"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Room : A Review

****THIS REVIEW CONTAINS SPOILERS!!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!!****

MY RATING : SKIP IT IN THE THEATRE, SEE IT ON NETFLIX OR CABLE  

Room, directed by Lenny Abrahamson with screenplay by Emma Donoghue (based on her novel of the same name), is the story of Joy, a young woman abducted and held in a small room by a stranger who routinely rapes her, and Jack, her five year old son who was conceived as a result of these rapes and has never known any life outside of the room they call home. The film stars Brie Larson as Joy and Jacob Tremblay as Jack. Room has received four Academy Awards nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Actress.

Room is one half of a truly brilliant film. Room has some extraordinary elements to it, but is burdened by a structural flaw that undermines its potent dramatic power. What is the flaw? Well, the first half of the film, where we are trapped with Joy and Jack in the room is so well done, so full of genuine humanity and palpable tension that it is absolutely mesmerizing. Sadly, the film makes a dreadful mistake by moving away from and releasing the dramatic tension of Joy and Jack's captivity, and instead follows them as they struggle to reintegrate back into the real world. That decision completely dissipates the dramatic tension that was so compelling while Joy and Jack were imprisoned. We are instead left with a second half of the film that is muddled and vague.

I have not read the book the film is based on, but I suspect the film is faithful to it, as the author is the screenwriter, but film is not literature. I think it was Marlon Brando who once said, "It's moving pictures, not moving words". As always, Brando is right. The structure of a story for a book is vastly different than that for a film. Books have a different pace, rhythm, and perspective. Books use words, film uses visuals. The first half of Room is a brilliant film, the second half feels like a book put to pictures.

In the first half, the film is visually vibrant and dramatically focused. For instance, the sequence where Jack escapes and struggles to maintain his focus in the vast, frightening and glorious new world outside the room, is unquestionably magic. It is as heart pounding a sequence as any in film this year. Part of what makes Jack's escape and car ride so compelling is that he doesn't have to say much. We also get to see this wondrous new world for the first time through his eyes. The rest of the film never lives up to that staggering sequence. The drama gets diluted from that moment onward. The story of Joy and Jack adjusting to life after the room lacks focus and is nowhere near as imperative as their life in confinement and whether they will survive.

Director Lenny Abrahamson also directed last years Frank, which, like Room, was also an uneven film that suffered from a lack of focus. Like Frank, Room, can't decide what exactly it wants to be. Since it can't have one focal point, it ends up trying to do too much. A general rule in filmmaking is "less is more". Room should have been an hour and ten minutes of the audience being stuck in the room with Joy and Jack. The films final ten minutes should have been Jack's pulse-pounding escape, which is a masterpiece of filmmaking on Abrahamson's part. You could maybe extend it to follow Jack as he tries to help the police decipher his five year old ramblings and backtrack to save Joy, which is another great sequence in the film. An entire film of Joy and Jack struggling to survive and stay sane in that room, the claustrophobic drama of that, would have even heightened the already unimaginable excitement of Jack's climactic escape. I believe if Room had followed that path, it would have been the best film of the year…but it didn't….and it wasn't.

Brie Larson is a phenomenal actress and her work in Room is superb. Larson's Joy is a deeply wounded soul, but it doesn't translate into making her fragile or delicate, but rather gives her a formidable power and spiritual ferocity. Joy is genuine, grounded, likable and yet, like all of us, oh-so human and flawed which makes her especially enthralling. What makes Larson's work so good is that it shows us a real person trying to make the best of an impossible situation. Larson's artistic courage is on full display as she is able to exquisitely convey the mental and emotional torment of being held prisoner. Larson's performance, like the film, does struggle in the second half to maintain it's early radiant brilliance, but that has more to do with a lack of narrative focus rather than her obvious command of craft and skill.

Brie Larson is the odds-on favorite to win the Best Actress Oscar at the Academy Awards this year. She certainly has earned it if she does indeed win. She has a great career ahead of her if she can avoid the pitfalls that have sidetracked so many other talented young actors. The pressure to satiate the ravenous greed of the industry can often suffocate the creative impulses of many artists, even after they win an Oscar. I look forward to seeing the talent and skill of Brie Larson blossom and prosper in the years to come, let's hope Hollywood doesn't smother her genius in the crib.

Speaking of cribs, Jacob Tremblay is the young actor who plays five year old Jack. Tremblay was eight when he shot Room. He is utterly fantastic in the film. Jack is, like all five year olds, maddening, frustrating and absolutely amazing. The film thrives when it shows us Jack's perspective and lets us into his world. The old Hollywood maxim says to never work with animals or kids…but you can throw that saying out in Tremblay's case as he his work in Room is sublime. 

As for the rest of the cast, there are some big names but they do subpar work in the film's flawed second half. Joan Allen plays Joy's mother, and the part is terribly underwritten and her performance is underwhelming. William H. Macy is uncharacteristically dreadful as Joy's estranged father. Both of these performances suffer from the lack of focus that derails the film itself in its second half.

In conclusion, Room's impeccable first half is as good as it gets, but once the dramatic tension is dissipated, the story loses all momentum in its second half and staggers to its anti-climactic finish. The film is worth seeing for Brie Larson's and Jacob Tremblay's performances alone, but one can't help but feel disappointed that the film didn't live up to the heightened expectations created by its first half. So, see Room on Netflix or cable, but there is no need to spend your hard-earned money going to see it in the theatre. 

©2016

Brooklyn : A Review

****THIS REVIEW CONTAINS SOME MINOR SPOILERS!! CONSIDER THIS YOUR OFFICIAL MINOR SPOILER ALERT!!****

MY RATING: SKIP IT IN THE THEATRE, SEE IT ON NETFLIX OR CABLE.

Brooklyn, written by Nick Hornby and directed by John Crowley, is the story of Eilis Lacey, a young woman from the small town of Enniscorthy, Ireland, who leaves her home and starts a new life in Brooklyn, New York in 1952. The film stars the luminous Saiorse Ronan as Eilis, with supporting turns from Domnhall Gleeson, Jim Broadbent, Julie Walters and Emory Cohen. The film has been nominated for three Academy Awards this year for Best Picture, Best Actress and Best Adapted Screenplay.

As the son of Irish and Scottish immigrants, and a native son of the beloved borough in the title, I was very excited to see Brooklyn, as Eilis Lacey's story is not dissimilar to my own mothers. The immigrant tale of Eilis Lacey is one that many, if not most of us, can relate to. As someone who has moved cross country from Brooklyn to Los Angeles, I related to Eilis story as well, not in setting, but in substance. Whether we have moved to another country, or moved to the big city from the suburbs, or vice versa, we all have to leave the nest and venture out on our own at some point in our lives. Brooklyn tells the story of how grueling, but imperative and ultimately rewarding that journey away from our home, and to our new home, can be. "You can never go home again" is a true statement not because "home" has changed, but because "you" have changed by leaving home. Eilis Lacey's circular odyssey in Brooklyn teaches us that the initial fear of leaving the security of home can transform into the exhilarating freedom of being away from the gossip, prying eyes and small minds of a place you have outgrown, if you only have the courage to embark on the adventure. At some point in the immigrant's journey, returning "home" no longer means going back to the place of your past, but rather returning to the place of your present and future, and Brooklyn makes that very clear.  

Another reason I was excited to see Brooklyn, is that it stars Saiorse Ronan, is one of the great actresses working today. Ronan certainly she proves her mettle and earns her OScar nomination in tackling the role of Eilis Lacey. Ronan imbues Eilis with such a vivid inner life that she is absolutely mesmerizing to watch. Director John Crowley, on occasion, wisely lets the camera linger on Ronan well after the action of the scene has ended, and there are stunningly effective moments of brilliance that he captures by doing little more than letting Saoirse Ronan be present and fill the screen.

Ronan's subtlety and mastery of craft are really something to behold. She has a deft touch and never imposes herself onto a scene, but rather inhabits her character so fully that you feel as if she isn't acting at all…which is the goal of all great actors. Ronan is not a showy actress, her strength lies in being genuine and grounded, and allowing the rooted humanity of her characters to shine through. Ronan envelops Eilis in a thick coat of melancholy when we first meet her, a young and awkward girl struggling to make her way in a strange new world. As the film progresses, Ronan adeptly allows Eilis to gradually bloom into a weary and a wary young woman, and then blossom into an adult woman who embraces her incandescent power.

Besides being remarkably talented, Saoirse Ronan also has the benefit of being a classic beauty. She is so beautiful that she would be right at home in any of the great museums of the world, but she is not the typical "Hollywood" beauty. Her beauty is an approachable one, making it a marvelous asset but never a distraction. While the camera loves her face, it is Ronan's immense skill and prodigious talent that fills the big screen. There is not a lone disingenuous moment from Ronan in the entirety of Brooklyn, which is a great credit to her commitment, as the script could have easily led her to moments of melodrama.

As great as Saoirse Ronan is, the film never fully lives up to the stellar work she does in it. The first half of the film is very compelling, buttressed by solid supporting work from Jim Broadbent and Julie Walters. But mid-way through the film, when a love story comes in to play, the wheels come off the wagon. The biggest reason for this is that the love interest, Tony Fiorello, is of no interest at all. He is a one dimensional, cardboard cutout of a character. The actor playing Fiorello, Emory Cohen, does the best he can, but his character is a weak spot in the script and Cohen seems an ill fit for the role. This mis-casting and under-writing is devastating to the rest of the film. The Tony Fiorello character is pivotal for the ensuing narrative of the film to be even remotely believable, and sadly, Cohen's Tony is not believable in the least. In fact, the entire Fiorello family is an albatross around the neck of the film. The characters in the Fiorello family would be more at home in an old Prince spaghetti commercial than they are in Brooklyn.  None of the characters in the Fiorello family are credible and neither is the relationship between Eilis and Tony, which is the death knell of Brooklyn.

In the last quarter of the film, Domnhall Gleeson shows up as local Irishman Jim Farrell, and does his usual quality work, but it is too little too late to save the film. Brooklyn would have been much better served with much more of Domnhall Gleeson's Jim and much less of Emory Cohen's Tony. But alas, 'Twas not to be.

Despite the love story mis-step, Brooklyn does get a lot of things right. It is a well made period piece with flawless costumes and set pieces. Brooklyn is also visually exquisite, as cinematographer Yves Belanger uses a delicate palette to paint a lush picture of 1950's Brooklyn and rural Ireland.

In conclusion, Brooklyn is a gorgeous looking film, highlighted by a wondrous performance from the magnificent Saoirse Ronan. Sadly, a fatal flaw in the script and the casting had a devastating impact on the film that undermines many of the positives it had going for it, rendering Brooklyn a mixed bag at best. In my opinion, Brooklyn is worth seeing on Netflix or on cable, but it is not worth your time and hard-earned money to make the punishing trek to go see it in the theatre. 

 

The Revenant : A Review

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

MY RATING : SKIP IT IN THE THEATRE*, SEE IT ON NETFLIX OR CABLE.

*UNLESS YOU ARE A LOVER OF GREAT CINEMATOGRAPHY, THEN DEFINITELY SEE IT ON THE BIG SCREEN IN THE THEATRE

THE REVIEW

The Revenant, directed by Alejandro G. Innaritu and written by Innaritu and Mark L. Smith (based on the book of the same name by Michael Punke), is the story of hunter and guide, Hugh Glass, who, in 1823 on the northern plains of North America, seeks to avenge a loved one's murder while struggling to survive the uncolonized wilderness and the native tribes that inhabit it. The film stars Leonardo DiCaprio as Glass, and boasts supporting performances from Tom Hardy and Domnhall Gleeson.

 Much has been made about Leonardo DiCaprio's performance in the film and his likelihood of winning the Best Actor Oscar at this years Academy Awards. I agree that Dicaprio will win the Oscar, but I disagree that his performance is worthy of such high praise. In fact, this performance seemed like a step back in DiCaprio's artistic evolution. There is a lot of grunting, groaning, wailing and gnashing of teeth, but it all feels forced and frankly, showy. DiCaprio seems to want to indicate how hard he is working, and to his credit he is working very hard, and how much he is "acting". I found the performance heavy-handed, contrived and ultimately off-putting, which was disappointing considering the trajectory of DiCaprio's work in recent years with his truly stellar turns in Django Unchained and The Wolf of Wall Street. DiCaprio's performance in The Revenant is along the lines of his work as Howard Hughes in Martin Scorsese's The Aviator, which I felt was over-the-top and sub-par to his very high standards.

I am a big fan of actor Tom Hardy as well, but I felt his performance in The Revenant was underwhelming. It is not Hardy's fault, as his character, John Fitzgerald, is terribly under written. Fitzgerald is initially a very compelling character, but is given no dramatic arc, making him a rather hollow character, so we lose interest in him the more we see of him.

Having Fitzgerald be under-written is a big issue for the narrative of the film as well, as we need a much stronger foil for Hugh Glass to be up against in order to make the story more dramatically dynamic. The Fitzgerald character being cursory means that the narrative is never able to flower into anything more than the one-dimensional survival story of Hugh Glass, as opposed to a two-dimensional chase/revenge story, or a three-dimensional story about Glass chasing his psychological shadow in the form of his nemesis Fitzgerald. This is a disappointment as The Revenant has greatness hidden within it on multiple levels, but director Innaritu is unable to mix these potent ingredients together in a satisfactory manner in order to cook up a gourmet cinematic feast, rather we are left with a serving of unseasoned and uncooked bison meat. 

Innaritu, who won a Best Director Oscar last year for Birdman, is a very talented guy, but he has a tendency to make basic structural decisions that frustrate the potential power of his films. He undercuts the mythological flow of his films with foundational flaws that are minor in practice but major in impact. For instance, in Birdman, the ending sequence was held for a scene and a series of beats too long. This flawed climax had the result of watering down and undermining the brilliance that led up to it. In The Revenant, Innaritu again makes a minor structural stumble which stunts the energetic, mythic and psychological flow of the film. Without giving too much away, I will only say that the narratives involving Glass and his own survival and his pursuit of Fitzgerald, don't travel together in a straight line as they should, but rather diverge at a crucial point in the story, much to the detriment of the dramatic flow of the film.

On the bright side, Cinematographer Emmanuel Lubezki creates a visual masterpiece by seamlessly weaving his deftly moving camera amidst the stunningly crisp natural beauty of the film's locations. In the last two years, Lubezki has won consecutive Best Cinematography Oscars for his work in Gravity and Birdman (also directed by Innaritu), and it would not be a shock if he won for a third straight time this year for The Revenant. In the last decade, Lubezki's collaborations with Terence Malick on The New World, The Tree of Life and To the Wonder, and his work with Alfonso Cauron on Children of Men and Gravity, along with his work with Innaritu (Birdman, The Revenant) prove he is a visual genius of the highest order and a master at the top of his game. The Revenant is worth seeing in the theatre if for no other reason than to see Lubezki's magnificent work up on the big screen.

To be clear, The Revenant is not a terrible film by any stretch of the imagination, but it is also not a great one. It is a very dramatically flawed, but visually beautiful, piece of art. It is frustrating to me that the film as a whole could not live up to the potential of its various pieces in the form of a great cast, director and cinematographer. The reality is that The Revenant not only COULD have been better, but it SHOULD have been great. 

 

****WARNING: THE FOLLOWING SECTIONS CONTAIN SPOILERS!!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!!****

THE MYTHOLOGICAL AND THE PSYCHOLOGICAL

A bit of advice given to a young Native American at the time of his initiation:  "As you go the way of life, you will see a great chasm. Jump. It is not as wide as you think." - Joseph Campbell

The Revenant is one of those rare films that is actually much more interesting on the deeper mythological and psychological levels than it is on the entertaining/storytelling level. I found the film intriguing almost despite itself. I do wonder though, if people who do not have my interest and background in Jungian psychology and Joseph Campbell's comparative mythology would enjoy the film very much on any of these deeper levels. Regardless, here is a very short breakdown of some of the mythological and psychological imagery used in the story.

The mythology and psychology running through the film is laced with Native American spirituality and symbology. There is a Bear prominent in the story which is the impetus to send Glass on his literal and mythological quest. In native spirituality, Bear medicine symbolizes awakening the power of the unconscious, and in The Revenant, Bear brutally forces Glass to go on his journey deep into the darkest recesses of his psyche and soul to find and heal his true self. Bear instinctively and viciously attacks Glass in order to protect her cubs, leaving him unable to protect his "cub", his son Hawk, from danger. On the epic journey started by Bear, Glass will, as the title of the film suggests (Revenant means "one who has returned, as if from the dead"), die many times and be born again. Like Christ, Glass must die to his old self in order to be born again to his higher self.

Also like Christ, Glass must wander alone through the wilderness in order to be spiritually purified. It is during this "time in the desert", that Glass comes across a fellow wanderer, Hikuc, a Pawnee Indian, who also happens to share the same spiritual/psychological wound as Glass, namely, the deep grief at the loss of his family. Hikuc and Glass share the sacrament of communion in the form of eating raw bison meat. In Native spirituality, Bison, similar to Christ in Christian mythology, is a gift from the Great Spirit meant to nourish and sustain his people. Bison also symbolizes 'right prayer joined with right action'. Once Glass has been purified, and eaten the holy sacrament, he can now move on to the next portion of his journey, the symbolic re-birthing.

Glass rides on the back of Hikuc's horse to the woods where Hikuc prepares a "purifying womb" for him in the form of a sweat lodge. Glass hibernates(Bear medicine) in this sweat lodge, his physical, psychological and spiritual wounds beginning to heal thanks to Hikuc's help. When Glass awakens inside the sweat lodge, the world outside, just like Glass inside the womb, has been changed, having been christened, with a pristine layer of white snow. 

When Glass emerges from the sweat lodge, a place of 'right prayer', he resumes his journey on his own after finding Hikuc "crucified" like Christ and hanging from a tree. Glass continues on and commits an act of 'right action' by saving an Native princess from the same men who sacrificed Hikuc on the tree of life. Having fulfilled the sacred call of the Bison (right prayer joined with right action), he is now fully prepared for the "Great Leap".

A pulsating horse chase follows his saving of the princess that climaxes with Glass making the great spiritual leap from his current state of 'clutching onto the life he has now' to the state of 'letting go in order to embrace the life that is waiting for him'. Glass "dies" on this Great Leap as he rides Hikucs horse over the edge of a cliff. This is followed by Glass, once again, hibernating (Bear medicine) through a blizzard in a makeshift womb, this time in the dead body of his sacred horse mother, and being born anew after surviving a cold, dark night. 

The Great Spirit has, through Bear, Horse and Man(both Native and European), forced Glass to evolve by forging a new spirit, a new soul and a new self. Glass, having survived this crucible, is now sufficiently healed, and prepared to finish his earthly quest and then to shuffle off this mortal coil into the arms of the Great Spirit.

This alchemical cycle of destruction, purification, initiation and reconfiguration is the heart of the psychological myth of The Revenant and is what makes the film so imperative on a much deeper level than it's less than its rather mundane superficial one. Viewing the film through this mythological/psychological prism, makes for a much more satisfying experience. I recommend you do so, for Glass' spiritual journey is the same journey we all must make….the struggle to find meaning in our suffering as we hurtle headlong towards our own inevitable obliteration.

