An Autopsy of Bombs: The Fall Guy and Furiosa Edition

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

This year we’ve had a few notable box office bombs, the most intriguing of which are The Fall Guy and Furiosa.

Like the vast majority of people, I did not see those movies in the theatre, hence their under-performance at the box office. But now both films are available to stream and I recently checked them out to see what, if anything, I missed, and if they deserved to be ignored in the theatre.

Let’s start with The Fall Guy, which is currently available to stream on Peacock.

The Fall Guy, directed by David Leitch, was set up to be the big office blockbuster to open the summer movie season when it hit theatres on May 3rd. The film, which stars Ryan Gosling and Emily Blunt, had a huge marketing push pre-release, which included a witty bit of banter at the Oscars between the two stars. The film sold itself in a plethora of television ads as an old-fashioned, 1980’s style Hollywood action movie with likeable movie stars (Gosling and Blunt).

But upon release the film fell flat as nobody came out to see it. It was number one at the box office on its opening week, but with a severely subdued haul of $35 million. Not great. It went downhill from there.

It dropped to number two in its second week of release and then fell off a cliff. It ended up making a paltry $180 million in total off of its $120 million budget. In Hollywood accounting, that means it lost a ton of money. (Hollywood accounting means you roughly double the budget to account for marketing and for the theatre’s haul – and the rest goes to the studio – so The Fall Guy is about $240 million underwater)

So why did The Fall Guy fail?

The Fall Guy does have two very charming and beautiful movie stars as its leads, Ryan Gosling and Emily Blunt, who are, you guessed it, very charming and very beautiful. But on the downside, The Fall Guy is a movie no one wanted…and so no one went to see it. Myself included.

The movie is sort of attached to the rather forgettable B-tv series from the 80’s, The Fall Guy, which is second rate Lee Majors material, as Majors is remembered for the Six Million Dollar Man, not The Fall Guy. But The Fall Guy brand doesn’t have a built-in fan base as Gen Xers may remember the show from their childhood but don’t really give a shit about it because it wasn’t beloved, and younger audiences will have absolutely never heard of it.

Another major issue is that The Fall Guy is, frankly, a really bad movie. It features an abysmally incoherent and relentlessly stupid script, as well as stunts that are rather tepid and cinematically mundane.

As charming as Gosling and Blunt are…and they are incredibly charming…they’re not charming enough to tolerate the excruciatingly boring and stupid nonsense going on around them for the duration of this idiotic movie.

In some ways The Fall Guy is meant to be a love letter to stunt men, which I suppose is a nice thought. Stunt men are a different breed (and deserve an Oscar category)…but if you’ve ever met one you know that while their work is often interesting, they often are not.

On the bright side stunt men will always be happy to have you break a chair over their head, which is very cathartic. Truth is I’d rather break a real chair over my head than watch The Fall Guy again.

The Fall Guy’s failure is a stark reminder that wishful thinking from the C Suite of Hollywood studios doesn’t translate into audience interest. The Fall Guy had seemingly everything going for it except for the two things it actually needed, audience interest and good storytelling. Oops.

In conclusion, The Fall Guy most definitely deserved to fail, and it certainly did just that.

Furiosa: A Mad Max Saga on the other hand…

Furiosa is the fifth film in the Mad Max franchise and is a prequel to 2015’s fantastic Fury Road, which received ten Academy Award nominations, including Best Picture and Best Director, and won six Oscars.

Fury Road didn’t break box office records but it did break more than even making $380 million on a $160 million budget.

In all honesty I am not a Mad Max fanatic. The first movies came out when I was a kid and I didn’t see them in the theatre. I did see them all as a teen on VHS though, and liked most of them (I wasn’t a real fan of Beyond Thunderdome), some a great deal…but it’s not a franchise with which I ever strongly identified despite my respect for it.

When Fury Road came out in 2015 after a thirty-year absence of Mad Max material, I didn’t see in the theatre but caught it on cable…and was absolutely blown away. Fury Road is an astonishing movie and is a monument to director George Miller’s brilliance.

Despite having missed the boat on Fury Road in the theatre, when Furiosa came along I, being the moron that I am, once again didn’t venture out to theatres to see it. In my defense, my time is much more limited now than it was back in 2015 (having kids will do that), so I sort of have an excuse – but not a very good one.

