems Denzel thinks about that too, since he chose to do The Little Things, which is a very cheap knock off of Fincher’s iconic 90’s noir masterwork. Unfortunately, The Little Things is no Seven, hell…it isn’t even a decent episode of Law and Order, if such a thing exists.

The Little Things is a painfully derivative, cliche ridden, visually stale, dramatically stilted, narratively incoherent mess filled with ridiculously preposterous character choices and even more preposterous plot twists…but besides that how was the play Mrs. Lincoln?

The trouble with The Little Things is most definitely writer/director John Lee Hancock. Hancock’s filmography, which includes such notable pieces of mundanity as The Rookie, The Blind Side and Saving Mr. Banks, is a who’s who of forgettable films. Hancock is one of those Hollywood company men who make a very good living churning out middle of the road drivel that is pointless and meaningless. Hancock’s summit is mediocrity, and he never clears base camp with The Little Things.

If you thought that with a cast of three Oscar winners you’d at least get some interesting performances…you’d be very wrong.

Rami Malek is absolutely atrocious in the film as the wrapped too tight detective Baxter. Malek is so uncharismatic, dull and lifeless it’s quite remarkable. Malek’s stilted and uncomfortable performance is filled with so many bizarre side glances and preening it feels like he has either never acted before or can only act as Freddie Mercury.

The great Denzel Washington is also out of sorts, and never finds a rhythm or purpose to propel his character. It is jarring watching Denzel, one of the best actors and movie stars of his generation, flail so fruitlessly and wander so aimlessly through a film so obviously beneath him.

Thankfully, Jared Leto really stretches himself and plays a wild-eyed weirdo who may or may not be a serial killer. I am kidding of course, Leto is forever playing weirdos and this one is his least interesting. There isn’t anything remotely compelling about this forced and contrived performance.

In conclusion, much to my shock and chagrin, The Little Things is a frustrating and aggravating viewing experience that was an utter chore to sit through. I’d rather be tied up and slashed to death by a second rate serial killer than watch this third rate movie. I cannot imagine anyone with any semblance of taste or half a brain in their head would ever enjoy this movie in the least.

©2021

Promising Young Woman: Review and Commentary

My Rating: 3 out of 5 stars

My Recommendation: SEE IT. This flawed, very dark comedy has a certain cinematic vitality to it that is compelling, and it also features a stellar performance from the beguiling Carey Mulligan.

Promising Young Woman is a #MeToo revenge fantasy that is both galling for its hatred of men but glorious for its artistry

****This article contains spoilers for the film Promising Young Woman****

Sometimes a movie says something you intensely dislike, but it says it so well you have to tip your cap. A case in point is the darkly comedic #MeToo revenge fantasy Promising Young Woman,

The film, written and directed by Emerald Fennell, tells the story of Cassie (Carey Mulligan), a med-school dropout consumed with grief and anger over her best friend’s rape and death.

In search of cathartic revenge, Cassie spends her time trolling bars pretending to be drunk to the point of incapacitation so that predatory men will attempt to prey upon her. Once they try and take full advantage of her she transforms to reveal herself to be a sober social vigilante shaming men for their repulsive behavior towards women.

Not surprisingly considering the subject matter, Promising Young Woman seethes with vicious misandry that is as disturbing as it is relentless. The film is an unabashed girl power polemic and propaganda piece that espouses the imaginary boogeyman of a pervasive “rape culture” that has only ever existed in the warped minds of Woman’s Studies majors and feminist fanatics. 

The film’s approach re-imagines the misogynistic tropes of Hollywood’s old male dominated storytelling by replacing it with an aggressive man-hating that manifests itself as every male character in the film being an utterly irredeemable predator, a sniveling coward, or both.

In this way it is like a feminist dark comedy version of an old Arnold Schwarzenegger, Sly Stallone, Charles Bronson or Clint Eastwood movie where one identity group, be it blacks, Mexicans, Russians or Arabs are reduced to stereotypes and are all the bad guys, except in this movie every guy is the bad guy.

Another movie that I kept thinking about while watching Promising Young Woman was Falling Down, the flawed but intriguing 1993 Michael Douglas film directed by Joel Schumacher. In Falling Down Douglas plays William Foster, a rampaging regular guy who keenly feels that modern life is unjust toward him. Promising Young Woman is the #MeToo version of Falling Down in that it takes a person’s frustrations at perceived injustice and pushes it to absurd extremes.

Besides finding all men deplorable, Promising Young Woman film does have some other flaws. For instance it runs about a half hour too long in an attempt to find a satisfying conclusion, but the ending is ultimately unsatisfying because it tries so hard to be satisfying. 

The film’s yearning for ultimate girl power catharsis also transforms it from biting satire into pure revenge fantasy, which ironically ends up neutering the film’s feminist/anti-male social commentary. 

When Cassie finally gets her revenge at the end of Promising Young Woman, this actually proves the alleged problem of a dominant patriarchal rape culture is just an imaginary dragon slain by Cassie in a Quixotic fantasy. But if the film had stuck to its artistic guns and let Cassie fail and be left to stew in her rage, fury and failure until the end of time, then the movie would’ve succeeded in highlighting the prevalence and power of the patriarchal rape culture its premise so adamantly claims.

It may come as a surprise after reading what I’ve already written that while I found the cultural politics of Promising Young Woman to be as repulsive as the film finds my gender, I also found that the movie possessed a rage-fueled vitality and artistry that at times was intoxicatingly entertaining, which is a credit to first time feature director Emerald Fennell.

My appreciation of the film is also a testament to the beguiling work of Carey Mulligan. Mulligan gives an incisive and insightful Oscar-worthy performance that is stunning to behold for its dynamism and detail. Mulligan masterfully imbues Cassie with a seething and righteous fury that animates her every action and it results in a gloriously magnetic performance.

Supporting actor Bo Burnham is also terrific as Ryan, a man with a crush on Cassie. Burnham, a comedian and director himself, is compelling as he tries to be both charming and passive in Cassie’s presence. The chemistry between the two actors comes across as grounded and genuine, and it elevates the film considerably.

It may seem odd that I am praising a film that has such a pronounced cultural and political perspective that I find distasteful and with which I vehemently disagree. But unlike so many writers and critics of today who find it impossible to tolerate anything or anyone in life that doesn’t agree with them fully, I am not only able to tolerate things I disagree with, I can actually appreciate them.

Promising Young Woman is both a testament to the worst totalitarian and draconian instincts of modern feminism and the #MeToo movement but also a glorious monument to Emerald Fennell’s bold direction and Carey Mulligan’s mesmerizing acting.

I recommend you see the film and judge it for yourself, and even though it viciously judges all men, audiences should have enough integrity to honestly judge it on its merits, not just on its pernicious cultural politics.

 A version of this article was originally published at RT.

©2021