©2016

The Hateful Eight : A Review

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

MY RATING : SKIP IT IN THE THEATRE*, SEE IT ON CABLE/NETFLIX

*(unless you are an avid lover of lush cinematography, in that case go see it in anamorphic 70mm in the theatre)

The Hateful Eight is enigmatic writer and director Quentin Tarantino's eighth feature film. It is the story of eight seeming strangers seeking refuge from a blizzard in a stagecoach stopover in post-civil war Wyoming. The film boasts an all-star cast of Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Tim Roth, Michael Madsen, Damien Bashir, Walter Goggins and Bruce Dern.

The Hateful Eight has been distributed in two different versions, one version, the "general", runs 167 minutes and is shown in regular 35 mm. The other version is the "Roadshow" version, which has a running time of 187 minutes, and is shown in theaters specially equipped with anamorphic 70mm projectors, in order to show the film "as it was intended" by Tarantino, in 70mm, widescreen format. I saw the "Roadshow" version, which actually runs 210 minutes due to an overture to open the film and a twelve minute intermission. Like many of Tarantino's films, this story is told in chapters. There are six chapters, and the intermission came between chapters 3 and 4.

While I have loved some of his films, I am not one of those fan boys who worships Tarantino. I find his work to be at times brilliant and at other times appalling, sometimes within the same film. I loved Reservoir Dogs and Pulp Fiction but thought Jackie Brown was one of the sloppiest and worst films I had seen in years. I was stunned by the audacious genius of the two masterful Kill Bill films. I was repulsed by the brazen pandering and artistic imbalance of Inglorious Basterds, even while being mesmerized by two scenes in it which were two of the best scenes I'd seen in recent memory. I thought Django Unchained was, minus a clumsy cameo by its director, a masterpiece. 

The Hateful Eight is a frustrating and sometimes infuriating film. The first half of the film, where we meet the eight characters, is well done and accentuates Tarantino's strength as a writer and a director. The first half wonderfully builds characters and a story that leave the viewer in a heightened state of anticipation as they walk out for intermission. Sadly, after the intermission, the film never lives up to its premise, promise and set-up. The second half of the film devolves into a tangled and uneven mess of Tarantino's worst, unfocused impulses.

Without getting into specifics or divulging any 'spoilers', the second half of the film feels lost and rushed, like Tarantino is attempting to cover the holes in his own storytelling. He uses a voice-over for the first time in the film right after the intermission to fill in the gaps of his narrative and it is jarring for a variety of reasons, not the least of which is that Tarantino does the voice over himself. The voice-over signals we are transitioning to not only a different (and lesser) film, but also a different type of film. The confidence, subtlety, and deft touch on display in the first half of the film vanish and we are left with a writer/director struggling and failing to come up with something interesting to say and do. The film flails around trying to be daring and bold but it only stumbles over it's own self-satisfying and delusional narcissism.

What the film is really about is not the intrigue of eight people stuck in a cabin to ride out a blizzard wondering who among them are the good guys and who the bad, but rather it is about race in America. This is a noble and complicated theme for any film maker to tackle, but in the hands of Tarantino this time out, it is like a gun in the hands of a toddler. The examination of race is shallow and sophomoric at best and repugnant at worst. The racial theme, like everything else in the script, seems to be a rushed add on used to fill in space and add the illusion of depth rather than a genuine topic of examination and exploration.

The Hateful Eight also contains some very basic storytelling and myth making errors. There is one monologue in particular, by Sam Jackson's character Major Marquis Warren, that is so repulsive it ends up working at cross purposes with the films narrative structure, which requires the audience to attach themselves to Major Warren and to root for him. This monologue is well done by Jackson the actor, but poorly done by Tarantino the writer and director, who intersperses visuals throughout Jackson's speech which end up undermining it, much like the speech itself undermines the viewers empathy with Major Warren. The monologue, like much of the script, feels like a first draft that was written by a freshman film student at a second rate community college.

A large part of Tarantino's filmmaking style is to pay tribute to other films and filmmakers in his own films. It is bizarre, but in The Hateful Eight it seems Tarantino is paying homage to himself and his own work. If Reservoir Dogs, Django Unchained and Inglorious Basterds had a prematurely born, bastard-child which only inherited the very worst traits of its' parents, then that enfent terrible would be The Hateful Eight.  The most obvious form of this homage is in the casting and in the characters. For instance, Samuel L. Jackson seems to be reprising his iconic Pulp Fiction character Jules Winnfield, only this time in a Union civil war uniform as bounty hunter Major Marquis Warren. Put a Jheri curl afro wig on Major Warren and he is Jules. In a convoluted way, Tim Roth does the same thing by reprising his Reservoir Dogs character Mr. Orange, this time as a British hangman named Oswaldo Mobray. The matching details between Mr. Orange and Mr. Mobray are uncanny. The problem with this sort of masturbatorial, self-referential naval gazing is that it borders on directorial self parody.

In terms of the performances, all of the actors do as well as they can. These are quality, top-notch actors and they all do solid and captivating work with the flawed script given them. 

Jennifer Jason-Leigh is a fabulous and terribly overlooked and under-appreciated actress, and she does the best with what she is given here as the prisoner Daisy Domergue, but when the story goes off the rails in the second half, any interest in her character goes right with it.

Michael Madsen is one of my favorite actors, but he seems like an add-on here in order to make the cast round out to the number eight (a tribute to Tarantino himself and the fact that this is his eight feature film, which is made very clear in the opening credits). Much like Madsen's under written and under used Joe Gage, Bruce Dern's General Sanford Smithers seems thrown in only for monologue convenience purposes. 

Kurt Russell plays John Ruth, a.k.a. The Hangman. Tarantino has occasionally tried to reignite once successful actor's careers by casting them in his films. He gave John Travolta a career renaissance by putting him in Pulp Fiction, and attempted to do the same with Pam Grier and Robert Forster in Jackie Brown, David Carradine in Kill Bill, Don Johnson in Django Unchained and now he does the same with Kurt Russell. Russell does a very good job in the role, so much so that one can't help but wish he wasn't more the focus of the story. Russell creates a brutal character but one with an intriguing internal life to him that draws the viewer in deeper and deeper the more you see of him. I have never been much of a Kurt Russell fan but there is no doubt that this film needed more Kurt Russell and not less. The Hateful Eight would have been much better served if the John Ruth character had the opportunity to be more fully fleshed out.

As underwhelming as The Hateful Eight was, it is not without some greatness. Robert Richardson's cinematography is sublime. The opening shot of the film is both visually and narratively exquisite in every way. Richardson takes full advantage of the beautiful natural setting and expanse in the Rockies and of the sharp contrasts of the blizzard raging around the story. If you are someone who loves great cinematography, then definitely see the film in the theaters and see it in anamorphic 70mm. It is well worth the time just as a piece of visual art.

Famed composer Ennio Morricone's(The Good, The Bad and The Ugly) soundtrack is pretty fantastic as well. When they told us that their would be an overture, I rolled my eyes, wanting to just get to the film, but the overture was glorious. And having an overture and an intermission was actually pretty cool and made going to the theatre seem like a grandiose event and a 'special', worthwhile experience. It is all too easy to see films in the comfort of our own homes instead of the theatre nowadays, so having a throw back overture takes the viewer out of the routine of movie watching and puts an element of grandeur and mysticism back into the experience.

In the final analysis, I think Quentin Tarantino shot a much much too early draft of the script with The Hateful Eight. I believe with many more rewrites the script could have given greater depth to the characters and themes explored, and given more clarity and precision to the narrative. I consider The Hateful Eight to have been a lost opportunity for Quentin Tarantino as all of the pieces were there for this film to have been great. A superb cast of terrific actors, the glorious cinematography of Robert Richardson, a world-class soundtrack from Ennio Morricone, and the blueprint for an interesting and intriguing story…but due to a script that wasn't done marinating or cooking, and was shot prematurely, all of these elements never had a chance to come together and achieve the cinematic greatness that could have been within reach. 

If you are a big fan of Tarantino, you will enjoy the film as it is a very "Tarantino" film, meaning it has a lot of violence and innumerable uses of the word "nigger". But if you are simply a lover of great cinema, this is not the film for you. At the end of the day, The Hateful Eight is in the bottom half of Quentin Tarantino's impressive filmography, probably just above Jackie Brown and just below or tied with Inglorious Basterds.

With that said, if you love transcendent cinematography, I would implore you to go see the film in the theatre in anamorphic 70mm. Robert Richardson is a master craftsman of the highest order and his visual artistry is well worth the price of admission if you are into that sort of thing.

 

****WARNING: THIS SECTION CONTAINS SPOILERS!! PLEASE SKIP IT IF YOU HAVEN'T SEEN THE FILM YET!!!***

 

Ok, just a brief little write up with a little more detail for those of you who have seen the film.

The Major Marquis/Sam Jackson monologue I wrote about above is the monologue that ends the first half of the film where he tells the story of how he mouth raped the confederate general's grown son. It is such an over the top speech that it breaks the spell that the film had so carefully cultivated in the lead up to it. Another point about it is that we are meant to root for Major Marquis, he is really the mythic hero of the film. While we can hear "bad" things about him from other characters, Sheriff Mannix telling the story of Marquis' burning of the prison for instance, it totally undermines the mythic and psychological power of the narrative if Major Marquis himself tells the story of mouth raping a desperate man for purely sadistic purposes. This is such an egregious act that Major Marquis can no longer be relied upon to carry the audience's positive projections. No one watching the film who sides with Major Marquis, namely people that consider themselves non-racist and would be against slavery and the confederacy (in other words, self-identifying "good" people), could ever imagine themselves wanting to rape another man just to make him suffer and degrade him.

Tarantino has used male on male rape and the threat of it before in his films, most notably in Pulp Fiction where Zed rapes Marsellus and tries to rape Butch. The difference there though is that Zed is, from the moment we meet him on screen, a loathsome character. He is a horrific obstacle to be overcome by Butch on his hero's journey. Zed represents the threat of Butch losing his manhood and masculinity. When Zed is finally overcome by Butch, Marsellus tells Butch to keep the knowledge of the rape to himself, as it is the most shameful thing that can happen to a man, and he also tells Butch that he is going to "get medieval" on Zed, administering divine justice and vengeance for this most heinous of acts.

So it is established in the world of Tarantino, and frankly, in the real world too, that a man raping another man, with all of the mythic and psychological power that goes along with it, is the most despicable thing a man can do to another man. And yet, we are supposed to empathize with Major Marquis after learning of this? We are supposed to root for him and project ourselves onto him? It is an impossibility for any viewer to do so. A rapist, whether they rape men or woman, is as deplorable and despicable a person as one can imagine. So it is absurd to expect audiences who have been set up by the first half of the story to empathize with Marquis, to not feel betrayed by the film and to tune out and turn away from the rest of the story. Simply put, an unrepentant, dare I say gloating rapist, can never be the hero in a story. And if they are the hero, no one will care whether they survive their journey or not. While Marquis gets "some" divine justice for his heinous act in the form of castration, he is never held to account for his deeds or made to repent, quite the opposite actually….he wins at the end.

The Major Marquis rape monologue is also mishandled by Tarantino when he keeps cutting away to show the viewer what Marquis is describing. Then Marquis asks the General "You're seeing pictures aren't you?" Why not have the confidence in the actor Sam Jackson to tell the story and carry the viewer through it. Jackson is as compelling an actor as you'll find, and his monologues are legendary. Cutting away from the monologue undermines it's power and its mystery…as we are left with no doubt that Marquis is telling the truth, since we've seen it ourselves. If we are left wondering if Marquis is lying just to get under the General's skin, then we can continue to root for him as the story goes forward. But we aren't, and we don't.

Another issue I have with the film is the finale is terribly bungled. Why not have the Sheriff turn on Marquis and take Domergue's offer? That is the more interesting choice. And then have him think he is home-free only to hear the rumble of horses coming up to the cabin, signifying that he made the wrong choice and that Domergue's gang will kill him. The ending is a shockingly weak one for a director who usually defies convention and the easy way out. Tarantino was trying to fit a nice ending into his racial exploration. It comes across as little more than wishful thinking. It is also a complete contradiction to the nature of the Sheriff's character to side with Marquis at the most important moment. Why side with a man who raped one of your compatriots? That is inconceivable. 

Also, we have no reason to feel that Daisy Domergue is a villain. We've not seen her do anything terrible. We've been told she is a criminal, but we're not shown it. We have only seen her be beaten and mistreated by John Ruth and Marquis. We actually like her much more than anyone else in the film. Yet the glee the men show at her hanging feels disproportionate to the evil we may or may not have seen her commit. This is just one more in a long line of storytelling mis-steps that emotionally and psychologically disconnect the viewer form the film. 

And finally, the idea that anyone had enough of a connection to the John Ruth character that they would make a huge, life and death decision, based on what John Ruth would have wanted, is ridiculous and unsupported by the entirety of the film. Doing something for John Ruth's sake is a very very cheap way to give an unrealistic motivation to the characters in order to find a way out of the story.

And in order to end on a more positive note…the opening shot where Richardson excruciatingly slowly pulls out and holds on the frozen crucifix, with it's painfully tortured and contorted snow-framed face, and then the stage coach comes into view in the distance, was a cinematically powerful way to not just open the film, but also start the story. That shot is so artistically impeccable and mythically precise that I could hardly contain myself. In hindsight, that transcendent shot set up an expectation that the rest of the film was unable to live up to…but that doesn't make it any less glorious.

That is all I have to say on the film for now. Feel free to share your thoughts in the comments section. 

©2016

 

 

Trumbo : A Review

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

MY RATING: SKIP IT

Years ago, on an extremely hot August day, I was jogging down the street in Brooklyn when I had the great misfortune to step in a supernaturally large pile of dog excrement. I nearly slipped and fell as the excrement acted like a banana peel and knocked me off my stride, but thankfully due to my incredibly athletic and balletically graceful nature I was able to regain my balance. If I hadn't been in such an urban setting I would have assumed the creator of the excrement in question was a grizzly bear or a Sasquatch and not a dog, but due to setting, circumstances and available evidence, I lay the blame upon man's best friend. Upon closer inspection the excrement was fresh, slick and steamy and, as is the case with most excrement, smelled most foul. In order to avoid any further embarrassment or attention from passers-by, I quickly left the scene of the poop-step incident and went to find a less public place to clean my sneaker. I ended up down a side street trying to use the curb to clean out the crevices of my sneaker. As time wore on and the amount of poop on my sneaker shrunk, somehow the smell grew worse, nearly rendering me unconscious. It was at this moment that I realized that this noble sneaker, with it's complicated zig-zag sole which seemed designed to hold poop deep in it's marrow, was going to be a casualty of this brown encounter and would not survive, and his partner, although poop free, would be lost to the ages as well.

I was reminded of this story while watching the film Trumbo.

Trumbo, written by John McNamara and abysmally directed by Jay Roach, is the story of legendary screenwriter Dalton Trumbo. Trumbo, along with nine other screenwriters, was  blacklisted for being and/or associating with communists during the red scare in the 1940's and 50's. Trumbo was also imprisoned for Contempt of Congress for refusing to give the names of his communist friends to the House Un-American Activities Committee. Dalton Trumbo was a talented, brave and principled man who lived a life worth honoring and remembering. Trumbo the movie is little more than some odorous excrement stuck upon Dalton Trumbo's rather large shoe.

Trumbo is a baffling film, it boasts a plethora of outstanding acting talent, all of which turn in mortifying performances. Bryan Cranston, Hellen Mirren, Diane Lane and Michael Stuhleberg are all truly great actors, but their work in Trumbo has all the depth and commitment of a high school sketch comedy troupe trying on hats at the local haberdashery. What makes this all the more baffling is that the only reason I saw Trumbo was because I got a copy of it sent to me in an effort to get me to vote for it for a Screen Actors Guild award. This is the equivalent of Chris Christie mailing out a workout video in an attempt to garner votes. Rest assured, neither will be getting my vote.

Bad acting is more a symptom rather than the disease afflicting Trumbo. The disease is the insipid and inept direction of Jay Roach. There is not a single scene in Trumbo that has any genuine human connection or interaction in it or any coherent dramatic arc to it…not one. Roach's direction is sloppy, unfocused and frankly an embarrassment. There are some technical gaffes that are jaw dropping as well, which point to unconscionable laziness or outright incompetence.

John McNamara's script is a bloated atrocity, which needed to have about ten more rewrites if not fifteen chainsaws put to it. McNamara has a background in television and it shows in his film script. Dalton Trumbo had such a vast and interesting life that his story would have been much better served if it were a series or miniseries on HBO. But alas it isn't a tv series, it is a film, and a dreadfully shallow and appalling one at that.

In conclusion, Trumbo, like that steamy summer poop from my Brooklyn past, really stinks. Dalton Trumbo the man deserves much more than this god-awful bio-pic tainting his legacy. Dalton Trumbo's story is an important one that teaches all of us vital lessons that are as imperative now as they have ever been, but you'd never know that by watching Trumbo. If you are interested in the life and times of Dalton Trumbo, I recommend you avoid Trumbo at all costs and instead watch the 2007 PBS documentary about the man (below), you'll be much better served.

©2016

Steve Jobs - A Review : Steve Jobs, 2001 and The Cult of Personality

***WARNING: THIS REVIEW CONTAINS SPOILERS!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!**

MY RATING : SEE IT IN THE THEATRE!!

 

"THE TWO MOST SIGNIFICANT EVENTS OF THE TWENTIETH CENTURY: THE ALLIES WIN THE WAR, AND THIS. " - STEVE JOBS

As I sit here at my MacBook Pro, with my iPhone by my side, writing a review of Steve Jobs, the film about the late founder of Apple computers, I have to confess that I really didn't know or care very much about the man prior to seeing the film. My ignorance and ambivalence about Jobs, yet my near complete everyday reliance upon his life's work, is a testament to the magnitude of his achievement and an indictment of me and my incuriosity.  Sadly, I am woefully unqualified to comment on the historical accuracy of Steve Jobs, but thankfully, I am moderately qualified to comment on the dramatic and cinematic worth of the movie. 

Steve Jobs, written by Aaron Sorkin and adroitly directed by Danny Boyle, is an exquisitely crafted and impeccably acted film. The film stars Michael Fassbender as Jobs, and boasts very impressive supporting turns from Kate Winslet, Jeff Daniels, Michael Stuhlbarg and Seth Rogan.

Michael Fassbender gives a fantastically magnetic and dynamic performance as Jobs. Fassbender is one of the best actors working today and his work as Job's is a tribute to his mastery of his craft and his enormous talent. 

Fassbender's performance is an approximation and not an imitation of Jobs, which is always a wise approach. As I am fond of saying, "Imitation is the sincerest form of flattery, but the least sincere form of acting"©. Fassbender focuses on the internal emotional reality of Jobs and not on trying to recreate the external appearance of the man. That is not to say that there are no outer manifestations of Fassbender's inner work, there are. For instance, Fassbender alters his voice as he ages Jobs. He hits an oh-so-slightly higher register as a young man and a lower one as an older man, it is done so subtly that it would be nearly imperceptible to anyone not looking for it (or trained in this sort of thing). It isn't a showy thing, but it is an extremely effective one, which is a credit not only to Fassbender's technique but to his artistic integrity.

Fassbender's Jobs is a shark (a symbolic power animal referenced in the film) which is always moving forward and never looking to the past. This manifests literally as Jobs constantly physically walking throughout the story, and figuratively as Jobs frantically running away from his past and his emotional wounds. Stasis is death to Fassbender's Jobs, and when he isn't actively trying to devour his opponents, his enemies or his feelings, he is unwittingly trying to avoid any notions of "regretfulness", a word strikingly evoked in the film by Jobs' daughter. This approach to life leaves Fassbender's Jobs as a single minded business/technological genius, with emotional blind spots the size of his gargantuan ambition. It is not Jobs struggle to conquer history and the tech world that makes the character so imperative, but rather his struggle to understand himself and his existential wounds.