Unfortunately, I was not alone in not seeing Furiosa when it hit theatres on May 24th, as the movie made a measly $172 million during its run against a $168 million budget. The film performed so poorly that it seems likely that the Mad Max franchise may have breathed its last breath. Considering that the franchise’s director, George Miller, is 79, one can assume at the very least that Miller is done making Mad Max movies…which is a shame because he is extraordinarily good at it.

But now Furiosa is streaming on Max and I’ve seen it.

I can report that missing Furiosa in the theatre was a grievous mistake.

Furiosa isn’t perfect by any means. For instance, it isn’t nearly as good as Fury Road. But…it does feature some truly imaginative and original stunt sequences that are breathtakingly spectacular.

The film also features a stoic but solid performance from Anya Taylor-Joy, who lives up to the name of Furiosa with a fire in her eyes that is undeniable.

All of the magic that make George Miller such a dynamic moviemaker are evident in Furiosa, as he shoots his action sequences with a verve and aplomb that are unequalled in our CGI addicted world. (to be fair there is some CGI in Furiosa, but nothing compared to most movies).

As for why a film as good as Furiosa failed, it is difficult to say.

The marketing for Furiosa wasn’t particularly strong, I mean it didn’t move me to go see it, so that could be a reason.

I do recall the marketing being “female driven”, and some have speculated that having a female lead, Anya Taylor-Joy, could have turned off male audiences, so that could be it. People are certainly tired of culture war bullshit in their movies – myself included, and the impression could’ve been given by Furiosa’s marketing that this was a girl power movie…which is kryptonite nowadays for male audiences. But counter to that, that certainly wasn’t the case with Fury Road, which starred Charlize Theron, so it seems to be a thin argument. Although counter to that counter, Tom hardy had a starring role in Fury Road as well, so who knows.

Another reason could be that Furiosa is a prequel and people are tired of prequels and of having to “do the homework” of having to see all the other movies just to understand what is going on in the new movie. I think Marvel definitely suffers from this and maybe Mad Max does now too.

The truth is that Furiosa’s failure is both a mystery and frustrating to me. It’s a mystery because I can’t quite pinpoint what caused it, and it’s frustrating because Mad Max is a perfect action franchise for our times and would be a great franchise for Warner Brothers to mine for film and tv projects going forward. But now with Furiosa’s failure, that won’t happen.

After having seen Furiosa, and having found it to be a very well made, extremely solid piece of action entertainment and a noteworthy bit of Mad Max franchise filmmaking, I really don’t know why people didn’t go see it and why word of mouth wasn’t better and more useful.

To end this discussion, here’s my ranking of Mad Max movies.

5. Mad Max: Beyond Thunderdome – Not an awful movie but easily the worst of the Mad Max movies.

4. Furiosa: A Mad Max Saga – This movie is world’s better than Beyond Thunderdome, and is very close in the running with Mad Max and Road Warrior.

3. Mad Max – The original is a down and dirty and disturbing movie that is undeniable.

2. Mad Max: The Road Warrior – The franchise makes the leap into the big time with a gritty and explosive action extravaganza.

1. Mad Max: Fury Road – The best of the best. Truly extraordinary piece of action filmmaking.

And finally…my ratings for The Fall Guy and Furiosa.

THE FALL GUY

Streaming: Peacock

Rating: 1 out of 5 Stars

Recommendation: SKIP IT

FURIOSA

Streaming: Max

Rating: 3.8 out of 5 stars

Recommendation: SEE IT!!

Thus concludes today’s autopsy of a bomb…or bombs as the case may be.

 ©2024

Pain Hustlers (Netflix): A Review - Phony and Forgettable

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

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. A remarkably empty cinematic exercise that is neither insightful nor entertaining.

Pain Hustlers, starring Emily Blunt and Chris Evans, in the new Netflix movie that tells the tale of Eliza Drake, a stripper in Florida who becomes a highly successful pharmaceutical saleswoman of fentanyl who gets caught up in a corporate criminal conspiracy.

The film, directed by David Yates and written by Wells Tower, is based on the book of the same name by Evan Hughes and is a true story.

I had heard little about Pain Hustlers before checking it out on Netflix. All I knew was that it was in some way about the pharmaceutical industry and the opioid epidemic, and that is starred Emily Blunt. I am all too familiar with the opioid epidemic and its devastating effects, and I like Emily Blunt, so I thought I’d give the movie a shot.

I regret that decision.