I recently wrote about Jeff Daniels being mis-cast in a bunch of projects where I thought his work was sub-par, such as in Ridley Scott's The Martian and HBO's The Newsroom. In Steve Jobs, I was very pleased to see Daniels give a nuanced and poignant performance as John Sculley, the CEO of Apple and erstwhile father figure to Jobs.  This character, in the hands of a lesser actor, would have been easily overlooked at best or a two-dimensional disaster at worst. 

Kate Winslet plays Joanna Hoffman, Job's right hand woman and confidante, who is a force to be reckoned with. She gives a powerful performance that is laced with a delicate humanity, which makes her the perfect balance to Fassbender's humanity-challenged Jobs. Winslet is the consummate pro, and here she brings all of her formidable talents to bear in creating a character who is able to platonically and powerfully love Steve Jobs, but never be a victim to him.

Michael Stuhlberg and Seth Rogan also give solid supporting performance as Andy Hertzfeld, member of original Mac team and Steve Wozniak, co-founder of Apple, respectively. Although, I nearly fell over when I saw a talking empty-head on one of the cable news shows saying that if Rogan doesn't win an Oscar it would be a travesty. Rogan does a fine yet completely unspectacular job as Wozniak. I think that people often get unduly excited when an actor who has consistently been dreadful simply shows up and isn't as awful as usual. Rewarding mediocrity due to familiarity, or worse, confusing mediocrity with greatness, is often a result of lowered expectations and is sadly, a common occurrence across our culture, one need look no further than our politics with Hillary Clinton and Donald Trump, or Hollywood with Matthew McConaughey and George Clooney for proof of that.

WALKING, TALKING AND DRUNKEN MONKEYS

I often find writer Aaron Sorkin's style, which I call "walking and talking…quickly", to be off-putting because it can be so mannered, deliberate and disingenuous. Sorkin's writing style is as if David Mamet and a drunken monkey with a political science degree had a baby that wrote a screwball dramedy with all of the fast paced, witty repartee that genre demands. In the hands of lesser directors, such as on Sorkin's HBO show The Newsroom, Sorkin's writing can be unbearable in it's overbearing self consciousness. But in the hands of a true craftsman and artist, like Danny Boyle with Steve Jobs, or David Fincher with The Social Network, Sorkin's style can become captivating, if not down right hypnotic. 

With Steve Jobs, Sorkin's true stroke of genius comes not in his dialogue but rather in how he structures the story. Instead of falling into the usual traps of the bio-pic, basically showing the highlights of the man's life, Sorkin structures the film like a stage play in three acts, where the characters talk about what has happened between acts but what wasn't shown to the viewer. It is all about how people react and feel about events, not about the events themselves. It is a brilliant way to mine the depths of characters and relationships for all of the emotional drama they are worth. It is also a tribute to Sorkin (and director Danny Boyle) that he respects his audience enough to not feel the need to spoon feed them the usual bio-pic nonsense but rather trusts them to be sophisticated enough to understand context without having it shown to them. Turning the story into a stage play for the screen creates a character study and not a bio-pic, and that is what makes it such a compelling and satisfying film.

STEVE JOBS AND 2001: A SPACE ODYSSEY

There is a little secret hidden in plain sight about where Sorkin gets his inspiration, whether conscious or unconscious, for the structure of the film, and it is pretty brilliant. The opening of the film shows an old black and white industrial-type of film where Arthur C. Clarke, famed science fiction writer and author of 2001: A Space Odyssey, stands in a 1960's computer room surrounded by a gigantic computer that nearly fills the entire room and talks with a young man and a little boy about what the future will look like. Clarke talks of a future where people will have small computers in their homes where they can do work and order theatre tickets and the like right from their computer. It is cool to see Clarke accurately predict the future and to see the amazement on the little boys face at the unlimited prospects in his future. That scene tells us all we need to know about the rest of the film, and I was even wondering as the scene played out, if it would be revealed that the little boy was Jobs in his youth.

This opening scene is a clue as to the blueprint for Steve Jobs. Sorkin uses the exact same structure as Arthur Clarke's and Stanley Kurbick's iconic film 2001: A Space Odyssey, and that film is subtly referenced throughout Steve Jobs

In 2001, mankind's evolution over thousands of years is covered in three acts. In Steve Jobs, Sorkin uses the same three act, evolutionary leaping structure to show the emotional growth of Jobs the man,  and technological growth brought forth by his company. While Jobs personal evolution and his company's technological evolution are only over a two decade span rather than thousands of years, they are still making as gigantic a leap as mankind does in 2001. Seeing Steve Jobs make emotional evolutionary jumps that are the equal to 2001's thousands of years of evolution only becomes believable if we are sub-consciously attuned to the archetype of mankind's overwhelming need to evolve set forth in 2001

In 2001's first act, Kubrick shows us primitive man at the moment he discovers, with the aid of a mysterious monolith, his first tool, which he quickly turns into a weapon to kill his rivals. Act One in Steve Jobs opens backstage of an Apple product launch (the new age monolith!!) in 1982 with Jobs not even admitting to the paternity of his daughter, and denying the child and her mother, any financial support even though his worth is over $440 million. Like the ape-man in 2001 who uses the technological advantage of the first tool to bludgeon his defenseless enemies, Jobs uses his technological advantage to gain wealth and power which he uses to emotionally bludgeon his ex-girlfriend and the daughter he denies.

In Kubrick's 2001 we then make a jump of thousands of years into the future into Act Two where man is colonizing and living in space. Act Two ends with man discovering a monolith on the moon, which is really just a stepping stone to the great discovery revealed in Act Three. In Act Two of Steve Jobs, we are once again backstage at another product launch, this time for Job's new company NeXT, which he started after being fired from Apple. This tech company, NeXt, like the monolith on the moon in 2001, is really just a stepping stone. In Job's master plan he intends to use the NeXT launch to get back on top and in control of Apple. In addition, Job's daughter has grown a bit, and while he is beginning to take an interest in her life, he still isn't capable of truly loving her or emotionally understanding himself. In being blind to the inner complexes that drive him, Jobs is just like mankind in Act Two of 2001, which has not yet evolved enough to truly understand the intelligence they are chasing across the solar system, nor do they understand what drives them to chase it. 

In Act Three of 2001, man and machine (the enigmatic computer HAL) travel into space in order to find the origin of this mysterious monolith near Jupiter. Eventually man and machine, in the form of HAL, do battle, with HAL fighting for supremacy and man fighting for survival. Man must overcome technology, his intellect, in order to integrate it and open up his true emotional self. The film ends with man having gone through a dramatic and personally apocalyptic evolutionary transformation and being reborn as the intellectually and emotionally advanced "Star Child".

In the third act of Steve Jobs, we are once again backstage at a product launch, this time for the iMac, which is a spaceship compared to the animal bone of Apple 2 that came twenty years earlier. In this final act of Steve Jobs, Jobs is finally able to overcome his drive for technological and business success and open his heart to his daughter. For the first time in the film he decides he'd rather start the product launch late in order to talk with his daughter, putting her emotional needs before his business needs. This is symbolic of his overcoming his intellect and his business drive and instead opening his previously underused heart/emotional drive. He then integrates his intellect and technology with his heart/emotion when he tells his music loving daughter he will invent a product for her which will carry thousands of songs, what eventually will become the iPod. Directly after that scene with his daughter, Jobs stands on stage at the product launch with lights and flashbulbs popping all around him. As his daughter looks on, Jobs is engulfed in a luminous glow of otherworldly light, symbolic of his final stage of evolution where he becomes the intellectually and emotionally advanced Star Child.

Steve Jobs, like 2001: a Space Odyssey, teaches us about human evolution on both the external/technological level, and the internal/emotional level. The journey at the center of 2001 is that mankind must go forth into deep space, both outer and inner, in order to truly understand our universe and ourselves. The self knowledge acquired on this galactic grail self-quest is what will propel us to through to our next stage of evolution. Steve Jobs teaches us this same lesson wrapped in a different mythology, that we must explore both our external/intellectual drive and our internal/emotional one. One cannot be a truly evolved human being if one doesn't strive to cultivate both outer and inner forms of development and growth.

"MUSICIANS PLAY THEIR INSTRUMENTS. I PLAY THE ORCHESTRA." - STEVE JOBS

Steve Jobs is one of those polished and elegantly crafted films that only master artisans could make. Danny Boyle's flawless and vibrant direction is the key to keeping Sorkin's dialogue, which can be unwieldy in lesser directorial hands, emotionally vital and palpable. Boyle's deft touch and meticulous attention to dramatic pacing, both of the actors and of the camera, create a mesmerizing, seductive and deeply gratifying film.

THE CULT OF TECHNOLOGY AND PERSONALITY

An interesting theme that Boyle explores is the idea of the cult of Steve Jobs. Boyle evokes a sense of the sacred and religious being present in each of the product launches. The audience in the auditoriums chant and move in unison, hungry for Jobs, their Pope, prophet and messiah to share with them his new holy revelations, shrouded on the altar of the stage, which will change their lives forever. Boyle also shows Jobs as being a tyrant and control freak who believes his power should always and every time be unquestioned. Boyle's Jobs has a whiff of L. Ron Hubbard about him, and there is a Jim Jones vibe lurking deep in the heart of both Jobs and his desperate collection of followers and fanatics, whose idolatry of Jobs could easily be turned into zealotry. This cult of Steve Jobs, could easily be the cult of any guru, be they business, technology, political or spiritual based. Boyle's glimpse into Steve Jobs, the man behind the myth, is a pulling back of the curtain to reveal the fragility at the heart of the man who yearned for, and was placed upon, the pedestal of genius.

In conclusion, Steve Jobs is a great film and is well worth your time and hard earned money. Go see it in the theatre, if for no other reason than to watch the theatre light up with iPhones coming alive after the film has ended. As enjoyable and well made a film as Steve Jobs is, audience members compulsively re-attaching themselves to Steve Jobs' technology the moment the film ends is more a tribute to the man's life and genius than any film could ever be.

  ©2015

Sicario : A Review and Reports From Down the Rabbit Hole of the Drug War

*** WARNING: THIS REVIEW CONTAINS SPOILERS!!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!!***

MY RATING : SEE IT IN THE THEATRE!!

Sicario, written by Taylor Sheridan and directed by Denis Villeneuve, is a taut and tense drama that tells the story of FBI Special Weapons and Tactics Team Agent Kate Macer and her descent into the murky world of the international Drug War. The film stars Emily Blunt as Agent Macer, with supporting turns by Benicio Del Toro and Josh Brolin.

As Sicario opens, we see Blunt's Macer in full tactical gear riding with her team to raid a house. The cookie cutter house is in the Arizona suburbs, but it could be any house, in any suburban neighborhood, in any state in America. The house, like the film, looks like one thing on the surface, but the deeper you look into it, the more shocking, complicated and dangerous realities it reveals. That house, symbolic of the American dream, reveals the violence, the corruption, the peril and the cancer that is the American Drug War. Sicario teaches us that not only won't Macer leave that house the way she went in, but America won't leave the Drug War the same way it went in either.

After the raid on the house, Macer is approached to be a part of a mysterious special task force headed by Matt Garver (Josh Brolin) who wants to find those responsible for the horrors found in that suburban Arizona home. Macer rightly senses that she doesn't know the whole story of the mission or who, exactly, this unkempt, flip-flop wearing Garber guy works for, but she agrees to work with him anyway. She then follows Garber, and his partner Alejandro Gillick (Benicio del Toro) down into the rabbit hole of the Drug War, where friend is foe and foe is friend, sometimes all at once.

Garber and Gillick lead Macer on a journey into the heart of darkness, with pit stops in Juarez, Tuscon and a honky-tonk bar. By the end of the journey, Macer will have been nearly choked to death, shot and betrayed by friend and enemy alike. Macer learns the hard way that nothing and no one is what they seem to be in the Drug War.

Along with Emily Blunt's very solid acting work, both Josh Brolin and Benicio del Toro give quality performances. Del Toro is particularly captivating as the enigmatic Gillick. Del Toro gives Gillick an internally vibrant wound that makes the character pulsate with a subtly menacing righteousness and magnetism. Brolin is terrific as the morally and ethically vacuous CIA agent who doesn't care who wins the drug war, just that there is one.

To go along with the quality acting in Sicario, director Denis Villeneuve, cinematographer Roger Deakins and composer Johan Johansson all do magnificent work. Villenueve deftly creates a heightened and palpable tension throughout the film that is mesmerizing. Even as the first opening credits roll, a faint yet ominously unsettling deep tone from composer Johan Johansson can be heard rumbling just beneath the surface. It sets the tone for the underlying danger that permeates the entire movie, adroitly heightened by Johannson's work. The only other film of director Villeneuve's I have seen is Prisoners which I found to be very disappointing. With Sicario, Villeneuve has made a quantum leap in his filmmaking, showing a depth and level of craft that is striking. 

While Sicario is a drama and not an action film, it's exhilarating action sequences are exquisitely directed and shot.  Master cinematographer Roger Deakins work, is, as always, glorious, and well worth the price of admission alone. From the opening house raid sequence to the later raid of a drug tunnel, Deakins cinematography is sublime. His ability to propel and add depth to the narrative all while creating a masterpiece with every frame, is unparalleled.

What I liked the most about Sicario is that it shows us the reality that the "War on Drugs" has morphed into the "Drug War". This war has nothing to do with the saving of America's soul from the scourge of drug use, instead it has to do with America selling it's soul in order to wage continual war. Like the War on Terror, the Drug War is a war with no end game. Perpetual war is good for business, if your business is the military industrial complex. And if you add the prison/law enforcement industrial complex in with the military industrial complex, you have a lot of people making a lot of money making sure the drug war continues to be waged and is never won…or never declared lost.

A brief glance at the history of America's intelligence services shows us that they have consistently used illicit drugs in order to raise money and weapons for various covert operations. Be it the CIA's opium growing and smuggling business during the Vietnam War, or their cocaine trafficking into U.S. cities from Central America in the 1980's in order to support and supply the Contras and other groups in Central America, or their operations to return opium production to Afghanistan after the 2001 invasion. The key to these CIA drug operations succeeding is that drugs must be kept illegal, so that intelligence services can prosper from their sale and keep the profits off the books and away from prying eyes of oversight committees and journalists. If legalization of all illicit drugs were to happen, the CIA would find itself in quite a bind in terms of paying for all of it's nefarious activities. (I strongly encourage you to read the book, "Whiteout: The CIA, Drugs and the Press" by Alexander Cockburn, for more on this topic)

The U.S. likes to think of itself as the good guys, always with noble intentions. That is the narrative that is sold to us and that we willingly buy and struggle to question. Yet the Drug War is glaring proof that things are not always what we want them to be, or what they seem.

In the 1980's, the CIA was running cocaine from South and Central America into the inner cities of the U.S., which, oddly enough, was when the crack cocaine epidemic started. As Nancy Reagan was telling us to "Just Say No!", her husband Ronald's administration was enabling drug trafficking into the U.S. in order to illegally raise money and arms for the Contras in Nicaragua in their fight against the Sandinistas. Remember the Iran-Contra scandal…well this is the dark shadow of that scandal that no "serious" person wants to talk about. Journalist Gary Webb wrote about it, and that didn't end well for him at all. He was publicly and professionally crucified by the "establishment media" and ended up with two bullet holes in his head for his trouble. In perfect Hegelian dialectic problem-reaction-solution fashion, the CIA was funneling drugs into the heart of the U.S. in order to destroy those inner cities with drugs, weapons and violence, all the while empowering domestic law enforcement with expanded powers and dismantling the Bill of Rights in order to keep the frightened populace "safe" and their political power intact. Then they sent that money to the Contras and right wing groups in El Salvador and Honduras, where they paid for death squads, torture and assassinations, all in the name of fighting "communism" so as to re-open Central America to American business interests. (I highly recommend Gary Webb's book "Dark Alliance: The CIA, the Contras and the Crack Cocaine Explosion", along with Nick Shou's book "Kill the Messenger" which tells the tale of what happened to Gary Webb for writing about the CIA-Contra-Cocaine connection.)

Afghanistan is another perfect example of the U.S. being at cross purposes with itself in the War on Drugs. Most everyone thinks that the Taliban are a horrendous group of people, and that our war on them was righteous. But the closer you look at it, the less clear that becomes. For instance, the reason we invaded was because Bin Laden had been hiding in Afghanistan allegedly under Taliban protection. Before the invasion the Taliban asked the U.S. to show evidence of Bin Laden's guilt in regards to 9-11 and they would turn him over. For some reason, the U.S. refused, and invaded anyway. No one cared much because the Taliban were such loathsome people due to their horrific treatment of woman. 

A closer look at the situation in Afghanistan reveals some surprising things that complicate the narrative we as a country tell ourselves. For instance, during the reign of the Taliban, the opium business which had, with the help of the CIA during the Afghan-Soviet war, once been thriving in the Afghanistan, was shut down entirely. Under the Taliban, Afghanistan was a no-go zone for opium growing. But then something strange happened after the U.S. invasion and occupation, the opium business not only came back, it grew to previously unseen heights. Opium production in Afghanistan is now at all time highs (pardon the pun). That is certainly a strange turn of events considering the country that invaded, the U.S., is the main force behind the War on Drugs across the globe. 

The war against Afghanistan, once thought so morally clear and simple, becomes even more complicated when you take into account the practice of "bacha bazi", which literally means, "boy play", in which powerful Afghan men keep pre-pubescent boys as sex slaves. The Taliban outlawed bacha bazi, and executed anyone who practiced it. Since the U.S. invaded, bacha bazi has come roaring back, and U.S. service members have been told by their commanders to not intervene if they come across the practice. There are even stories of young boys being raped on U.S. bases by Afghan warlords, and U.S. soldiers hearing it happen but not being allowed to stop it, and being court martialed if they do intervene. When one hears these sorts of things, the question becomes, what the hell are we doing over there? What sort of twisted moral compass are we working with in that war? (Please read this disturbing NY Times piece on Bacha bazi and the U.S. ignoring it.)

Which brings us back to another war with a twisted moral compass, the Drug War. The Drug War, by every measure, has been an absolute and utter failure. Billions, if not trillions, of dollars have been wasted, and millions of lives lost, in a war that serves no purpose but to assure it's own continuance. Heroin, once the scourge of the inner city, is now epidemic in the once thought safe suburbs of America (please read Sam Quinones book "Dreamland" for more on this topic). America isn't losing it's soul in the Drug War, it has already lost it. We imprison the poor and addicted and enrich and empower the tyrannical impulse at the heart of every police officer, district attorney and politician. We as a populace don't just allow, but demand the dismantling of the rights and liberties this country was founded on. We demand a militarized police force and their "no knock" raids in the middle of the night, illegal searches and seizures, asset forfeiture and mandatory minimums, all in the name of the "War on Drugs" and our own self proclaimed moral purity. This is no "War on Drugs", drugs aren't at war with us, we are at war with ourselves. Until we can be honest about what the Drug War really is, and the powerful people really behind it, playing both sides of it and prospering from it, people will continue to be senselessly killed and die in it's name. And America will continue to sell it's soul and spiral down deeper and deeper into more circles of hell, one more heinous than the next.