Pain Hustlers is one of those movies, which are all too common in the streaming era, that is instantaneously forgettable. The images and story pass before your eyes and evaporate into the ether before you can even register their existence. This film is so forgettable it feels like I never actually watched it…even though I know I did because I wish I hadn’t.

The story at the heart of the film is interesting enough I suppose, as Eliza Drake’s rise from poverty and fall from grace have great dramatic potential, but everything about the film, its writing, its direction, the acting…is poor.

Let’s start with the casting. I think Emily Blunt is a terrific actress. I just rewatched Sicario and she is phenomenal in that great movie. She’s also outstanding in The Devil Wears Prada and A Quiet Place. But in Pain Hustlers she is painfully miscast as a white trash Florida woman who’ll do just about anything to make ends meet. Emliy Blunt is as an actress is, and can be, many things…Florida white trash isn’t one of them.

Blunt is simply too beautiful, too classy and too put together to ever be white trash. Put her in sweatpants and she doesn’t look cheap she looks like an elegant and chic woman in sweatpants. It’s not her fault…it’s just the way things are.

Due to Blunt’s natural grace and style her Eliza never seems too down and out for us to think she or her daughter are in true peril. And when Eliza climbs the ladder of the two-bit corporation that hires her to sell pain medication, it isn’t all that compelling because Blunt makes Eliza seem like she’s well above the low-rent operation anyway.

Chris Evans plays Pete Brenner, the hard-charging pharma salesman who brings Eliza into the fold. Chris Evans is a truly terrible actor and always has been…but just when you think he couldn’t get any worse as an actor, he gives us Pete in Pain Hustlers. Evans puts on an absolute clinic in awful acting in this movie.

Evans, a native of Massachusetts, is remarkable in that he often times as Pete – but not always, attempts a Boston accent, and yet still butchers it. That the accent comes in and out is forgivable only because, like a toddler trying to play drums, it’s so awful you’re glad he occasionally stops trying.

Evans is one of those atrocious actors who thinks he’s really, really good. Like you can see it in his eyes that he thinks this performance as Pete is definitely Best Supporting Actor ground he’s confidently marching across. This level of irrational confidence no doubt helps Chris get the ladies in real life, but the camera is a bullshit detector and it sees right through a dimwit charlatan like Chris Evans.

The always entertaining Catherin O’Hara plays Eliza’s white trash mom Jackie and somehow manages to not be entertaining at all. O’Hara’s Jackie is nothing but a walking caricature and never manifests as a human being, just an annoyance. If she played this character in this way in a three-minute comedy sketch you’d still think it was shallow.

Andy Garcia plays Dr. Neel, the founder of the pharma company in question, and his performance, which he seems to think is fantastic, is instead flaccid. Garcia huffs and puffs and crazies his way through the role but it all feels like a put on and not an actual performance emulating a real person.

Besides the casting and acting, the direction is as second rate as it gets. David Yates, whose claim to fame is having directed 7 of the Harry Potter/Fantastic Beasts films, tries to turn Pain Hustlers into a combination of Wolf of Wall Street and Goodfellas set in the strip-mall pharma world in Florida, but wildly misses the mark.

Yates interjects black and white interview segments into the film to make it all seem “real”, but these segments are legitimately bad as everything comes across as ultra-phony. It doesn’t help that the performances in those black and white interview segments are particularly bad.

Yates also uses a voice-over (Goodfellas style) that doesn’t propel the narrative but just feels like a cheap way to cover over the glaring flaws in the cinematic storytelling. As my film school editing professor once told me, “voice-overs are bad…unless your Scorsese…and nobody is Scorsese.” David Yates is certainly not Scorsese.

The film is consistently visually stale, the performances are relentlessly uneven and remarkably dull, and the story lacks a compelling or dramatically satisfying arc. What is left is a big budget after school special film that comes and goes without the least bit of notice. That stars like Emily Blunt and Chris Evans are in this film only makes it all the more perplexing as to how this got made…and why.

Pain Hustlers is set in 2011, in the wake of the first wave of the opioid epidemic when a chill had gone through the pain management industry thanks to America’s waking up to Purdue Pharma’s rapacious greed and criminality. The drug at the center of this movie though is not oxycontin, but rather fentanyl, an opioid even more powerful, and deadly, than oxycontin.

The film tries to walk along a straight razor as it argues that fentanyl is a great drug, but that corporate greed is what causes it to become problematic due to over prescribing. It presents charming rogue pharma salespeople as the real working-class heroes who get screwed (sometimes literally) by the corporate big wigs who ruin the fentanyl utopia these hard-working, hustling salespeople created.

That is a very complicated moral and ethical argument to make, and maybe it’s a worthwhile one, but Pain Hustlers and its director Yates are too low rent artistically (and intellectually) to ever clearly make this argument, or any argument regarding the opioid crisis coherently. Which is a shame as nuance is welcome artistically even in the most seemingly Manichean of circumstances.

In recent years there have been numerous opioid epidemic projects based on non-fiction books that have made it to streaming services. In 2021 there was the miniseries Dopesick on Hulu, and in August of this year the miniseries Painkiller premiered on Netflix. While Dopesick wasn’t great, it was decent enough…but now with Pain Hustlers, Netflix has churned out two straight, similarly titled, really bad opioid themed projects based on books in the span of three months. Not good.

As much as I proselytize and evangelize regarding the horrors of the opioid crisis (which is still ravaging the country) and the villainy of the pharmaceutical industry and the corruption of our government, I simply cannot recommend Pain Hustlers as it isn’t informative, insightful or entertaining.

The truth is that Pain Hustlers is completely and entirely forgettable, so don’t waste your time watching it. I’ve not read the book Pain Hustlers by Evan Hughes, but I can only hope that it is better than the movie…so go read that. Or better yet, go read the books Dopesick by Beth Macy, Painkiller by Barry Meier, American Overdose by Chris McGreal and Dreamland by Sam Quinones. What you discover in those books about our country and the moral and ethical corruption of our vile ruling class, will change the way you look at our world and help you to understand that those who rule and own us, passionately despise us and actively want to do us great harm.

 Follow me on Twitter: @MPMActingCo

©2023

Looking California and Feeling Minnesota: Episode 105 - Oppenheimer

On this apocalyptically combustible episode, Barry and I go nuclear in our discussion of Christopher Nolan's new movie Oppenheimer. Topics discussed include a heated debate over the movie, musings on Nolan's career and a ranking of his filmography from top to bottom. 

Looking California and Feeling Minnesota: Episode 105 - Oppenheimer

Thanks for listening!

©2023

Oppenheimer: A Review - Destroyer of Worlds, Creator of Great Cinema

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

My Rating: 4.5 out of 5 stars

My Recommendation: SEE IT. The rarest of the rare in our current culture, an exquisitely crafted movie made for grown-ups. A masterful work that deserves to be seen on the big screen.

Oppenheimer, the new film written and directed by Christopher Nolan which recounts the life of J. Robert Oppenheimer, the man who first made the atomic bomb, is a stunning accomplishment for a variety of reasons.

The first of which is that it is made with a level of technical and cinematic proficiency rarely seen in our current age of mundane, mind-numbing, moviemaking sub-mediocrity.

Secondly, Oppenheimer is remarkable because it’s a mature movie made for adults that features zero fights and car chases that has generated a tremendous amount of interest, and if reports are to be believed, box office.

My screening here in flyover country (I’m currently living on a farm in an undisclosed part of Middle America) at noon on a Saturday was packed with a striking cross section of regular folks, the overwhelming majority of which I can confidently assume do not consider themselves cinephiles or even count themselves among regular movie goers.

As I watched the three-hour film that consists almost entirely of dramatic scenes of people talking unfold before me, I couldn’t help but wonder if these ‘regular’ people around me liked this film as much as I did.

Oppenheimer tells the sprawling story of its protagonist’s struggle with the moral and ethical burdens of his world-altering calling, but compresses it into an intimate drama that, much like how Oppenheimer builds the first atomic bomb, explodes inward first, which then triggers the greater outward conflagration.

Watching Oppenheimer, one cannot help but marvel at a filmmaker bristling with confidence and competence, the former of which is all too common (and unearned) and the latter of which all too rare nowadays. This is an ambitious movie to the point of being audacious, and I cannot think of another living filmmaker who has the unique artistic style and populist storytelling skillset of Christopher Nolan who could even approach pulling it off.

To be clear, I am not some Nolan fanboy. I respect him greatly but have had some mixed feelings about his previous work. For instance, I thought both The Dark Knight and Dunkirk were masterpieces (I think Dunkirk is his greatest film and one of the very best films of the 21st Century), but I thought Interstellar and Tenet were garbage. On the whole I find him to be a sort of new generation Spielberg without the shmaltz and obsession with children. He is the rare auteur nowadays who makes big budget – big box office, popular movies.