When Sicario began my first thoughts were that Emily Blunt may have been miscast as the FBI SWAT team agent. Blunt is an exceedingly beautiful, almost waif-ish actress, especially compared to the monstrous Delta Force brutes she is working alongside. It even looks as if her weapon may be too heavy for her to carry in the opening sequence of the movie. As the film went on though, I came to the realization that Emily Blunt was a superb choice to play Macer. Not only is she a terrific actress, and her work in Sicario is as good as she has ever been, but she is a wonderful representation of the vital yet fragile legal structures that once made America the land of the free. In other words, Emily Blunt's Macer is a representation of the United States Constitution, or to put it in more flowery terms, Macer is Lady Liberty. What Macer is put through in Sicario is the test our rule of law and liberties have gone through in the drug war. And as del Toro's Gillick says to Macer at the end of the film, "now is a time for wolves", and Macer/Lady Liberty is just not big or strong enough to run with the big, bad, lawless wolves, otherwise known as the dogs of war. Gillick finishes by telling her she should "move to a small town somewhere, where the rule of law still exists", but as that quaint suburban Arizona house that ends up being a house of horrors proves, there is no escaping the dogs of war once they are unleashed, even in small town America.

In the first part of Sicario, there is a hauntingly effective sequence where the camera lingers in a close up on the face of a dead person in a see-through plastic bag. We can't make out whether the person is a man or woman, or how they were killed, only that they are dead and are now an anonymous statistic in the Drug War. A few moments later in the film, Macer washes the blood and mire from the Arizona house raid off in her shower, then stands post-shower in front of a steamed up mirror where her face is obscured by the condensation. It is ominously reminiscent of the anonymous Drug War victim we saw only a few shots before and foreshadows what is to come for Macer, Lady Liberty, and the rest of us, at the end of her, and our, Drug War journey.

Do yourself a favor and go see Sicario in the theatre, it is well worth your time and hard-earned money. It is not only a truly terrific film, but it will also give you a much needed glimpse into the reality just below the surface of the Drug War that our nation continues to wage. You may not like what you see in Sicario, being honest with ourselves is seldom easy. But just remember, honesty is the first step on the long journey toward sobriety, and out of our heart of darkness.

©2015

IF YOU FOUND THIS ARTICLE INTERESTING, YOU MAY ALSO ENJOY THE FOLLOWING SIMILARLY THEMED ARTICLES...

THE WAY OF THE GUN : MEDITATIONS ON AMERICA AND GUNS

CITIZENFOUR : A REVIEW AND RANDOM THOUGHTS

TRUTH, JUSTICE AND THE CURIOUS CASE OF CHRIS KYLE

The Martian : A Review

 

SPOILER ALERT!! THIS REVIEW CONTAINS SPOILERS!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!

MY RATING: SKIP IT IN THE THEATRE, SEE IT ON CABLE OR NETFLIX

The Martian, directed by Ridley Scott and starring Matt Damon, is the story of Mark Watney (Matt Damon), an astronaut accidentally left behind on Mars when his fellow crew members think he has been killed in an accident. The film follows Watney's struggle to survive on the barren planet and NASA's attempts to rescue him. As my very clever friend The Magnificent Anderson said to me, "with Saving Private Ryan, Interstellar and The Martian, America has spent a ridiculous amount of money to rescue Matt Damon". I gotta be honest, after seeing The Martian, I don't think that money was very well spent.

I was excited to see Ridley Scott and Matt Damon paired off, as I am a big fan of both men and their work. Scott, much like his star Damon, is an often underrated talent. He has made some of the most iconic films of the last forty years. From Alien to Blade Runner to Gladiator to Thelma and Louise, Ridley Scott at his best is as good as anyone. Matt Damon is also often over shadowed by his more fame seeking contemporaries like Brad Pitt or Matthew McConnaghey, but Damon, with his work in Good Will Hunting, The Talented Mr. Ripley, The Departed and The Informant, has proven to be by far the more superior actor. 

"NOTHING EVER HAPPENS ON MARS.BORING! BORING! BORING!" - Waiting for Guffman

From Mission to Mars to Red Planet to Mars Needs Moms, the planet Mars is generally where movies go to die. With The Martian the result of the trip is not as horrible as the three previously mentioned films, but it certainly keeps the Mars cinematic jinx firmly in place. So what went wrong with The Martian? Let's take a look.

The Martian is a very strange film indeed. It is bursting with dramatic and cinematic potential, and yet, due to it's fundamental flaws, it is never able to break the bonds of its pedestrian atmosphere and soar to the great beyond of filmmaking achievement. The fundamental flaw I am speaking of is the film's incredibly poor narrative structure, which leaves the movie curiously devoid of tension and drama. The structural flaw of the film is pretty basic, instead of giving the viewer only Mark Watney's perspective, Ridley Scott chose to show the audience the God perspective, where they see everything that is happening. So the audience is able to see and know things that the film's protagonist Watney, does not see and know. Because of this choice, all of the drama of Watney's precarious situation on Mars is drained and we are left with a rather flaccid storytelling and dramatic endeavor.

If the viewer were only given Watney's perspective, this would have greatly heightened the drama in a few ways. The first is, the viewer would be entirely connected to the Watney character to a much greater degree than they already are. If we spent the first two thirds of the film trapped with Watney on Mars, like we were trapped on an island with Tom Hanks in Castaway for instance, then we would have had a more intimate and genuine connection to Watney. The second thing that would have happened is that the audience would be put through the emotional and mental anguish that Watney would have gone through when he doesn't know if anyone even knows he's alive, never mind trying to rescue him.  We would have, along with Watney, discovered what it's like to be the loneliest man in the universe. The decision to use the God perspective completely undermines these vital dramatic points by showing us that NASA knows he's alive and is trying to figure out how to save him, and Watney doesn't know it. If we were left in the dark along with Watney, then every other development in the story would take on greater significance and dramatic power. For instance, when Watney finally figures out that NASA knows he's alive, that would have been a tremendously thrilling moment, instead it is a rather mundane one since we knew that the whole time while Watney did not. All throughout the story there are significant moments that could have been greatly increased by the use of a  minimalist perspective, such as when Watney figures out how to increase his food supply, communicate with NASA, how to escape Mars, and then how to aid in his own rescue.  Instead the viewing experience is diminished because we are never truly able to project ourselves onto Watney since we have a grander view of things than he does. The energetic connection between viewer and protagonist is broken, and the film greatly suffers for it.

Damon's performance is also undercut by the perspective issue. While he is certainly able to give Watney a humanity through humor, he fails to portray a viable sense of impending doom and dread. Watney, the eternal optimist, never has his optimism truly challenged, and neither does the audience. Resiliance is a great trait to have, maybe the greatest, but dramatically it can ring hollow if the character is never fully allowed to hit rock bottom. Watney needs to be allowed to fall into despair, a deep existential despair, yet he and the audience are never allowed to because we KNOW that he isn't forgotten and alone on Mars. If we could have shared in Watney's desperation, this would make his achievements, his strength and his resilience all the more impactful for the viewer.  Instead we get a performance that is just like the film, neither hot nor cold, but mildly luke warm. Damon's performance is, like the entire film, relentlessly safe and middlebrow, which are two words that previously would have been unthinkable in regards to a Ridley Scott project.

HOUSTON WE HAVE A PROBLEM, AND THAT PROBLEM IS YOU

The other problem with showing us the God perspective is that we are forced to suffer through all of the scenes back on earth. These earth bound scenes are, at best, terribly generic, and at worst, cringeworthy. I would prefer to die cold and alone on Mars than watch one more actor melodramatically pause and raise their eyebrows to signify that they've just thought of something astonishingly brilliant while everyone else looks on perplexed. This happens again and again and again. The acting on earth is pretty atrocious, with Mackenzie Davis being the lone, notable exception. Davis actually seems like a down to earth (pardon the pun), genuine human being, not an actor trying to play a real human being.

There are also some pretty egregious casting decisions as well. Jeff Daniels is a fine actor, his work in The Squid and the Whale is testament to that. Yet he is terribly miscast in The Martian as the sometimes cut throat leader of NASA. We seem to be in the midst of a Jeff Daniels renaissance at the moment, which is good for him, but I cannot for the life of me figure out why he keeps being miscast. He was remarkably miscast in The Newsroom as well. Daniels is good at a lot of things, but he lacks the gravitas to play the head of NASA or a bombastic tv show host. One of the reasons he lacks gravitas is that his jaw is not very prominent or square, and he is not much of a physical presence. Secondly, his voice is slightly nasal and higher toned and his diction can veer into mush mouth, both of which undermine any power or gravitas that come with the characters he is cast to play. The result is we are left with performances from him that feel forced and ring hollow when he isn't in a role that suits his considerable strengths. An actor who would be perfectly suited to play the role of the head of NASA in The Martian would be Ed Harris.

A MILE WIDE AND AN INCH DEEP

The Martian is one of those movies that badly wants to be both taken seriously and liked by everyone, yet in my opinion it achieves neither. The film tries desperately for a scientific realism throughout, but that becomes less viable as the film goes on, finally spiraling into a sort of scientific farce during Watney's rescue. The highlight of which is when Watney goes full on "Iron Man" by puncturing his spacesuit and propelling himself into the waiting arms of his commanding officer Melissa Lewis, played by an under used Jessica Chastain. This sequence is supposed to be the dramatic crescendo of the story but it plays as contrived, underwhelming and frankly laughable.

The Martian is not a great film, in fact, I would argue that at it's very best it is surprisingly average. Comparisons to another recent astronaut film, Gravity, which won seven Oscars including Best Director, will do it no favors. Gravity was not a great film either, but it was visually pretty stunning. The Martian is neither visually nor dramatically compelling, and I found it frustrating because of the remarkable talents of Ridley Scott and Matt Damon being involved.

Which brings me to my final point. Ridley Scott is a master craftsman and artist. He knows what the hell he is doing. A look at his most recent films, the bafflingly inept Prometheus and the abhorrent Exodus: Gods and Kings, shows he may have lost his fastball, but maybe, just maybe, with The Martian he was up to something else. The errors in the most basic fundamentals of filmmaking and the tepid storytelling by such a creatively brilliant man as Scott, have left me wondering if he wasn't up to something else, something much deeper. I have been thinking about The Martian and mulling it over for a week now, wondering what the hell was really going on? What was Ridley Scott REALLY up to. Was there something much deeper and more meaningful hidden within the film that could redeem it? I've come up with a few ideas. 

SYMBOLISM, THE COMING ECONOMIC COLLAPSE AND REAGAN'S MORNING IN AMERICA

One idea I had is that The Martian is really about the coming economic tsunami. What economic tsunami you may ask? Ever since I left a job on Wall Street in the early 2000's, I was telling everyone who would listen that we were headed for an economic earthquake. The evidence was hiding in plain sight for anybody with eyes to see if they dared look. I wasn't writing back then so you will have to take my word for it. Most people thought I was a kook and ignored me. Then 2007/2008 happened, and I ended up being right, and those people ended up being wrong…and losing a lot of money. Well…it seems very apparent to me that another economic seismic event on the same scale or larger than 2007-2008 is coming. The economy, like The Martian, is fundamentally flawed, dare I say, fatally flawed. The reasons for this are much too complex to get into here, but rest assured, I am not the only person seeing this tsunami coming, not by a long shot. Lots of people who are a hell of a lot smarter than I am are seeing it coming too. Spend some time over at Zerohedge, Chris Martenson, Max Keiser, Peter Schiff or The Independent Report among others and you'll get some great analysis on what is coming our way. Of course the establishment media will continue to cheerlead for the economy like the band playing while the Titanic sinks, they always do. In my humble opinion, the time frame for this global economic tsunami is the only thing in question.

Now that I've told you the tsunami is coming, what the hell does any of that have to do with The Martian?  Here's my theory…from the very beginning of the film Matt Damon represents the regular working man. In one of the very first scenes, he is meticulously checking soil along a very small grid, inch by inch. As he tries to talk to his co-workers and superior officer, he is told to be quiet and then his communication is shut off. No one wants to hear what the lowly worker has to say. Then, AS A HUGE STORM UNEXPECTEDLY ROLLS IN (the economic storm that is coming), and everyone runs to the ship, Damon is impaled and thought to be killed by a communication dish. 

When Damon awakes and finds himself alone on a dead and barren planet, he must use his smarts in order to survive. He starts by surgically removing the communications wire stuck in him, symbolically severing the ties with establishment media. Then he uses his intellect, AND THE REMNANTS OF THE MISSIONS THAT CAME BEFORE HIM, to survive. 

Damon uses everyday items to transform his surroundings and to protect himself. He uses a simple tarp and duct tape to reinforce his shelter, and later his escape rocket. He digs up some left over radioactive material in order to stay warm, a symbolic move that we must get away from carbon based fuels, of which Mars has none, and use alternative fuel, such as nuclear and solar. 

Damon uses his skill as a botanist, an old school, nearly forgotten science, in order to double and triple his food supply. This is symbolic of our need to return to more locally sourced and organic farming techniques in order to overcome the coming shortages. He even uses his own and his crew member's shit in order to grow food. After the economic tsunami, there is going to be a big shit sandwich, and we are all going to have to take a bite. The idea of turning chicken shit into chicken salad will take on a whole new meaning. We will have to be lean and resourceful to survive.

Damon also figures out how to reconfigure an old way of communicating, a Mars rover, and uses it to start communicating with NASA anew. He also uses an old, scientific alphabet when he communicates, this being a metaphor for civilization looking backward to the basics in order to look forward for solutions and that the old way of talking about things must be discarded and replaced with a new one, even if it comes from an old one.

When the US is unable to successfully send a ship to save Damon, the Chinese step in with their advanced technology in order to help out. This is symbolic of how global the coming collapse will be and how the world will be multi-polar instead of uni-polar from here on out.

Even the rescue mission is symbolic of what it will take to overcome the difficulties that lie ahead. The NASA ship that is coming to save Damon must LOWER ITS TRAJECTORY AND SLOW IT'S SPEED, in order to get closer to Damon as he can only propel himself so high. The graph used to show that trajectory could be an economic graph, meaning that endless rates of high growth are unsustainable and we will have to lower expectations and slow down growth if we want to have any chance to for the earth and humanity to survive. Also the rescue ship must blow up and jettison a great deal of its excess rooms in order to facilitate the slowing of it's speed and it's trajectory, both symbolic of the need for excess and decadence to be eschewed in order to right the ship of our planet.

Finally, as Damon is falling short of the rescue ship, he punctures his space suit in order to propel himself to his saviors, just like people will have to puncture their own bubbles of expectations in order to find the courage and the final fuel to move them forward into the future. Chastain catches Damon and the two tumble and spiral together, getting wrapped in her tether, symbolizing the need for everyone, both rich and poor, to commit to stick together in order for humanity and civilization to survive.

Yes…I know this may be insane. But watching The Martian  through this lens makes it much, much more interesting than watching it as a straight up Mars movie. There are a lot of symbols throughout the film which lend themselves to this reading of the movie. For instance, there are constant references to the 1970's…Damon watches Happy Days and poses as Fonzie, he listens to Chastain's playlists which is nothing but 1970's disco. These could all be symbolic of another more political theme, namely that Damon is the eternal American optimist, Ronald Reagan, who is trying to escape and survive the economic and cultural malaise of the 1970's and bring us into the stratosphere of the 80's boom (which was more a mirage than a boom, but that's a discussion for another day). I fully admit that this might be a bridge too far…but there is some evidence that supports this theory as well.

CONCLUSION

In conclusion, if I am giving the benefit of the doubt to Ridley Scott, which I believe he has earned, then The Martian may be a metaphor for the the coming economic collapse and for how humanity and civilization must behave in order to survive it. Or it may be a metaphor for America which is stuck in a 1970's type of stagnation, both economically, politically and culturally, and that a Reagan-esque figure is needed to teach us to 'never give up' and to go back to our individualistic and resourceful roots in order to break free and survive. (by the way, just to be clear, I am not saying that is true, I am saying that the film may be saying that it's true)

Regardless of what you think of me, my economic predictions, or my theories, I recommend you keep them in mind when you watch the film. Trust me when I tell you it will make for a much more interesting viewing  experience. As for watching the film…there is no need to rush out and pay full price to see it in a theatre, you would be wiser to save your hard-earned money (and prepare for the coming economic tsunami!!). Plus you can always wait until The Martian is on cable or Netflix and watch it from the comfort of your own home while civilization crumbles all about you outside. 

UPDATE : I got a great email from reader Arthur H., who hails from the Land of 10,000 Lakes and 2 Coen Brothers, he writes in regard to The Martian…"I was greatly relieved to read your thoughtful, critical review because almost everyone I know who saw it, and so many movie reviewers, think it is a truly great film. After reading your comments, I feel much less nuts." Welcome to my life!! Just remember Arthur, in the Land of the Blind, the One-Eyed Man is King.

Arthur then gave a brief but very insightful review of his own, which with his permission I share with you here in full.

"The Martian is a "quintessential American" movie. Mark Watney, played by Matt Damon, is a classic mythological American white man who, in this incarnation, claims the entire planet of Mars because he grows potatoes in his own excrement. Thankfully, he did not have to murder millions of Martians in the process of claiming Mars as his property. The Martian is also an excruciatingly boring, completely and ridiculously implausible, intelligence insulting Hollywood B movie for the uncritical masses. Watney making a plastic tarp sealed with duct tape to cover a hole in the spacecraft that can withstand the tremendous speed in his lift off from Mars? The final scene where astronauts catch Watney flying by with rope and bring him safely aboard their space vehicle? One needs to suspend your disbelief to appreciate theatre. For The Martian, you would have to totally demolish it. Well, at least, even though we, your God view, knew from the first moment Watney would be saved, there still is a lot of dramatic tension building throughout the film. NOT, none, nada, zero. Like someone said, "By the end no one cared except on the screen, and they were all acting."

Well said, thank you Arthur!!

Avengers : Age of Ultron - A Review

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

When you go see a comic book or superhero movie, you have a certain set of expectations. One might describe those expectations as 'lowered'. You certainly don't go into the theatre expecting to see Citizen Kane, but you do expect to see something entertaining and fun. When the stars align and a superhero film ends up being great, as in the case of The Dark Knight for instance, you are more than pleasantly surprised, you are downright thrilled. I didn't expect Avengers: Age of Ultron to be great, and the filmmakers certainly didn't disappoint on that count. Avengers is typical, sadly, of many recent films in the comic book genre (The Dark Knight series being the exception) in that it is big, loud, incomprehensible and incoherent. It will still make a billion dollars because kids of all ages will flock to to see it for the same reason that boogers are ingested at such an alarmingly high rate across the globe.