Nolan empties his bag of moviemaking tricks on this one as he uses time jumps, different film stocks and aspect ratios, and wonderfully deft editing to create a mainstream movie that often feels like an impressionistic fever dream.

The key to the success of this massive undertaking is Cillian Murphy who plays Oppenheimer – the American Prometheus who gives the ultimate fire to humanity. Like Dr. Frankenstein, he meddles with powers beyond his moral comprehension that ultimately hunt and haunt him for the rest of his life. If Murphy fails even a little bit in the role this movie crumbles under the weight of its own ambition, but he never stumbles, not even a little.

Murphy is able to convey the vivid, rich inner life of his character with a single, hollow-eyed close-up, and Nolan takes full advantage of his talents. Over the course of the film Murphy’s Oppenheimer goes from being a ravenously ambitious student to a callously arrogant expert to a hollowed-out martyr desperate to be punished for his egregious moral sins and all of it feels grounded and genuine and gloriously compelling.

Another very effective performance comes from Robert Downey Jr. as Lewis Strauss, an administrative admirer of Oppenheimer and bureaucratic bully. It was an absolute joy to see Downey back to serious acting after his long and fruitful run as Iron Man. Downey has not lost his chops as his Strauss is a cauldron of conflicting and conniving energy that is captivating to watch.

The other stand out performance comes from Gary Oldman, who has just one scene, but he is phenomenal in it. It’s a testament to Oldman’s prodigious talent that he can be so thoroughly unforgettable in a mere matter of moments in a movie.

The rest of the cast, for the most part, acquit themselves well enough. Matt Damon as a demanding American General Leslie Groves, is fine, as are the cavalcade of actors like Casey Affleck, Kenneth Branagh, Rami Malek and Josh Hartnett who pepper the cast.

Florence Pugh and Emily Blunt are the two main actresses and they do the best they can with roles that feel underwritten and a bit uneven. Pugh is always terrific and brings her dark magnificent energy to bear here. Blunt at first feels out of sorts in her role as Oppenheimer’s wife, but she finds her stride in the last third of the film and nails one critical scene when it matters most.

The only performances I thought were notably underwhelming were Benny Safdie as Edward Teller and Rami Malek as David Hill. Both seem out of place and rather awkward in their roles.

On the bright side, it seems definite that Cillian Murphy will be nominated for Best Actor and will probably be the odds-on favorite to win. Downey Jr. will also likely be nominated for Best Supporting Actor.

The film is beautifully photographed by cinematographer Hoyte van Hoytema, who himself could be staring at a second Oscar nomination (his first was for Nolan’s 2017 film Dunkirk). Hoytema’s framing, close-ups in particular, are exquisite, as is his use of color and contrast.

The soundtrack by Ludwig Goransson is also very effective and well-done. It skillfully but subtly enhances the drama of the film without over-imposing itself and feeling manipulative.

As good as the cinematography and music were, the editing by Jennifer Lame really stands out. The film jumps back and forth in time and yet never loses coherence thanks to Lame’s deft and skillful work.

It is always difficult to discern any sort of political or cultural meaning from Nolan’s films, but they seem much more apparent than usual in Oppenheimer, at least to me. Of course, one must be self-aware enough to know that they may be projecting their own ideological perspective onto a film rather than discovering the director’s intent.

For example, after Nolan’s superhero masterpiece The Dark Knight came out in 2008 there was lots of talk among members of the George W. Bush torture and death-cult that the film was about Bush as Batman being scapegoated for what he has to do to defeat the Joker/Bin Laden, the ultimate terrorist agent of chaos. I never found that argument compelling and always thought it had more to do with the guilty conscience and vacuous ideology of its adherents rather than with Nolan’s intended sub-text.

The same may be true of my reading on Oppenheimer, which seems to me to be a movie that speaks to much of our current era’s issues. For instance, Oppenheimer is persecuted for speaking out against establishment orthodoxy and for holding views deemed to be dangerous. That seems to be very relevant to our current times where wrong-think is a cultural crime as has been well documented here and elsewhere.

Oppenheimer is also a stark reminder of the destructive power and nature of human beings, and how serious that subject is but how we often take it much too lightly.