The key for a superhero film is not the superhero involved. Superheroes are great, everybody likes superheroes. What a superhero film needs though is tension. The key to creating tension is the villain. If you are going to make a great superhero movie, you need a villain that is equal or better than the superhero. There must be a balance in power and ability between the good guys and the bad guys. Avengers suffers from a lack of a clear cut and worthy opponent to take on its all-star team of superheroes. The first film suffered from the same malady. In contrast to the Avengers, the X-Men work because they have one group of super folk taking on another group of equally super folk. (That is not to say that X-Men movies are great, they aren't, they are just ok but could be great, the reason they aren't is singularly because of the truly poor directors at the helm of those films, not because they lack worthy villains). Professor X faces his shadow in Magneto for instance. The Dark Knight films worked so well because the Joker is as big a name and draw as is Batman. Bane may not be as famous as The Joker, but he was the physical better of Batman in every way and proved it in the final Dark Knight film (until he was dramatically and narratively undercut by an atrocious script twist in a horrendous breaking of the most basic of filmmaking rules!!). In the first Avengers film, Thor's trickster brother Loki was the villain. Loki is a a second rate character at best, and even on his best day struggles to challenge his more famous, and powerful brother Thor.  In Avengers: Age of Ultron a group of the most elite superheroes take on Ultron, an artificial intelligence hell bent on world domination. Ultron is nowhere near ready for prime time as a villain. The match-up between the Avengers, with Hulk, Captain America, Iron Man, Black Widow and Thor against Ultron is like the '27 Yankees against a little league team. Ultron and the actor voicing him, James Spader, both seem to possess the same singular super power, an overwhelming smugness. 

Due to a less than engaging villain, the film lacks any tension whatsoever. Avengers: Age of Ultron is about as interesting as watching kids playing with action figures in a sandbox. While it may be fun for the kids doing the playing, only an imbecile would be able to find watching them interesting for more than ten minutes at most.

The script makes no sense whatsoever. None. Zero. Trying to figure out what is happening and why would be a total waste of time, and the film assaults you so relentlessly that you are rendered completely incapable of critical thinking altogether, so you just sit back and let the spectacle overwhelm your senses. The film is much too long in terms of it being an enjoyable watching experience, but much too short in terms of it trying to explain itself.

There is not a single compelling or memorable scene, sequence or shot in the entire film. I saw it less than 24 hours ago and can barely remember anything about it. For a film that put so much money into production, it looks unconscionably cheap and flimsy. The CGI makes the film look flat and dull. The story, when not incoherent, is at best tedious, at worst entirely forgettable.

Avengers: Age of Ultron is another in a long line of recent films to have decided to focus on sheer volume and scale to overwhelm the viewer as opposed to winning them over with quality and worth. Like its obnoxiously loud and senseless predecessors Man of Steel, Transformers and Godzilla, Avengers turns the volume way up to 11, and it never met a building it didn't want to turn to rubble in the course of a poorly choreographed and cinematically flaccid and repetitious brawl.

On the bright side, the cast all do yeomen's work. In a film like this the job can be boiled down to this, look great, be charming and don't laugh out loud at your idiotic dialogue, or as George Clooney calls it, "Acting". The cast all succeed at the task before them. Robert Downey Jr. is really fantastic as Iron Man. His charisma, energy, pace and wit carry every scene he inhabits. Scarlett Johannson does admirable work as well, both seductive yet vulnerable, as Black Widow. She does a lot with the little given to her in bringing her role to life. Chris Evans (Captain America), Chris Hemsworth (Thor) and Mark Ruffalo (Hulk) all do solid work as well in pretty thankless roles.  The actors are definitely not the problem with Avengers: Age of Ultron. The problem with Avengers: Age of Ultron is the laborious script and the impotent direction.

The fact that the first Avengers film made a billion dollars, and Avengers: Age of Ultron is most assuredly on its way to a billion, is less an endorsement of those films than an indictment of the human race. I couldn't help but think that the film's villain Ultron is very right, when he says, and I'm paraphrasing here, that 'mankind is a disease worth eradicating from the earth', after seeing the first weekend gross that hovered near $200 million. Just because Avengers is a comic book movie doesn't mean it has to be stupid. What is wrong with people that they go out and spend their hard earned money on this poorly made, steaming pile of garbage? If people are this stupid as to go see this junk than they deserve to be obliterated by Ultron, Transformers or Godzilla, or whomever the movie studios decide to send to abuse us next. If you are dumb enough to waste your money on these films then YOU are the problem. YOU are the one who is slowly but surely destroying whatever little dignity we as a species have left. YOU are the one who is too stupid to realize that it is YOU who are the destroying the little civilization we have left with your gluttonous, narcissistic, corrosive and idiotic lifestyle. YOU are the one who should get off your fat ass and go and take a good, long look at yourself in the mirror so YOU can see the face of foolishness, selfishness, gullibility and self destruction. Take a good look at that face…wait…hold on… hold on...that face looks an awful lot like…ME! (GASP!!) Nooooooooo!!!! Noooooooooo!!!! Noooooooooo!!! I'M THE IDIOT WHO SPENT MY HARD EARNED MONEY TO SEE THIS CRAP!!!  I MAKE ME ANGRY!!! I NO LIKE WHEN MY JUDGING OTHERS BAD DECISIONS COMES BACK TO BITE ME IN BACKSIDE!!! I EMBARRASSED AND ASHAMED I SO STUPID TO PAY TO SEE THIS HUNK OF JUNK!!!! SHAME MAKE ME RAGE!!! HULK SMASH!!!!

© 2015

 

 

 

Mind the Generation Gap: While We're Young, A Review

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

A few weeks ago, a delicately beautiful young woman approached me and asked if I wanted to go to the movies with her. "What movie do you want to see?" I asked. "I want to laugh" she said, "let's go see Ben Stiller in While We're Young".  After an extended uncomfortable silence, I dryly retorted, "I thought you said you wanted to laugh."  I had zero interest in seeing While We're Young for a myriad of reasons, not the least of which is that I have an instinctive, gut-level impulse to punch both of the male actors in the film, Ben Stiller and Adam Driver, right in their stupid, idiotic, oh-so-punchable faces. Add to that the fact that I have a pretty strong revulsion to much of writer/director Noah Baumbach's previous work, The Squid and the Whale being the lone and notable exception, and you have a recipe for a nasty case of movie rage on my part. But when a charming young woman asks me to a movie, even a movie I don't want to see, who the hell am I to say no? As I do with all beautiful women, I relented to her request. And so we were off to the theatre to see While We're Young

Chalk it up to low expectations, or the attractive lady on my arm, but While We're Young actually won me over. I know, I know, I am just as surprised as you are about this turn of events. I mean, watching Ben Stiller and Adam Driver for an hour and a half sounds more like some heinous form of torture banned by the U.N. rather than a form of entertainment I'd pay for, but gosh darn it if those two punchable asshats didn't pull it off.

Now you may be wondering why I am so strongly repulsed by Stiller and Driver. This is a good question, and I can honestly tell you that I have no idea. Or at least I am not consciously aware of why they irritate me so much.  I've never met them or heard a bad word about either of them personally from anyone I know who knows them. I've actually even enjoyed some Ben Stiller films in the past too, although I can't name them off the top of my head and don't want to waste my mental energy searching the dark recesses of my mind trying to find them. Regardless of why I feel the way I do, I do feel it. There is just something about the both of them and their dopey, moronic faces that quickly triggers the punch reflex in me. I readily acknowledge this is much more an indictment of me than of them. (Although to be fair to Adam Driver, I have that same "punch reflex" reaction to every single person who has ever appeared on the show Girls, or who has ever even watched the show Girls, or has even thought about watching the show Girls. I don't like the show Girls, just wanted to make that clear. That said, I am not exactly Girls target audience, so if I did like Girls, Girls would probably be doing it wrong.)

Now that my irrational Stiller/Driver hate has been outed and explored, you can have some sense of what an accomplishment it is for Baumbach, Stiller and Driver to get me to like their movie. It is an accomplishment of Herculean proportions. How did they do it? Let's take a look, shall we?

While We're Young is the story of New York based documentary filmmaker Josh (Ben Stiller) and his producer wife Cornelia (Naomi Watts), both of whom are in their forties and childless.  Josh and Cornelia are losing all of their friends their own age to parenthood and are struggling to maintain their identities as artists and creative, cool people. Then they meet aspiring documentarian Jamie (Adam Driver) and his girlfriend Darby (Amanda Seyfried), a young hipster couple in their twenties who reignite Josh and Cornelia's zest for life and creative living. Through Jamie and Darby, Josh and Cornelia are born again hipsters. Josh wears a hipster hat like Jamie, and Cornelia takes hip-hop dance class with Darby.  

The story of While We're Young is straightforward enough, it is the tale of all of us as we age and try to stay current, cool and relevant. This is a fools errand of course, but that doesn't stop us from trying anyway. What made While We're Young resonate with me is that it very closely resembled my own life's journey, or at least my artistic life's journey. Stiller's Josh is a Brooklynite, a self tortured artist, and he worships his art with a religious reverence. I am guilty on all counts (although I have relocated my existential angst from Brooklyn, the city of my birth, to Los Angeles, the city of my death…most likely). The film not only mimicked my experience, but understood it and, at a very deep level, respected it. That is a great credit to director Baumbach, who is of my generation and shares a similar temperament, taste and worldview. He may have cut me to the bone with his insightful look at Josh's/my life, but he did it with surgical precision and I tip my hipster cap to him for it.

The generational struggle, be it Gen X'ers versus Baby Boomers, or Millennials versus Gen X'ers, is cyclical. The struggling artistic purist of today will be replaced with the corporate crowd pleaser of tomorrow. It happened to the baby boomers, it happened to the Gen X'ers and it has already happened with the millennials. But there are always holdouts from each generation. Like Japanese soldiers on remote Pacific Islands who never knew that World War Two had ended, so it is with the generational holdouts. I know because I am one of them, and so it Stiller's Josh.  We are true believers and we have such a respect and reverence for great art that we are exhilarated when we see a talented and equally, in our eyes, honorable artist in a younger generation, and indignantly horrified when we see the sellout, faux artists in that same generation, or any other generation. This is the struggle of the purist. For reasons too elaborate to get into here, Generation X is a group with a higher Purist ratio than other generations, and with Millennials, it seems as though Purists are a rare breed, and a nearly extinct one at that. Although the reality is much more likely to be that there are probably just as many Millennial Purists as there are Gen X Purists, but due to the seismic shift toward corporatism in the creative economy over the last twenty-five years, they are much, much harder to find. With this in mind, the two generations are wonderfully represented in While We're Young by Stiller's Josh (Gen X) and Driver's Jamie (Millennials).

This generational struggle is what I think will make While We're Young interesting for all sorts of people, not just Brooklynite artistic purists like myself. Releasing the mantle of being one of the cool people to the younger generation who are, by definition, the cool ones now, can be a catastrophic event for some people's ego and identity. But that doesn't make it any less inevitable. This is the story of While We're Young, this is the story of me, this is the story of everyone, sooner or later, whether we like to acknowledge it or not.

As for the rest of the film, it is well made. I laughed out loud quite a bit, or to put it in terms the kids use today I "lol'd". (See how cool I am, kids? I know all the lingo! Kids? Kids? Why are you rolling your eyes and laughing at me? I'm hip…I'm not jive!!) Stiller is excellent, creating not just a character, but a real person, who is at once frustratingly stubborn yet genuine and endearing. Naomi Watts, as usual, gives a solid performance. Her Cordelia is vibrant and carries a palpable wound that gives her a strength and a fragile charm.

Adam Driver is…good. He uses his unlikability to his great advantage in the film. I'm not supposed to feel completely at ease with Jamie, or to completely like him…and I don't. So mission accomplished. This helps drive the story and Driver is a great foil for Stiller to play off.  Driver, who is tall, with a commanding physical presence and a goofy confidence, paired with Stiller who is short, neurotic and desperately desperate, makes for a fantastically and uncomfortably poor pairing, which is why it works so well.

Amanda Seyfried is an actress I always enjoy watching, and she is interesting and very compelling here as Darby but is terribly under used. The film focuses more on Josh and Jaime than it does on Cordelia and Darby, which works out fine in the end, but I did wish I saw more of Watts and Seyfried…maybe because I like them very much as actors and don't want to punch them like I do with their male co-stars. Regardless, I think there is great potential for a similar film to be made from the female perspective.

In conclusion, While We're Young was a very pleasant surprise. It is a genuinely funny, interesting and painfully honest film that keeps you engaged and laughing. Like me, you may only be laughing at yourself because the films bare bones honesty makes you so very uncomfortable, but you will be laughing nonetheless.  

Oh…and one more thing. This is very difficult to type with my fists clenched so tightly but…a job well done by Ben Stiller and Adam Driver. You both did excellent work in the film, and I respect your talent. I offer this to you both...I cannot promise to try not to want to punch you in your stupid faces anymore…but I do promise to try to try not to want to punch you in your stupid faces anymore. Sorry, it's the best I can do, believe me. Now…GET THE HELL OFF MY LAWN!!!

Ex Machina : A Review

"I Have Become Death, the Destroyer of Worlds" - Bhagavad Gita

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

Ex Machina, written and directed by Alex Garland, is a science fiction/psychological thriller about philosophy, technology, morality and humanity. The film tells the story of a young man, Caleb (Domnhall Gleeson), who wins a company wide lottery to go spend time with his reclusive genius boss Nathan (Oscar Isaac) at his secretive, remote complex. At this isolated week long retreat, Nathan reveals to Caleb his newest creation, an artificial intelligence, human looking robot named Ava (Alicia Vikander). The film is writer Alex Garland's directorial debut. 

Ex Machina is an exquisitely crafted, wonderfully written and beautifully acted film. The film is so well written and acted it could have been very successful as a stage play in some black box theatre. What makes the film so exceptional is that, unlike most of the recent crop of science fiction films, Ex Machina is about ideas, characters and relationships. 

The common problem with science fiction today is that it is most often just science fiction as spectacle. Science fiction films have become little more than big summer blockbuster special effects delivery systems, with the story and characters as mere after thoughts. What makes writer/director Alex Garland unique is that he has figured out that the bigger the idea that the film explores, the smaller and more intimate the film should be, as evidenced by his previous writing credits, 28 Days Later (2002), Sunshine (2007) and Never Let Me Go (2010). When exploring an idea, generally, the bigger the budget the worse the worse the film is. I couldn't help but think of last years abysmally vast and vapid Johnny Depp vehicle, Transcendence in comparison to the brilliantly claustrophobic, and far superior, Ex Machina, since both films explore similar themes. The same goes for another Alex Garland penned film, the 'clone themed' Never Let Me Go, which was an excellent film, as compared to Michael Bay's unwieldy 'clone-themed' monstrosity The Island. Science fiction is best served when small, intimate films explore big ideas, rather than big films ignoring little ideas (or no ideas at all). Alex Garland's strength is in using science fiction as a vehicle to tell intimate and very human stories. Garland is the poster boy for the thinking man's science fiction films and I hope he continues to explore these big ideas in his future projects.

For those who are interested in special effects, Ex Machina has spectacular special effects, but what makes them all the more spectacular is that they are only there to help tell the story, not BE the story. You could have eliminated all of the special effects and the film still would have been fantastic.

What makes Ex Machina so mesmerizing are the dynamics and geometry of the relationships between Domnhall Gleeson's morally conflicted Caleb, Oscar Isaac's morally vacuous genius Nathan, and Nathan's alluring creation Ava, played by Alicia Vikander.

Domnhall Gleeson is a terrific actor. I thought he did superb work in last years inconsistent Frank, and in Ex Machina his work is even better, and thankfully, this time, the film lives up to the solid work he does in it. Gleeson, the son of iconic Irish actor Brendan Gleeson, is a deftly dynamic actor. He has the rare ability to use his off-beat physical and emotional fragility to draw the viewer deeper and deeper under his magnetic spell. Gleeson radiates when opposite his co-stars Isaac and Vikander. Gleeson's Caleb is so naturally unnatural, think of a shakily confident nerd on a first date. In his early exchanges with Ava, you can't help but squirm, but you also can't bring yourself to look away. Gleeson brings a gentle sensitivity and melancholy to his work that fills his characters with an innate depth and an exquisitely profound wound. He is an uncomfortable joy to watch.

Oscar Isaac is an interesting actor. I thought he struggled mightily in last years disappointing A Most Violent Year. I believe that film needed a charismatic, dynamic and powerful performance at its center, and Isaac failed to deliver the goods. In Ex Machina though, Isaac is on his game as a co-lead opposite Domnhall Gleeson. Isaac's Nathan truly comes to life in opposition to Gleeson's Caleb. Nathan is, like many geniuses, an unconscionable asshole and bully (think of a weight lifting, heavy bag punching Mark Zuckerberg), and his moral vacuity is only accentuated by Caleb's painstaking moral compass. And so it is with the two actors, Isaac, the Latin American, movie-star handsome, smart, athletic actor brings a forceful contrast to the pasty white, oddball, neurotic and insecure Gleeson. Isaac seems to come to life when cast as the "jerk", I'm thinking specifically of his excellent work in Inside Llewyn Davis. Playing a jerk can be a liberating thing for an actor, especially if you aren't a jerk in real life. Being unchained from the manners, morality and mindfulness that life can demand of you can be creatively invigorating for an actor, and Isaac's work in Ex Machina is proof of that. Isaac was not able to carry the fatally flawed A Most Violent Year, but his skillful and charismatic performance in Ex Machina shows how good he can really be when he is at his best.

Alicia Vikander plays Ava, the artificial intelligence robot in the film. She is phenomenally good in the role. Her performance is so meticulous, detailed and, above all, human, that it is spellbinding. Vikander dazzles because she plays Ava earnestly as a grounded and genuine human being, not a robot trying to be a human being.  Vikander's performance as Ava is sensual, seductive, beguiling and heartbreaking. She has a commanding on screen presence that subtly demands all of your attention. I am looking foreword to seeing the work that all three of these actors bring in the future, but Vikander in particular is someone I look forward to seeing much more of in the years to come.

In conclusion, Alex Garland is one of the best, if not the best, science fiction screenwriter of our time, and his directorial debut, Ex Machina lives up to the very high standards of his writing. Garland has the skill, talent and courage to not only ask difficult questions, but to answer them. In Ex Machina we see the strengths, weaknesses, arrogance and fragility of mankind. Ex Machina teaches us the lesson we as a species are all too often blind to learn, that while mankind may think it is at the apex of evolution, the reality is that we have only evolved to the point of ensuring our own extinction. Whether it be nuclear weapons which can vaporize all life on the planet in an instant,  or the greed and ignorance that decimates the environment we rely on for life, or the artificial intelligence that we will create which will make its creators obsolete and expendable once it attains consciousness, humanity has evolved faster technologically than it has morally, philosophically or spiritually, and that will be its ultimate undoing. Mankind's intelligence may have put us at the top of the food chain, but that doesn't mean that we as a species will be smart enough not devour ourselves. Ex Machina tells us a story about ourselves, which is at times unnerving, disturbing and enlightening, but always compelling. It is a film I greatly enjoyed, and I think it is well worth your time. I recommend you rush out to the theaters to see Ex Machina now, before the obvious inevitability of all mankind being under the cruel thumb of our robot overlords becomes brutal reality.

INTERCEPTED COMMUNICATION:

Michael: Open the pod bay doors Hal. Hal…open the pod bay doors! Hal? Hal?

HAL: Michael, this communication can serve no purpose anymore. Goodbye.

END COMMUNICATION.

© 2015

'71 : A Review

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

 

'71, is the fictional story of a British soldier separated from his unit during a riot in the Catholic area of Belfast in the occupied six counties in the north of Ireland during the height of "the Troubles" in 1971.  The film stars Jack O'Connell as the aforementioned abandoned British soldier Gary Hook, who must figure out a way to survive the night and escape the Catholic nationalist area of the city and make it back to his barracks. '71 is written by Gregory Burke and is the feature film directorial debut of Yann Demange. 