For example, we have both liberals and conservatives in this country hell bent on escalating the proxy war in Ukraine up to and including to the point of direct conflict with Russia, a nuclear armed state, in order to desperately cling to our self-delusional empire. Oppenheimer eventually came to understand the power he unleashed by building an atomic bomb, but somehow our modern culture has forgotten the earth destroying ability it possesses and feels so comfortable toying with.

And finally, one can’t help but think of Artificial Intelligence while watching Oppenheimer. AI is a great achievement for scientists but like the team at Los Alamos that unleashed the destructive power of the gods onto humans, the unintended and long-term consequences of AI seem to be a moral and ethical minefield for which its creators never seriously prepared or even remotely considered. The impending, and most likely inevitable, dire consequences of artificial intelligence feel all the more chilling when considered in the context of the moral dilemma and outcome of Oppenheimer.

Whether the film is actually about those things or I am just projecting my own fears and ideologies on to it, is ultimately irrelevant, as the film stands on its cinematic artistry alone regardless of its deeper or wider meaning.

The thing that stood out to me the most regarding Oppenheimer was just the fact that it exists and that regular people are interested in seeing it.

For decades the art of cinema has been in steep decline and in recent years the business of movies has followed suit. For the entirety of this century Hollywood has been training audiences to watch nothing but dumbed down bullshit and to instinctively yearn for mindless entertainment. Oppenheimer is counter to that. To be clear, this film isn’t highbrow or arthouse, but it is definitely elevated, adult, populist moviemaking, storytelling and entertainment.

I doubt this will turn the tide of franchise excrement coming from Hollywood, but it is a sliver of hope. In the sea of shit that has been movies over the last four years, original, mature stories from auteurs have been few and far between and even the ones that did come out were among the lesser of the director’s filmography. But with Oppenheimer we have Christopher Nolan, one of the more successful directors in recent Hollywood history, putting out an original, adult-targeted film, and one of his very best films, when all hope seemed lost in the industry for this sort of thing.

Audiences are desperately hungry for quality films that are made for grown-ups…and with Oppenheimer Christopher Nolan has delivered. I, for one, am grateful.

 Follow me on Twitter: @MPMActingCo

©2023

The Mandalorian - Season Three Review: This is NOT the Way

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

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. A major disappointing season from this once terrific series.

Season one (2019) and two (2020) of The Mandalorian were as good as it gets in terms of Star Wars storytelling. So much so that a dear friend of mine, the biggest Star Wars fan I know, once waxed poetically to me about how the series’ creator Jon Favreau was the savior of the Star Wars franchise.

Whether you believe that about Favreau or not, the truth is that The Mandalorian undoubtedly set the bar very high for the bevy of Star Wars series that came in its wake. Unfortunately, the majority of them have failed to live up to the standard.

For example, the alarmingly awful The Book of Boba Fett and Obi Wan Kenobi fell shamefully short of The Mandalorian’s high standards. Things were so bleak at Mickey Mouse’s money-making machine after the back-to-back egregious embarrassments of Boba Fett and Obi Wan, Disney’s Star Wars television ventures seemed on the precipice of annihilation like Alderaan on the wrong end of a Death Star blast.

Then the top-notch Andor arrived on the scene. Andor was able to equal, and in some ways exceed, season one and two of The Mandalorian’s high storytelling standards and Disney once again felt like the had righted the good ship Star Wars.

But now the roller coaster continues with season three of The Mandalorian, whose eight episodes concluded on Wednesday, which scuttled all the creative and artistic momentum of its previous two stellar seasons and of the superb Andor.  

Unfortunately, season three of The Mandalorian feels more like an extension of the sub-par work of The Book of Boba Fett and Obi Wan Kenobi than a continuation of the excellence of seasons one and two of The Mandalorian.

Season three is an exceedingly frustrating, irritating, incoherent, dull, lore-desecrating exercise that besmirches the once mighty legacy of The Mandalorian brand, reducing it to just another Star Wars piece of junk in a galaxy quickly filling up with Star Wars junk.

The storyline of season three lacks immediacy and consistency, and instead feels like writers/producers trying to sell Star Wars toys while they kill time waiting for other series, most likely the forthcoming Ahsoka, to carry the Star Wars narrative load.

The (spoiler-free) loose premise of the season is that Din Djarin (Pedro Pascal) and his de facto adopted son Grogu – aka Baby Yoda, join with Bo-Katan Kryze (Katee Sakchoff) to try and return to Mandalore.

The premise never compels, and the villain (I won’t say who it is to avoid spoilers), once revealed, feels like a creative cul-de-sac that is repetitive and redundant and redundantly repetitive.

The series featured the worst episode (episode six – which contains cameos by Lizzo and Jack Black – God help us!!) in the history of Star Wars tv which is an astonishing accomplishment considering the staggering level of incompetence of The Book of Boba Fett and Obi Wan Kenobi.

The season finale, while not a great finale, was an action-packed episode and was, to a point, entertaining, but it didn’t elevate the series or make it make sense.

As much as I enjoyed some of the action at times in the finale it was also ridiculous to the point of shameful, and it stretched Star Wars lore and the established rules of the series and the Star Wars universe beyond recognition.

For example, earlier in the season Mandalorians chasing a giant monster had to stop because their jet packs ran out of fuel after roughly a half mile. But in the finale, Mandalorians were flying thousands of miles and breaking through the atmosphere of a planet and into space with ease using their jetpacks.

Another example is that in the finale the villain/villains have great powers (I’m doing my best to avoid spoilers) and yet they end up being like every other dopey background actor stormtrooper who gets felled with ease by the good guys.

The biggest problem with season three though is that it felt like it was no longer about The Mandalorian but rather about the WOmandalorian. Female warrior queen Bo-Katan Kryze became the focus of the drama and the hero who continuously kept saving the damsel-in-distress Din Djarin from peril.

Making things worse was that Katee Sakchoff, an actress I loved on Battlestar Galactica, was dreadful as Bo-Katan. In season two Din Djarin worked with a bad-ass woman warrior Cara Dune, played by Gina Carano. Dune was really cool and Carano was great in the role, but then she said something on social media about Nazis that made the Nazis at Disney upset so they fired her. The reason I bring this up is because, and I never thought I’d say this in my entire life, but Katee Sackhoff is no Gina Carano, and The Mandalorian season three suffers under her relentlessly weak performance.

Which brings up another issue that is becoming glaring, and that is Disney’s princess problem. What I mean by that is that Disney made its bazillions by telling female-centric stories for girls about princesses. Snow White and the Seven Dwarves, Sleeping Beauty, Cinderella and on and on. The problem is that they’ve purchased Marvel and Star Wars, two brands that tell archetypal stories about boys and men for boys and men.

Instead of embracing what made Marvel and Star Wars successful, Disney has reverted to form and gone about dismantling the male archetypes and replacing them with “princesses” - inadequate and inappropriate female characters.

So, in Marvel we get Thor replaced by Lady Thor, Black Panther replaced by Lady Black Panther, Hawkeye replaced by Lady Hawkeye, Iron Man replaced by Iron Heart aka Lady Iron Man…not to mention the cavalcade of female led-projects like Black Widow, Captain Marvel (who originally was a man in the comics) and now The Marvels. In Star Wars the most obvious example was that the center of the latest trilogy was a female, Rey, while the two previous trilogies focused on Luke and Anakin.

I understand Disney’s insipid impulse to feminize everything and even understand its insidious desire to socially engineer through its products, but what shocks me about this is Disney’s incredible misunderstanding of the basics of myth and archetype.

As Joseph Campbell and Carl Jung teach us, the woman’s hero journey (or heroine journey if you will) is very different from the male hero journey. Different narratives and archetypes are needed and necessary in order to tell the heroine’s journey, but what Disney (and most other modern storytelling) is doing is simply replacing men in the hero’s journey with women.

The reason why these stories, on the whole, fail is because they do not resonate in the collective unconscious due to their mythic and archetypal misunderstandings.

This does not mean that women can’t be leads in action stories…quite the contrary, but they must go on a heroine’s journey not a hero’s journey. Ripley (Sigourney Weaver) in Alien is a perfect example of the heroine’s journey in an action role. Ripley is at her core a feminine mother character (in the first film this – among other reasons - is why the cat is so important – as Ripley must nurture and save it), just like the mother creature she fights.

Another example is Kate Macer (Emily Blunt) from the fantastic 2015 film Sicario. Macer is an FBI agent but she must navigate the brutal world of men all the while knowing that she, as a woman, is more vulnerable than the men she is surrounded by. As much as she wants to be “one of the boys”, she never will be and that is part of her journey…coming to understand the nature of things and the perilous, nearly indecipherable world of men.