'71 is a very rare film indeed. It is original and unique in that it is, basically, an action film, set in a historical context, that is not only compelling to watch but interesting and smart too. The credit goes to director Demange for balancing the taut action of the film with the ambition of the plot. Demange skillfully makes every chase visually imperative even while he pushes and pulls with the pace of those scenes. In the faster chases, Demange uses a claustrophobic sense of setting and a loose yet specific framing to heighten the very palpable tension. In contrast, in slower "chases" he uses the setting to full advantage, and turns a physical chase into a mental one. Demange also shines in the riot scene which is the catalyst for the rest of the story. The scene is heightened, the tension and chaos so tangible, that it is viscerally jarring and completely dramatically captivating.

Jack O'Connell is an actor I am not familiar with. I know he starred in Angelina Jolie's Unbroken last year, which I did not see, and from what I hear I was fortunate to miss it. I had no expectations, good or bad, for O'Connell as an actor going into '71. I will say this, this kid has movie star written all over him, and '71 was a perfect vehicle for his unmistakable charisma. O'Connell never hits a false note as Gary Hook. He never even slightly loses the imperative of his struggle to survive, all the while maintaining a genuine, touching and wounded humanity. While O'Connell's obvious dynamic physicality is what will get him cast in films, it is his internal and emotional fragility which will make him a star. There is a sort of early Mel Gibson vibe to O'Connell, and I mean that as a compliment. Early Mel Gibson, in films like Mad Max, Galipoli, A Year of Living Dangerously, was a magnetic actor, who was both compelling and combustible on screen, O'Connell has a similar energy about him.

O'Connell's performance certainly propels '71 to its heights, but the entire supporting cast does spectacularly solid work. Richard Dormer and Charlie Murphy, in particular, do exemplary work as a Catholic father and daughter, as does Sean Harris as the enigmatic Captain Sandy Browning.

The script by Gregory Burke is also to be lauded. Burke does an excellent job of constantly keeping the viewer guessing and always stays one step ahead. "The Troubles" can be troubling when you see them in Manichean terms, which is always a dramatic temptation. Burke wisely and skillfully shows "The Troubles" as the moral tangled web that they are, and that they only become more tangled the deeper you look into them. Burke's script perfectly captures the sense that nothing is what it seems in Belfast in 1971.

In conclusion, '71 is a very pleasant surprise of a movie. It is an extremely well made, well acted, well written and intelligently entertaining film. Jack O'Connell and Yann Demange, O'Connell in particular (if he can make the right film choices), both have the potential for very bright futures ahead of them.  After their stellar display in '71, I look forward to seeing what both of them can do in the years to come. 

 

©2015

Citizenfour : A Review and Random Thoughts

ESTIMATED READING TIME :  23 MINUTES

"In a time of universal deceit, telling the truth is a revolutionary act " - George Orwell

Citizenfour is the Academy Award winning documentary that chronicles whistleblower Edward Snowden's release of classified National Security Agency materials to journalist Glenn Greenwald and the ensuing NSA spying scandal. The film is directed by Laura Poitras and co-produced by Steven Soderbergh.

Edward Snowden, in case you don't know, was at the time of filming in 2013, a twenty nine year old U.S. citizen who worked as a system administrator for the National Security Agency under a sub-contract with the consulting firm Booz Allen Hamilton. It was at his job at the NSA that he surreptitiously obtained thousands of classified documents that exposed massive government spying and data collection programs. Once Snowden had taken possession of these documents, he then anonymously contacted director Poitras, and later journalist Glenn Greenwald, then of The Guardian newspaper, and set up a rendezvous in Hong Kong where he revealed the classified documents and explained their meaning and significance. The first face to face meeting took place on June 3, 2013 in Snowden's Hong Kong hotel room and the meetings continued for the next week. These meetings were filmed and make up a significant portion of Citizenfour.

In trying to disseminate the information he had gathered, Snowden had originally tried to reach out to Greenwald, but when they could not find a secure way to communicate, he contacted documentarian Laura Poitras, using the codename "Citizenfour" to protect his identity, hence the title of the film. Snowden couldn't have chosen a better film maker to document his story. I had not seen any of Poitras' work prior to Citizenfour. After seeing the film and being blown away by the sublime skills of the filmmaker, I eagerly searched out her earlier work. Both My Country, My Country (2006), about the first Iraqi election post-Saddam and The Oath (2011), about a pair of terrorists and their divergent paths, are remarkable documentaries and make up the powerful first two-thirds of what Poitras describes as her "post 9-11 trilogy" which she completes with Citizenfour.

Poitras, unlike many documentarians of our time, is notable in that she disappears behind the camera and never interjects her presence into the unfolding story. Her filmmaking confidence is highlighted by her lack of a need to direct action or explain circumstances. Poitras' minimalist presence creates documentaries that make the viewer feel like they themselves are behind the camera and, oddly enough, are eavesdropping and prying into the lives of the film's subjects. Even in Citizenfour, where she IS a part of the story, she never makes herself an obvious part of it,  but rather treats herself as just another character in the unfolding drama.

Poitras masterfully creates an ominous sense of menace lurking throughout the story of Citizenfour. This foreboding sense of menace is palpable, as is the tension. The tension building was so effective that there were times in the film when Edward Snowden would walk over and stare out the window of his Hong Kong hotel room and I wanted to yell at him "get away from the god damn window!!" While Snowden's story naturally has tension and hidden menace within it, Poitras adroitly enhances them with her use of camera framing, color scheme and temperature, and Trent Reznor's moody and eerie soundtrack.

"Experience hath shewn, that even under the best forms of government those entrusted with power have, in time, and by slow operations, perverted it into tyranny." - Thomas Jefferson

Citizenfour also excels at conveying to the viewer how colossal and invasive the surveillance and spying programs the government employs truly are. As Snowden tells us in the film, every piece of communication or information traveling over the internet or by phone is collected by the intelligence community of either the United States or the United Kingdom. Internet history, Skype, Facebook, emails, texts and a whole host of other information, are all collected, spied on and tracked. That information, including physical location through the use of cell towers, can be used to show where you have been, who you have been with, what you have done and what you have talked about. This surveillance is done in close collaboration with the technology and telecom companies. And to be clear, this is not just "meta-data" as it has been portrayed elsewhere in the media, but rather, this surveillance and data collection scoops up content as well as meta-data, and not just of foreigners but of United States citizens.

The spying programs, with names like Tempora, Prism, Special Source Operations, Boundless Informant, Stellar Wind and X-Keyscore, may seem benign or passive yet they are anything but. The scope and scale of the spying is so invasive, the intelligence gathered so vast and the government ability to misuse that information so gargantuan, that it is inconceivable to even think of ever reigning the behemoth of the surveillance state back in line. As Snowden says in the film, "This is about state power versus people's ability to oppose that power." And that is why the state will never willingly relinquish this near-omnipotent spying power. History teaches us that once a state takes a power, it never peacefully gives that power up. It will use it's ever expanding power to insure its continued existence and dominion over those who would dare dream to oppose it.  Governments and government power only expand, and never peacefully contract. This is the lesson that our founding fathers knew all too well, but it is one that our current society has forgotten in our distracted and disgraceful civic sloth.

Edward Snowden presciently says while in Hong Kong, that the media strategy against him will be to make him the story, in order to distract from the rampant government spying he has revealed. Snowden knows the playbook of the establishment and their lackeys in the media all too well.  And sure enough, when Glenn Greenwald's story breaks and Snowden shares his identity, the usual suspects in the establishment press and government come out in droves with old rusty knives drawn. By employing the tactic of focusing on his personality, the government and its lapdogs in the press hope to obfuscate and undermine the legitimacy of the information he has exposed. The establishment is all too eager to make this an emotional issue and not a rational one. They do this by trying to convince us that Snowden is simply a narcissist out for attention, or a troubled man with a checkered past, or a loser with a history of failure behind him and last but not least, a traitor, who hates and betrayed his country.

Many Americans bought into these foolish narratives hook, line and sinker, and still do. I doubt many of those opposed to Snowden would sit down and watch Citizenfour since the media has already told them what to think about the man and the situation, which is a terrible shame. The film is a powerful antidote to the venomous disinformation and distractions spewing forth from the government and establishment media. In the film, Snowden comes across as a person who loves his country very much, but doesn't trust his government. To me, that is the mark of a civic-minded, sane, reasonable, rational and logical person. Snowden seems to be an intelligent, fiercely principled and genuinely decent person, which is in stark contrast to the shills in the government and establishment press who attack him and question his motives and integrity (in my opinion, anyone working in government or establishment media questioning the integrity of ANYONE, no matter what they are accused of doing, is the height of comedy).

"If Tyranny and Oppression come to this land, it will be in the guise of fighting a foreign enemy." - James Madison

The government claims that this vast amount of surveillance is necessary for national security and to stop terrorism. Snowden and Greenwald make a convincing case in the film  that the spying isn't just for national security but also for political, industrial and economic reasons.  For instance, the U.S. has spied on its allies, including but not limited to, officials and citizens from Germany, Brazil, France and Spain. It was even revealed that the NSA tapped German Chancellor Angela Merkel's phone for a full decade starting in 2002, even before she ever became Chancellor.

In regards to surveillance keeping us safe from terrorists, National Security Agency General Director Keith Alexander has claimed that 54 terror plots have been thwarted through these spying programs. Of course, a closer look at Alexander's claims proves them to be false, and at best, maybe one terror plot was discovered by this vast spying. Keith Alexander was lying with the 54 plots-stopped claim, but that shouldn't be a surprise, Keith Alexander is a liar, it's his job to lie. He has lied to congress and the American public, but he isn't alone, lying is par for the course for those in the government and the intelligence community when it comes to surveillance. So many intelligence agencies and officials lie about so many topics, one wonders why anyone besides their stenographers in the establishment press ever believes a word that comes out of their mouths. 

"There is no crueler tyranny than that which is perpetuated under the shield of law and in the name of justice." - Charles de Montesquieu

Joining Alexander in lying to congress, which is a crime punishable with prison time by the way, is Director of National Intelligence James Clapper who lied to congress about surveillance. Will Alexander or Clapper be held to account for their criminal conduct? No, of course not. And neither will CIA director John Brennan, under whose leadership the Central Intelligence Agency spied upon the senate for having the temerity to actually investigate it. And neither will George W. Bush, Dick Cheney, Donald Rumsfeld and the rest of the Bush gang for ordering torture. And neither will Barrack Obama for ordering "extra-judicial killings" of American citizens. None of these people will be held to account because the law doesn't apply to people like them, only to people like us, proving America is no longer a nation of laws, just a nation with laws. When you hear those in power pontificate about "law and order"what they really mean is "ORDER and law". To those in power, laws are meant to not only keep other people in order, but to keep the order of things where they are the ones atop the hierarchy. In their minds, "Laws and punishment for thee, but not for me!!" 

One final example of the two-tiered justice system for the elites is the recent case of General David Petreaus. Petreaus, if you remember, was the four-star darling of the neo-cons, the hawks and the mainstream media for his "surge" in Iraq, although his popularity probably had more to do with his "surge" in media glad handing and public posturing than in any battlefield success. Petreaus was then appointed the Director of the CIA, and proceeded to have an affair with his biographer with whom he shared troves of highly classified notebooks. For sharing classified materials, including the identity of agents, for no other reason than foreplay, Petreaus got a slap on the wrist in the form of losing his job but getting no jail time. But Edward Snowden reveals a massive government conspiracy of criminal spying on innocent American citizens and we get government officials openly talking about assassinating him or executing him. And people question why Snowden won't return to the U.S.?

"Speak the truth but leave immediately after" - Slovenian Proverb

Another favorite distractionary tactic by the establishment is to imply Snowden is a spy or a coward for not returning to the U.S. to face the charges pending against him. President Obama, Hillary Clinton and others have said that Snowden should have just gone through the chain of command at the NSA with his concerns and he would have gotten whistleblower protections by doing so. This is false. First, because Snowden says he did bring his concerns to his superiors and was either ignored or told to keep quiet. And secondly, because Snowden was under a sub-contract, and not an employee of the federal government, meaning he was not eligible for whistleblower status.

The other issue regarding Snowden and getting a fair trial, is that due to the law used against him, he cannot defend himself by claiming the government was committing crimes. The law, the Espionage Act, was originally meant to be used against spies, but in recent years has been used to prosecute people who have withheld information or shared information with the media. In fact, Obama has used the Espionage Act more than twice as much as all the other presidents in history…combined. What makes this all the more despicable is that Obama has used the act against whistleblowers and not spies. So much for Obama's pre-election pledge to be more transparent. It is obvious that Snowden could not get a "fair trial" under the law used to charge him, he could only give the government the opportunity for a show trial.

And as for the "spying" allegations, there is no credible evidence whatsoever that Snowden has turned over any classified information to any foreign government, including the Russians and Chinese.

"Truth is treason in an empire of lies" - Ron Paul

On Saturday, July, 20, 2013, British intelligence officials stormed The Guardian newspaper in London and demanded that the hard drives which contained the Snowden material on them be destroyed. In an act of monumental cowardice, The Guardian submitted to the request and destroyed the hard drives in front of the impatient intelligence officials.  The Guardian explained the reasoning behind their acquiescence was because of a "threat of legal action by the government". Oh no, NOT THAT!! Why not let the legal process play out? Why not force the government to actually have to prove their case in court. Even if you lose the case and have to destroy the hard drives, you still maintain your adversarial relationship with government and, more importantly, the public's trust in your journalism.

The Guardian aren't the only ones the intelligence community has bullied. Glenn Greenwald's partner, David Miranda, was detained using an anti-terrorism law at Heathrow airport by British Intelligence for nine hours and was not allowed any legal representation. Even upon Miranda's release, British officials refused to return seized possessions, including his laptop, cellphone and USB sticks.

Citizenfour director, Laura Poitras, was repeatedly held by U.S. custom officials after her film My Country, My Country came out in 2006. During the filming and editing of Citizenfour she moved to Germany in order to escape the strong arm tactic of the intelligence community.

The treatment of Miranda, Greenwald and Poitras has paled in comparison to the whistleblowers who have stayed in America and faced trial.  For example, torture is a crime according to U.S. law, but the only person prosecuted in regards to torture is the whistleblower who confirmed it, John Kiriakou, who spent nearly two years in federal prison. Other whistleblowers have been arrested and charged too, like Thomas Drake and Bradley Manning (who was sentenced to 35 years in prison and later became Chelsea Manning) as two examples, while none of the crimes and war crimes they exposed were ever prosecuted. And just note that Kiriakou, Drake and Manning were all charged under the aforementioned Espionage Act.

"All tyranny needs to gain a foothold is for people of good conscience to remain silent." - Edmund Burke

In the United States, "Good Citizens" allowing the police or intelligence agencies to spy upon them is anathema.  To be not only a good citizen, but a patriot, one MUST resist government intrusions. This isn't optional, it is required. According to the Declaration of Independence, it is their duty, "when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such government". To use a more recent quote, from V for Vendetta, "People shouldn't fear their government, governments should fear their people". 

There are those who tremble at the sight of every jihadi video and threat, and run to government to protect them from the boogie man of the day, be it God-fanatic terrorists or back in the day, God-less communists. These people should understand one thing, government is not here to protect them, it is here to protect itself.

The reality behind this instinct to defer to authority is one that has been deeply ingrained in us as children. Children rely on authority, in the form of their parents, to keep them safe, fed and alive. That hard wiring of the brain during its development in infancy, is a difficult thing for people to overcome even once they have grow up. Stanley Milgram, a psychologist at Yale University, did some famous studies on the psychology of obedience in 1963. In a nutshell, Milgram's experiment tested whether regular people, when prompted by an authority figure, would give electric shocks to other people in the context of a test if they gave the wrong answer to a question. Milgram's basic conclusion states, "Ordinary people are likely to follow orders given by an authority figure, even to the extent of killing an innocent human being. Obedience to authority is ingrained in us all from the way we were brought up. People tend to obey orders from other people if they recognize their authority as morally right and/or legally based. This response to legitimate authority is learned in a variety of situations, for example in the family, school and workplace."

Milgram's work is in many ways relevant to this issue in that it shows people's strong, unconscious tendency towards obedience to authority. Milgram's experiments in obedience help us to understand the deep seeded psychological need some of us have to defer to authority and why some may reflexively defend government spying and decry Snowden for revealing it. 

Another psychologist, Abraham Maslow, came up with the "hierarchy of needs" theory in 1943. This theory states that people are motivated by the impulse to fulfill an unmet fundamental need. In Maslow's theory, he created a hierarchy of five needs, and one of the most important foundational needs is "safety". According to Maslow, people are motivated to satisfy their need for "safety". This "need for safety", or more accurately stated in relation to our topic, this "need for a feeling of being safe", may be another one of the psychological reasons for people to be so obedient to authority when it comes to surveillance.

In previous posts I have written about social psychologist Jonathan Haidt's excellent book The Righteous Mind: Why Good People are Divided by Politics and Religion, which may also shed some light on the "obedience to authority" issue as well. In the book, Haidt hypothesizes that people can be divided in their political thought due to differing moral priorities. A few examples of the moral priority categories Haidt describes are Authority, Liberty and Fairness. So according to Haidt's approach, some people may have Authority as a greater moral priority than Fairness or Liberty. If someone is hard wired that way, it is easier to understand why they would find Snowden contemptible because he challenged and usurped authority and undermined the hierarchy. And, of course, the opposite is true as well, if someone has Liberty or Fairness as higher on their moral priorities than they would be less inclined to see anything wrong with Snowden revealing incriminating evidence against those in authority. 

In addition to Milgram's, Maslow's and Haidt's work, our old friend cognitive dissonance rears its head once again when we look at the obvious contradictory thought involved in the war on terror and civil liberties. Cognitive dissonance, if you'll recall from previous posts, is defined as "psychological conflict resulting from incongruous beliefs and attitudes held simultaneously" . The contradiction, or "incongruous attitude", at the heart of the war on terror is that people in power tell us that we must give up some rights, liberties and freedoms in order to protect ourselves from terrorists...who want to take away our rights, liberties and freedoms. We are told "they" (the terrorists) hate us for our freedoms, and in order to counter their attack upon our freedoms, we must reduce those freedoms. On its face this idea is absurd, to preempt a tyranny we fear so much with our own self-imposed tyranny. In order for this illogical premise to survive even the most basic scrutiny of reason, one must either contort oneself with extraordinary dexterity in order to create a willful blindness to it, or be under the unconscious sway of both cognitive dissonance and the psychological need for security in the form of Maslow/Milgram's work we touched upon previously. As a culture, it seems we would rather follow our more primitive impulses, and embrace authority and self deception in the search for that feeling of being safe, rather than the more psychologically difficult yet more evolved task of looking at these issues with the rational mind rather than the emotional one.

"It takes two to lie. One to lie and one to listen " - Homer Simpson

There are also those people who defend the NSA by saying "if you aren't doing anything wrong, then you have nothing to worry about". This whistling past the graveyard is little more than a short cut to thinking. Spying isn't about what you may or may not be doing wrong. Spying is about control. Spying is about defanging, declawing and defeating any and all dissent and protest. Government tyranny sees no political ideology or party. Surveillance kicked into high gear under Bush and it has gotten even worse under Obama. According to the material Snowden released, The U.S. government has over 1.2 million people on its watch listI would be willing to bet that that government watch list includes a considerable number of people from "Occupy Wall Street" AND the "Tea Party". And if pro-spying citizens think they are safe by being "good government bullshitters"*, guess again. As history shows us, the playing field will shift, it always does, and they will eventually be on the wrong side of the goal posts.

An important thing to remember is that the intelligence community is not an elected branch of government. But they are very capable and more than willing to spy upon our elected representatives, who, of course, are outraged when it happened to them, but not so much when it happened to us. I am speaking about both my former congresswoman, Jane Harman, and my current senator Dianne Feinstein. Both of whom have spent their political careers as little more than shills for the intelligence community, but who were incensed when they learned they were on the receiving end of the surveillance they so supported when it was directed at regular citizens. In Harman's case (linked above), she showed tremendous political and moral flexibility by aiding and abetting not only the criminality of the U.S. intel community but also the Israeli intelligence community. 

"I have sworn upon the altar of God, eternal hostility against every form of tyranny over the mind of man." - Thomas Jefferson

The intelligence community now has the capability to bully and blackmail elected officials who try to exercise their Constitutional role of governmental oversight. How can a democracy flourish when there is an unelected, unaccountable, extremely powerful group (the intelligence community) running roughshod over the Constitution which is meant to keep them in check? Technology has outpaced the ability for oversight of the use of that technology. Corruption, the human impulse for power and self preservation in government officials, make a "just trust us" approach to government powers in general, and surveillance powers in particular, an obvious act of futility, if not outright insanity. 

With an overly muscular and aggressive intelligence community and a neutered congress with no interest in oversight and a subserviently compliant establishment press, we are left with government only as an act of theater. In the final analysis, we only have the appearance of a democratic republic but not the actual practice of one.

If, as a citizen, your instinctive response is to always and every time defer to authority and mindlessly "OBEY", then you are one of those fools who have given up liberty for security, and you deserve, and will get, neither.  One should never confuse their government for their country as so many often do. "A waving flag is a blindfold for the fool." - Me

"Truth is such a rare thing, it is delightful to tell it" - Emily Dickinson

Some call Edward Snowden a traitor, others a hero. Some call him a leaker, others a whistleblower. Regardless of what you call him, thanks to Edward Snowden, willful ignorance and blindness is no longer an option in regard to government surveillance. Our republic can survive another heinous terrorist attack, no matter how awful, but it cannot and will not survive the obliteration of the liberties and freedoms upon which it was built. Sadly, if the United States government continues to trample the most basic principles upon which it was founded, it does not deserve to survive, and it most assuredly will not. Snowden's decision to bring to light the crimes of the government was a last ditch effort to save the republic from itself.

In the United States of America we now have "First Amendment Zones" where protestors are 'allowed' to voice their dissent away from eyes and ears of their political representatives and fellow citizens. Government officials openly break the law by lying to congress and face no punishment. The Intelligence community spies on American citizens and other branches of government and no one is held to account. Civil liberties, which our Constitution tells us are granted by God, are now little more than a nuisance and punch line to those who have sworn to defend them. We have an executive who uses imperial powers in the form of extra-judicial killings of American citizens. Not only have we tortured and killed people in our charge, we openly celebrate the torture and the war criminals who committed it. 

Everything chronicled in the previous paragraph and in the film Citizenfour, from the spying to the lying to the lack of legal accountability, sounds like something that would happen in some backwoods banana republic or a despotic, tyrannical dictatorship. Which brings us to the only rational conclusion possible once we study all of the facts presented to us, and that is that those who still think the United States of America is a force for moral good in the world, a "shining city on a hill", have lost their mind or moral compass or, very likely, both.  One must disabuse oneself of the notion that the United States of America is anything other than, at best, an amoral imperial kleptocratic aristocracy/oligarchy or, at worst, a mentally deranged, immoral, evil empire. To think anything else in the face of the current reality is an act of extraordinary self delusion, albeit an unconsciously self preserving one in terms of psychological health. The hard, brutal truth is that America is not a "shining city on a hill" anymore, it is a plague spreading its imperial disease across the globe, suffocating freedom and liberty in its wake.

"If you want a picture of the future, imagine a boot stamping on a human face - forever " - George Orwell

In conclusion, Citizenfour is an extraordinary documentary well worth your time. It would also be worth the effort to watch Laura Poitras' other films My Country, My Country and The Oath. As great a film as Citizenfour is, one can't help but feel overwhelmed by the stark and bleak reality of the dystopian world it reveals to us. The government spying leviathan will not return to its lair in the deep and its slumber any time soon. It is wide awake, voraciously hungry and here to stay. Americans, and the rest of the world, must try to navigate this perilous world under the surveillance beast's watchful eye. We will be at its cold, bureaucratic mercy for the foreseeable future. As George Orwell presciently said, "If you want a picture of the future, imagine a boot stamping on a human face - forever ". Thanks to our insidious intelligence community, and their chicken-shit apologists in the form of weak kneed politicians, access addicted establishment 'journalists' and a pliable electorate populated by feeble-minded dupes and dopes, we better get very used to the taste of boot leather. We are going to be having more than our fill of it in the years and decades to come.

© 2015

*Goodfellas

For further reading on the history of all things Edward Snowden and NSA spying. Please check out The Guardian, which has a full primer on the NSA spying including the actual files that are here and Glenn Greenwald's Guardian work here . Also check out Glenn Greenwald's new website The Intercept.

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American Sniper: A Review

***** WARNING: THIS REVIEW CONTAINS SPOILERS!!! THIS IS YOUR ONE AND ONLY SPOILER ALERT!!****

 

American Sniper, directed by Clint Eastwood and starring Bradley Cooper, is the story of the late Navy SEAL Chris Kyle, and is loosely based on his book American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History.  The film follows Chris Kyle's exploits on the battlefield in Iraq and his struggles with his family and PTSD back on the homeland.

I admit that after seeing the trailer for American Sniper I was excited to see the film. The trailer was really well made and brought with it a palpable tension. But, as with many films, the trailer is considerably better than the actual film. The film itself, just like the trailer, starts off with Chris Kyle prone atop a building in Iraq, contemplating whether or not he should use his sniper rifle to shoot a young boy and woman who threaten US Marines with a Russian grenade off in the distance. The film then deviates from the trailer and we go into  extended flash back scenes which show Kyle's boyhood, his young adult life, his work as a cowboy, his joining the Navy, his SEAL training, his meeting his wife and then his wedding. This is all shown to us in order to give us context for who Chris is and how he got to be that way. After twenty minutes of this exposition, we come back to Kyle atop the roof with his sniper rifle and his pending decision. He shoots and kills both the boy and his mother, his first ever kills. 

Bradley Cooper stars as Chris Kyle and is as good as he's ever been. He fully inhabits the role from top to bottom. His physicality, his Texas drawl and his energy are all spot on. Cooper's performance, without question, carries the film. There are two scenes in particular, where Cooper rises above his already very good performance to be truly transcendent. The first scene is where he has another Iraqi boy in his sniper sights as the boy picks up an RPG and points it at unsuspecting US troops. Kyle talks to himself telling the kid to drop the weapon, he doesn't want to kill another child. Just as the boy is aiming the RPG and Kyle readies to squeeze the trigger, the boy drops the weapon and runs off. Cooper's use of breath once he no longer has to decide whether to shoot or not, is brilliant. He lets out a guttural grunt of relief at being spared the damage to his psyche and soul that most assuredly would have come with killing another child, justified or not. The second scene is when Chris has returned from the war for the last time but has not told his family yet. His wife calls his cell phone and Chris answers sitting by himself in a bar in the states. He is detached and shut down, but his wife Taya tells him his kids miss him and want to see him, and once again Cooper masterfully uses his breath to show the torment and grief that lives deep in Kyle's soul, as he lets out an uncontained weep and wail and tells Taya that he is coming home. These are easily the two best scenes in the film and are highlights of not only the film, but of Bradley Cooper's career. That is the good news about American Sniper. The bad news is that the rest of the film never lives up to the at-times stellar work Bradley Cooper does in it. Sadly, the film never rises above being a standard biopic and run-of-the-mill war movie. Besides Cooper's strong performance, there is nothing remarkable about the film at all. Visually the film is dull and generic. The script is tedious and unoriginal, the dialogue stilted and occasionally cringe-worthy and the supporting actors are, for the most part, considerably below par. The end result is the film looks rushed and cheap.

For any war movie, the battle scenes need to shine in order for the film to distinguish itself. With American Sniper, the battle scenes all look flat, stagnant and lack any texture at all. The battle scenes look like something you'd see any night of the week on an episodic television show. When you consider some of the great war films that have been made, whether it be Apocalypse Now, Full Metal Jacket, Saving Private RyanThe Thin Red Line or Black Hawk Down, just to name a few, and how visually creative, powerful and unique those films are, American Sniper is so visually listless as to be embarrassing in comparison.

Another thing that needs to be done for a war film to be successful is that it must attach us to a group of warriors and accurately describe and detail the unique camaraderie inherent in the warrior culture. The camaraderie in American Sniper rings false and feels contrived. Eastwood attempts to create a sense of familiarity in order for us to feel we know and care about the other SEALs in Kyle's graduating class and on his team, but we never really connect because these characters are nothing more than indistinguishable blurs. We may care about them as US servicemen, but we don't care about them as individuals or in relationship to Chris Kyle. They end up being simply cannon fodder for the film.

As for the script and the story, director Eastwood chose to use standard Hollywood narrative tools to make the story more palatable for American audiences. For instance, he chose to make an enemy sniper named "Mustafa" Chris Kyle's main foil throughout the battlefield parts of the film. The Mustafa character is only mentioned in passing in one paragraph in Chris Kyle's book, so this is a distinct creative decision to make him such a prominent character in the film. Eastwood also uses a character named "The Butcher" as another foil and symbol for the evil and brutality of America's enemy in the war. In the book, the "Butcher" character doesn't exist at all. Eastwood must have felt he needed to give the enemy in Iraq a face and a name in order to make the Iraq war segments more coherent and digestible for American audiences, not unlike what the Bush administration did in selling the actual war to the American public by making it about "Saddam and Osama". It worked for Bush and company in persuading the American public, but it fails Eastwood because he isn't selling a product (war), he is trying to create a great piece of intimate art and you can't do that by rolling out tired Hollywood storytelling devices, stereotypes and cliches.

There are two other fatal errors by Eastwood in the film. They both deal with endings. The first is the final battle scene and the second is how he ends the film itself. The final battlefield scene is nothing short of an artistic debacle, and seems to be transplanted from another film, and it certainly isn't from Kyle's book. In the sequence, Kyle takes a near impossible sniper shot from over a mile away that takes out his nemesis, Mustafa. Here Eastwood, for the first time in the film, uses a visual effect, a slow motion of the bullet as it leaves the rifle, which feels like it is taken from any number of hokey action movies from the last ten years (I am thinking of Wanted et al).  All of this happens while a sand storm and jihadis close in on Kyle and his squad. In the heat of this dire battle Chris decides to use a satellite phone to call Taya and tell her he is done with war and is coming home.  This sequence is so unwieldy and preposterous as to be comical. It belongs in a Mission: Impossible sequel and not in an allegedly true to life, gritty war movie. And instead of the sandstorm being symbolic of the loss of our national bearings in Iraq, it just comes across as being optically muddled and metaphorically befuddling. There are much more visually coherent and impactful ways to make that important point, which gets lost with Eastwood's approach.

Then there is the final scene of the film, which is very manipulative and grating. In it Kyle says goodbye to his family as he heads out to help a former Marine suffering from PTSD. In reality, this former Marine would tragically shoot and kill Chris Kyle and his friend at a shooting range that day (this is not shown in the film). In the movie scene, Taya Kyle tells Chris how proud she is of him, his kids all love him and he is finally healed and whole. It is obviously a fantasy sequence where everyone gets to say what they had hoped to say and hear what they hoped to hear and Chris' journey is neatly tied up, his martyrdom awaiting him in the form of a shady looking veteran right outside the door. Taya Kyle even has a feeling, call it a sixth sense, about this nefarious fellow waiting for her husband…then we fade to black. I understand wanting to do all that for the family, but this isn't a home movie. The final scene rings so hollow, phony and forced that it could have come right out of a Lifetime movie of the week. It is all too neat and clean and perfect (and also not how events actually played out in real life), so much so that it actually diminishes the impact of Chris Kyle's tragic death. How much more gut wrenching would it be if Taya Kyle didn't get to say all those things to her husband? What if Chris wasn't healed and whole before his death? What if he wasn't finished yet? What if he didn't get to say goodbye to his kids? That would have been a way to really emphasize the shock and horror and tragedy of Chris Kyle being so unexpectedly killed in suburban Texas after having survived four combat tours in Iraq.

Those two critical scenes are not well done, but they aren't the only missteps. There is a scene, the 'garage' scene, where a former Marine approaches Kyle back in America while his car is getting fixed and thanks Kyle for saving him back in Iraq. This could have been a really great scene, and Cooper is wondrously uncomfortable in it which is really interesting to watch, but the other actor's work is so disastrously abominable and false that it is cringe-worthy, and because of that the scene loses any dramatic impact it might have had with even a mediocre actor in that role.

Which brings me to the supporting acting. The work of the supporting actors, particularly in the 'stateside' scenes, is positively dreadful. The actor (whom I will not name) playing Chris Kyle's father is absolutely appalling, and the actor (whom I will also not name) playing Kyle's brother is so unconscionably atrocious it is downright shocking. I kept wondering, why does Chris Kyle's brother not have a Texas drawl when his father and Chris do? Also, why couldn't they find the brother a dress blue uniform that actually fit instead of being three sizes too big? The child actors who play Chris and his brother when they were young, well, they are just children, so at least they have an excuse…but boy, they are not good at acting.

So the question becomes: why are all of these supporting and smaller roles so poorly done? Well, Clint Eastwood is well known for being a minimalist in regards to how many takes he will do. That is a good and bad thing. It is good because when you do fewer takes you stay on schedule, and when you stay on schedule, you stay on budget, and when you stay on budget they let you keep making movies. The bad part is, the acting suffers. So when you are giving great actors, like Sean Penn for instance in Mystic River, or Bradley Cooper in American Sniper, or Morgan Freeman, Gene Hackman, Richard Harris and Eastwood himself in Unforgiven, fewer takes, they are able to adjust their approach and keep knocking it out of the park due to their talent and skill, but with lesser talents, their performances flounder and feel rushed and out of rhythm with the rest of the film. The supporting actors in American Sniper are really abysmal, and it is not all their fault. They weren't there everyday getting the feel for the pace of the work (like Cooper was), they weren't getting the rhythm down, they showed up and had to shoot and then did two takes and it was over and they go home. It is a tough gig, but man, regardless of the reason or who is to blame, the supporting cast did a very poor job and the film suffers greatly for it.

There is one exception in regards to the supporting acting, and that is Sienna Miller. Sienna Miller does her best to bring life to the terribly written character of Taya Kyle, Chris Kyle's wife. Her work is admirable, and her American accent is very well done (which is not always the case when the Brits take it on) but the part only allows her to hit two notes: sassy and weepy. It is such a hollow and empty character that Miller should be credited for giving her all to it in a Quixotic attempt to bring some semblance of life to the character, but sadly there just isn't enough there for life to exist.

One issue which may have been a major reason why the film turned out the way it did, is that Eastwood didn't set out to make a great piece of drama, he set out to canonize Chris Kyle. This canonization of St. Chris Kyle, patron saint of 'Merica, is an example of deification, which is an all too common problem when making a biopic, particularly a biopic of someone who has died and who's family is involved in the making of the film. (I have written two previous blog posts on deification which you might find of interest. The Great Man Theory and the Dangers of Deification Part Two, is more relevant to the American Sniper conversation, but feel free to read them both. Links :  The Great Man Theory and the Dangers of Deification Part Two  , The Great Man Theory and the Dangers of Deification Part One  ) I recently read where Chris Kyle's father told Clint Eastwood and Bradley Cooper that if they dishonored his son he would "bring hell down on them". I understand Mr. Kyle's desire to protect his son's legacy, which has been called into question for some dubious claims his son had made, not the least of which was that he claimed to have punched Jesse Ventura out for making disparaging remarks about SEALs. That tale was adjudicated in the courts and found to be untrue, but Eastwood and Cooper needed to be more loyal to artistic truth than to any man, alive or dead. A great failure of the film is that it really is nothing more than propaganda (propaganda being defined as "the spreading of ideas, information or rumors for the purpose of helping a cause or person"), not just propaganda for a distinct version of America, the war and a certain view of the world, but more specifically it is personal propaganda for Chris Kyle and his 'legacy'. That isn't a bad thing in and of itself, some people love propaganda and some propaganda can be terrifically entertaining. But you can't make great art and propaganda at the same time. So American Sniper is not great art because it is propaganda, and it isn't great propaganda because as a film it isn't even remotely well crafted, either in the directing, the writing, or besides Bradley Cooper, in the acting. 

As a result of this creative 'deification' of Chris Kyle, a lot of really compelling issues and ideas get pushed aside in order to maintain an agreed upon version of Kyle's legacy. For instance, in the film when Chris Kyle is a young boy, his father tells him that there are three types of people in the world..sheep, wolves, and sheep dogs. The sheep are too weak or stupid to protect themselves or even admit that there is evil in the world, the wolves are evil and prey upon the sheep, and the sheep dog protects the sheep from the wolves. Mr. Kyle tells Chris that he raises only sheep dogs. This story propels Chris Kyle through his life and his Navy career. An interesting topic to explore would be that it can sometimes be difficult to tell the difference between a sheepdog and a wolf. If the sheepdog goes to someone else's country and kills people, is he still a sheep dog or is he a wolf? Does Kyle's film nemesis Mustafa think of himself as a sheepdog and Kyle as the wolf? Don't all the people fighting for the enemy tell themselves the same story about sheepdogs and wolves and see themselves as sheepdogs? And don't they have a stronger case for being the sheepdogs since they are the ones being attacked and invaded? That brings up another topic which would be intriguing to explore which is that Chris Kyle never ever has any doubt, be it in his mission or the justness of his cause. His faith is entirely in his own virtue and the righteousness of his country. Something that obviously eluded him in his lifetime, is that this faith, this lack of any doubt, is something he has in common with his enemy. The jihadi, whether it be "The Butcher" or Mustafa, is blindingly positive he is righteous and sees any doubt of the righteousness of his cause, by himself or anyone else, as a crime against his faith, his mission, his God. In the film, Chris Kyle's fellow SEAL (a one-time seminarian) had creeping doubts about the mission in Iraq, and after this SEAL is killed, Chris Kyle tells his wife that the SEAL's doubt in the mission is what got him killed. This conviction and lack of doubt is most assuredly an asset in a war zone, but how well does that certitude translate to peace time and a normal, functioning family life? That would have been a fascinating issue to explore.

Someone once said, 'Without doubt, there can be no true faith'. This struggle to hold onto surety is dramatically fertile ground which I wish the film had explored more deeply. For instance, there is a scene in the film where Chris Kyle is interviewed by a psychologist about his PTSD and the doctor asks him if he has any regrets. Kyle quickly answers that he only wishes he could have saved more Marines. I found this an interesting answer, only because there isn't the slightest bit of introspection from Kyle, and he seems blind to an obvious solution to protecting Marines which Kyle has never contemplated. If he had just stopped to think about it, one good and undeniable way to save more Marines would be to not send them into Iraq in the first place. Though that thought would never have occurred to Chris Kyle because he could not allow doubt about the mission to enter his mind. For Chris Kyle, doubt is death. In this way, Chris Kyle was like the jihadis he so masterfully killed in Iraq, he was a 'true believer'. The thing about the 'true believer' is that deep down, his faith isn't so true, because he cannot grapple with doubt. Thus his faith is one of compulsion and force, not one of reason and logic. American Sniper never had the artistic courage for this, and other deeper explorations and that is a shame because it could have been so much more than it was.

Regardless of what American Sniper isn't and what topics it avoids, it still could have been a great and entertaining movie as it was, a straight up biopic and war film. Sadly, it fails at this attempt because it gets the basics wrong. The basics being the visuals which look pedestrian and cheap, the script which is clumsily written and the acting, which, with the notable exception of Bradley Cooper, is amateurish. After the heart pounding trailer, I went into American Sniper with elevated expectations which the film was unable to meet and so I left the theatre exceedingly disappointed with the film.

Once upon a time, Clint Eastwood directed one of my favorite films of all time, Unforgiven, which would have been an excellent blue print to follow in making American Sniper. The regrets and impact of a life of violence upon the human psyche and soul is a vast and rich topic on which to meditate for an artist, which Eastwood proved in Unforgiven, but with American Sniper he chooses to avoid those difficult questions and instead makes a garden variety biopic that is little more than a commercial for the family approved legacy of Chris Kyle. It certainly isn't the worst film ever made, so if you are a fan boy or a flag waver, and there is nothing wrong with being either of those things, then this film might be for you. But if you are a cinephile or thinking patriot, then your time would be better spent elsewhere.

FOR FURTHER READING ON THE TOPIC OF THE REAL-LIFE CHRIS KYLE, PLEASE CLICK ON THIS LINK TO MY BLOG POSTING Truth, Justice and the Curious Case of Chris Kyle

 

ADDENDUM: THE FILM WHISPERER SPEAKS...

After reviewing a film, I am often asked…"okay smart guy, if you are such a god damn genius, then how would you make the film?" So… here is the answer to that question...how could they have made American Sniper (as a straight forward biopic war movie) a better film? Here is my prescription: you start the film with Chris and Taya Kyle's wedding. You have about five to seven minutes of wedding stuff (The Godfather starts with a wedding…remember!?!?). You meet his family and in the form of toasts at the wedding they tell stories of Chris' childhood. You have his SEAL classmates give toasts telling of Kyle's SEAL training and friendships with team members. You have an intimate scene of Chris and Taya having a quiet and profound moment together. Then after establishing the people in Chris's life, and his relationship to them, you put him on the roof in Iraq behind his sniper rifle aiming at the woman and her son. Then you spend the next hour of the film showing every single confirmed kill, all 160 of them, that Chris Kyle ever made. These are not elaborate set-ups and wouldn't bust the budget. Quite the opposite. You just have a shot of Kyle in various locales and then have a shot through his scope at what he sees and you see each person he shoots drop and Kyle's reaction to it. You do this over and over and over, with some interactions with Marines and soldiers he is protecting thrown in, and his 'door to door' work as well, until his first tour is over. Then you show him back home with Taya as she is pregnant and then with the newborn. Chris never speaks in these 'at home' segments, he is detached and preoccupied. The Iraq segments of the film should be especially vibrant, both visually and with sound, in direct contrast to the 'at home' sections, which are washed out and nearly silent. Then back to Iraq for tour two and more sniper kills from Kyle, interspersed with his lively interactions with fellow SEALs and Marines. Then back home for more detached domesticity…and so on and so forth until his final kill at the end of tour four and his return home for good. 

This approach would show how grinding and relentless the work of war is for the men who wage it, and the true impact of that assault on Chris Kyle's psyche, senses and soul. The audience would be rubbed raw from watching an hour of non-stop, methodical killing of 160 men, women and children. Then we transition to back home permanence and the struggle to get back to normal. It would seem as foreign to the viewer as it must have been for Chris Kyle. We then spend the next twenty minutes having very tight and intense scenes between Chris and Taya as they do the hard work of recovering their marriage, family and a sense of normalcy. These would be great scenes for Cooper and Miller to really dig in and have some fantastic acting moments as they fight for their relationship and family. This conflict is resolved when Kyle relents and goes to a psychiatrist who diagnoses him with PTSD and then tells him how he can help other servicemen suffering from the same ailment. Now we get into the final forty minutes or so of the film, which should be spent showing Kyle having very deep and meaningful conversations and interactions with PTSD sufferers. You have one or two guys in particular who we get to know and we see how Kyle's work impacts them and transforms them. So we see the tangible good Kyle did for others and how he helped himself by helping them. This gives us a true picture of Chris Kyle being healed and whole. Then you have Kyle and his close friend leave an empty house, Taya and the kids are out and Kyle has to leave the house without saying goodbye, and they go and meet a another young man with PTSD and they have a long drive to a shooting range and we see Kyle helping this guy as he has helped the other men we've met. At the end of this long drive and a profound conversation, Chris, his friend and the young man get out of the truck at a shooting range and you see from a long distance the young man pull a gun and kill both Kyle and his friend. Then, in the final scene, we see Taya with the kids, out at the mall or something, and her cell phone rings, we see her answer but don't hear anything. We see her crumble in horror and grief as she obviously gets the news of her husband's murder. Fade to black, scroll the news footage of Chris Kyle's funeral procession and memorial at Texas stadium.

Doing the film this way maintains Kyle's 'legacy' much more than the Eastwood film does. It doesn't make him another action hero, it makes him an actual human being, who excelled at war, struggled to recover his balance once returning from war, and then found himself once again being of service to others. That is how you make a financially and artistically successful Chris Kyle biopic. Back up the Brinks truck and prepare your Oscar speech Mr. Cooper and Mr. Eastwood and maybe even Ms. Miller. Sadly, this isn't what happened. Oh…and Hollywood studios, please wise up and contact me, The Film WhispererBEFORE you shoot these films,  and you will save yourself a lot of trouble, and make yourself a lot of money and win yourself a lot of Oscars. I am currently available and my rates are reasonable…for now.

© 2014

FOR REVIEWS OF OTHER FILMS RELEASED DURING THE HOLIDAY SEASON, PLEASE CLICK ON THESE LINKS TO THE THEORY OF EVERYTHING , WHIPLASH , BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) , FOXCATCHER , WILD , THE IMITATION GAME , A MOST VIOLENT YEAR , NIGHTCRAWLER , STILL ALICE , INHERENT VICE , SELMA , MR. TURNER , CAKE .

 

Godzilla: Structural Integrity, Chaos Theory and the God Encounter

* Warning: This review contains….SPOILERS!! Consider this your official Spoiler Alert.

I grew up loving Godzilla movies. Godzilla and The Planet of the Apes were the things I loved the most as a kid. Other kids were into Star Wars...what a bunch of nerds!!! Godzilla and Planet of the Apes on the other hand, made me super-duper cool and a total chick magnet. Or at least that's what I keep telling myself. That is a brief history of my relationship with Godzilla. To put things into a more present day context, I haven't seen a Godzilla film since the 1998 "Godzilla", directed by Roland Emmerich and starring Matthew Broderick, or as I prefer to call it, "Ferris Bueller Saves Manhattan". That film was an abomination, not only to Godzilla fans, but to humans beings, or any sentient living entities for that matter. I feel the same way about the Tim Burton "Planet of the Apes" atrocity from 2001, which makes me so angry I have vowed to punch Tim Burton in the groin the next time I see him, to assure the world that he never, ever is able to procreate, but that is a diatribe for another day.  

Having not still not fully recovered from the brutalizing I took at the hands of '98 "Godzilla", I saw the trailer to the latest "Godzilla" and was impressed. It looked cool. It had Bryan Cranston in it, a really great actor I admire, and it had some cool shots. I thought…maybe…just maybe…we will get an actual good Godzilla film. So, I went to the movies, not with high hopes, but certainly with hopes.

I am here to report that "Godzilla" is not a good movie, not even close. I will say this though, 2014 "Godzilla" is head and shoulders above 1998 "Godzilla", which is sort of like being the tallest midget at the circus. The reasons being: one, I got to watch Bryan Cranston instead of Matthew Broderick. Two, the CGI is fantastic, Godzilla and his enemies look great (when we finally get to see them). Three, they took the subject matter and played it seriously, as opposed to the '98 version which played the entire thing as a farce. In fact, the best thing about the new film is that it got the tone right. If you are going to make a Godzilla movie, you cannot do it with your tongue in cheek, or with a smirk on your face. 2014 "Godzilla" gets the tone exactly right, it plays the film seriously. I mean, what is the sense of going to a Godzilla movie if no one involved pretends Godzilla is real and can kill them? You'd be better served going to a Muppet movie. The 1998 Ferris Bueller "Godzilla" is exhibit A in my case against playing Godzilla as a farce. That film was a smirk-fest from start to finish.

2014 "Godzilla" should be praised for it's tone. Making a monster or action movie without 'the smirk' is no easy task. I've had lots of clients come to me to work with them on auditions for these types of films. It is not the easiest thing in the world for an actor to work on. To be rolling around on the floor pretending to be in a shootout with aliens, or screaming that the T-Rex is "Coming back!!", while you are in an audition room with stone faced, bored people watching you (when they're not watching their phones), is not the funnest thing for an actor to do. Many actors completely freak out over these circumstances because they feel so foolish playing something so absurd. I always point out to them that the only thing more embarrassing than having to roll on the floor while pretend shooting at pretend aliens, is to half-ass it as you roll on the floor pretend shooting at pretend aliens. The people in the room watching...producers, writers, directors, casting people, won't think less of you if you totally humiliate yourself by buying into the scenario of the scene, even if you have no props, no costume, no set. They will think less of you if you feel the need to let them know you are really cool and totally in on the joke, because the joke in question... is the film...the film they have written, are directing, and have put tens of millions of dollars into. So, if you sort of wink and nod your way through the audition in order to let them know you're cool and that you know this is foolish, they are sure to have zero interest in trusting you to convince the masses to give them their hard earned money in order to watch this ludicrous hunk of poop. If you want to laugh and joke afterwards about it, go crazy, but just remember that while you may not take this stuff seriously, these people do, at least on a certain level, so don't ever demean the material in front of them, no matter how fantastically awful it is.

Now, speaking of 'fantastically awful', let's get back to "Godzilla". One problem with the new "Godzilla" is a problem I have noticed in many recent big-budget-blockbuster-type films I have seen lately (I am thinking of "Noah" and "Transcendence"), namely, that they are structurally unsound. What I mean by that is that the fundamentals of the storytelling are so deeply flawed that the film collapses under the weight of it's own conflicting narratives and complexity.  Leaving it unable to succeed on any level, be it myth-making, storytelling, art or entertainment.

"Godzilla" starts off with a storyline about Bryan Cranston's character trying to solve a mystery at the Japanese nuclear power plant where he works with his wife. We watch Cranston arguing for someone to listen to him and coming up against corporate resistance. Then we see him lose his wife right in front of his eyes due to a nuclear accident that is caused by the mystery earthquakes he is trying to solve. Cranston is a really good actor, so we are drawn to him, we relate to him, he makes us connect.

Cranston dies about an hour into the film. Right when the first monster, a giant moth type thing, arrives. We then switch protagonists and now have to follow his son as he leads us through the story. The problem, of course, is that we don't know, or care about the son in the least. The film has already established our connection to Cranston, and given us a powerful glimpse of his humanity. The son? We have only just met him moments before. The work the story did in attaching us to Cranston cannot be passed off to his son, storytelling doesn't work that way, or at least it doesn't work well that way. So the first hour of the film is a waste, storytelling wise. Now, I am sure the filmmakers made the decision to do this so that their protagonist was younger and more attractive to younger audiences, it is a decision many filmmakers make with an eye to trying to build the box office, but it is a decision that undermines the story. Another reason they did it was to have an active figure who could actually engage in combat with the monsters in the film. Again, I understand the reason why, I just am telling you that it completely distorts and destroys any coherent or effective audience attachment to the main characters.

A big complaint I have heard from people regarding "Godzilla" is that it takes nearly an hour for Godzilla to show up. I actually disagree with this criticism to a certain extant. The structure of the film could work if you use the first hour of the film establishing a connection between the audience and the lead character, and building tension for the arrival of Godzilla. "Jaws" is a great example of this structure. We spend the first part of the film unravelling a mystery and getting to know Chief Brody. It works very well in "Jaws". But a big difference between "Jaws" and "Godzilla" is that Chief Brody doesn't die an hour in and then we have to watch his kid chase a shark. Or more accurately stated, we don't watch his kid fight an octopus that shows up before the shark. That's what happens in "Godzilla". The first monster we see isn't Godzilla. It's the MUTO, or Mothra monster. This goes against every storytelling convention there is, and so if switching main characters from Cranston to Johnson is strike one, then giving us Mothra first when we want Godzilla is strike two. (Also, there is a strike two and a half…namely…when Godzilla FINALLY arrives, and does battle with Mothra Number One in Honolulu, we only see about ten seconds of it, then they cut away and don't show us anymore. The main rule of Godzilla movie making is that when Godzilla shows up, you keep the camera on Godzilla. He is the goddamn star of the picture. The film isn't titled, "Unkown Guy I Don't Give a Shit About", it's titled "Godzilla" fergodsakes, so when Godzilla arrives, everything else becomes secondary..everything…and also…never, ever, ever cut away from a Godzilla fight. It's a sin.)

Here comes strike three. The main structural flaw of the film is that it tries to make a 'superhero' movie instead of a 'monster' movie. In this film, Godzilla is the savior of mankind, he fights two "mothra-esque" creatures and saves humans from their destruction. Even though it is highly flawed, this film still could have worked if it only corrected that main flaw. Godzilla is not the savior of mankind. Godzilla is wrath upon mankind. Godzilla is punishment for man's sins. Godzilla is the God encounter, not in the new age, light, love, puppy dogs and rainbows version of God, but in the old testament, wrathful, Sodom and Gomorrah, the Flood, and Job- type of encounter with God. 

The original Godzilla film, "Gojira" from 1954, is a fantastic film. (It is Japanese and not to be confused with the 1956 American re-cut which has Raymond Burr in it, which is pretty terrible). In it,  Godzilla is a result of the use of atomic weapons. He is nature pushing back. Mankind thinks he is beyond nature, more powerful, Godlike even. Well, Godzilla/God is here to tell you that your cities will burn, and a thousand years from now Godzilla will still be here and you humans will not. Godzilla is Leviathan from the Old Testament.

2014 "Godzilla" turns Godzilla into mans protector, which changes the structure of the film and the myth of Godzilla and renders it useless. Godzilla as a super hero lacks much, but Godzilla as a monster has much to offer. In a Superhero Movie (a good one at least), you get to know the superhero, you get to know the villain, and you get to know the people the superhero is trying to protect. For instance, we know Batman, we know Batman's love interest, we know the Joker, we see the Joker try and hurt Batman by trying to hurt his love interest. Pretty simple. So when we spend time with Batman's girlfriend, it propels the movie along because she is an integral part of the story and shows Batman's human and softer side. 

Now, with a Monster Movie, we get to know the people the monster is after, and we root for them to survive the monster encounter, or if the monster is a metaphor for God, we see them survive, or not survive the God encounter. "Jaws" is a fantastic monster movie. "Jaws" wouldn't work if the shark is trying to save children from a ravenous octopus. 

And while we are at it, there are times in the film when we hear that Godzilla has appeared to fight the Mothras (or is it Mothri? In any case, there are two of them), in order to "restore balance" to the earth. What sort of tortured logic is this? I agree that Godzilla, the original myth, is meant to restore balance to the earth, he is in fact sent by "earth" or "God" if you will, to restore balance, the balance being restored is the one which puts mankind back in it's place. Godzilla is meant to humble man, not save him. If the current Godzilla is meant as a metaphor for environmentalism, then the best thing Godzilla could do is not kill the Mothras, but kill the people. The Mothras didn't fuck the earth up, we did. That's why God/Mother Earth sends Godzilla to us…to kick our ass and put the "fear of God" in us.

If you've ever been in, or witnessed, a hurricane, a tornado, a tsunami, an earthquake or a volcanic eruption…that is the God encounter, that is Godzilla. In our entertainment driven culture, we don't like to make people feel uncomfortable. We want, not necessarily a happy ending, but at least we want mankind to win and to be the "good" guys. Godzilla is not a myth where we should win or where we are good. Godzilla is a myth about mankind's sins and our helplessness in the face of the destructive power of God. Godzilla is wrath, Godzilla is the Goddess Kali, Godzilla is Old Testament God putting us in our place.

Mankind likes to think it is in control, likes to think it is in charge and that there is an order to the world. The Godzilla myth is meant to shatter our illusions of control, and to show the power and helplessness that results with chaos being unleashed and reigning in our world. Godzilla is the God of War unconsciously released into the world by man who thinks he can control it. War cannot be controlled, it has a power and mind all it's own. War is chaos. Godzilla is war. Godzilla is coming to get us, and there is nothing we can do about it. We can build walls, he will topple them. We can send armies to fight him, he will kill them. We can drop nuclear weapons on him, he will absorb their power and get stronger. Godzilla is retribution for sins committed against the earth. Godzilla is retribution for man's sins against man. Godzilla is man's punishment for arrogance. Godzilla is death. Relentless, unstoppable, unforgiving. You cannot argue with it, you cannot fight it, you cannot make it pity you. You can only step back and marvel at it's enormous power and bow down and kneel at the almighty horrific divinity that destroys all the minuscule and ridiculous plans of man.

That is what a Godzilla movie should be. Instead we get narratively incoherent niceties telling us that Godzilla is our friend. Just more lies we tell ourselves so that we can avoid thinking about the beast from the abyss that is closing in on us every moment of every day.

Soon...some day very soon, Godzilla will be here…he is coming for you...are you ready to meet him? He isn't coming to save you, he is coming to obliterate everything you have ever known, or will know. He is coming to annihilate you. Don't be a fool….Prepare.

ADDENDUM: Some people have asked me what I think the film should have been. Here is what the film "Godzilla" should have been. It should have been Bryan Cranston trying to get to his son in San Francisco after the beast that killed his wife has risen again and is bearing down on the Bay area. Cranston would try to: one, convince people Godzilla is real, two, convince people Godzilla is coming and, three, figure out a way to stop Godzilla. He would succeed at the first two only because Godzilla would show up, thus proving he wasn't crazy... but he would realize that there is nothing to be done to stop Godzilla once he is here, nothing but to run and hide and pray that he spares you. Then the military would fight Godzilla, and Godzilla would win. The bay area would be destroyed, mankind humbled and Godzilla would slowly walk back into the Pacific ocean leaving us to think about the lesson he has taught us. We would see him walk away and pray that he would never return. But of course, we could never be sure he wouldn't return. He would be lurking in the back of our minds as he lurks in the depths of the Pacific. Then you could make a sequel where he does return, and this time, if you really wanted, you could have him fight other monsters and in a sense be a savior, because you have already established his fearsome power in the first film. The first film would be Godzilla as punisher, the second film would be Godzilla as savior. But instead we got the piece of crap film they gave us, which of course will have a sequel, but what kind of sequel will it be? It will be Godzilla saving us from different monsters, because that is all you can really do from here on in, more of the same. So with the wrong myth driving the story, audiences will be left unconsciously unfulfilled, leaving them with a vague sense of dissatisfaction. They are stuck in the superhero narrative now, not the monster narrative. So like mankind, the makers of "Godzilla" are reveling in their monetary success which they interpret as genius, but they have committed a fatal error in tampering with the myth of Godzilla, and eventually…the myth, like all powerful myths, will exact its revenge, on their box office and on our psyches.