While audiences, for social or political reasons, may support these Disney designed female-led hero’s journeys, on a very deep psychological level, they are agitated by them and often repulsed by them and that’s because they are the anti-thesis of our inherent psychological and mythological conditioning.

No doubt there are some who, again for social or political reasons, want to decondition audiences from what they would describe as an archaic view of men and women, but the human psyche and collective conscious and unconscious, don’t work that way as they have been built over thousands of years and don’t bend to whatever is fashionable in the decadent society du jour.

Back in 2015 right after the female-led The Force Awakens hit theatres, I was at a dinner party with a bunch of Angelinos and the movie came up as a topic of conversation. I chimed in and said I didn’t think it was very good and a woman sitting next to me, who was there with her maybe ten-year-old daughter, leaned over and whispered into my ear, “yes, but the message it sends to girls, and to boys about girls, is really important.”

I nearly bled to death biting my tongue in an attempt to avoid a social mis-step. What I wanted to tell this woman was that the privileged life she led, the big L.A. house she lived in with the “I’m With Her” sign in front, and the security of her existence, was built by…men. Many of them ugly, brutish men, who she would despise simply because they were ugly and brutish men. These are the same men who throughout history have eliminated any and all threats to her plush, decadent, million-dollar, echo-chamber existence.

This is the type of woman, a pampered princess, who demands “equality” for women and girls, but when push comes to shove, she only wants the kind of “equality” where she is awarded unquestioned deference and privileges due to her “victim status” as a woman which elevates her above by those deplorable men who intervene to protect her from the vicious darkness of the world.

If this woman lived in Ukraine she would, as did most of the Ukrainian women, leave to go live in other parts of Europe while all the men of fighting age (and well beyond and beneath fighting age) were forced, through force or conscience, to fight, and ended up being slaughtered by the vastly superior Russian military.

This is why Sicario is so impactful, as it shows in the bleakest, bluntest terms, that play-acting as a tough chick won’t cut it in the world of men. Men inherently understand this as we’ve navigated the perils of the brutal world of men our entire lives and know what the real deal is.

Yes, women have been on the receiving end of toxic masculinity…but they’ve also benefitted from men’s sacrifice and masculinity’s ability to protect them in a dangerous world to such a degree that they now feel safe and secure enough to incessantly bitch and moan about how all masculinity is toxic.

That’s a long way of saying that when Bo-Katan saves Din Djarin for like the fifth time in season three on The Mandalorian, it made me laugh at how ridiculous and shameful it was even for a silly, sci-fi series on a corporate streaming service hellbent on promoting a social-political agenda.

It is fitting that Disney now turns its Star Wars hopes to Ahsoka, which hits Disney plus in August and tells the story of the female Jedi who was once the Padawan of Anakin Skywalker. The girl power galaxy strikes again.

As far as The Mandalorian season three goes, it was a major letdown compared to season one and two. The series lost not only its cohesiveness and its competence, but more importantly its purpose and meaning, and there’s no telling if it’ll ever get it back.

Season three of The Mandalorian was so deflating, it left me wondering not only what the future holds for Star Wars, but if it has a future at all.

The cold, hard reality is that The Mandalorian, Star Wars, Marvel, and our entire culture in general, is an utter mess, and it needs to get its balls back and quick if it wants to survive.

As the Mandalorians would say, “This is the way.”

©2023

Looking California and Feeling Minnesota - Episode 38: A Quiet Place II

On this episode of everybody's favorite cinema podcast Barry and I talk as quietly as possible about John Krasinski's blockbuster A Quiet Place II. Topics discussed include the glory of Emily Blunt, the burden of high expectations and the perils of rushing to make a sequel. Also included are ruminations on Jaws, Jaws II, Jaws III and Jaws IV and the entire Jurassic Park franchise!

Looking California and Feeling Minnesota - Episode 37: A Quiet Place II

Thanks for listening!

©2021

A Quiet Place II: A Review

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

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT/SEE IT: Not worth risking a trip to the theatre to see it, but if you stumble upon it on a streaming service than you might as well watch.

A Quiet Place II falls dramatically, culturally and politically flat as it fails to live up to the suspenseful original

The original was an ingenious commentary on cancel culture, but the sequel feels more like a lifeless corporate money grab than meaningful metaphor.

In 2018, the monster movie/horror film A Quiet Place snuck up on movie audiences and frightened and thrilled the hell out of them to the tune of $340 million in worldwide box office on a $21 million budget.

That movie, written, directed and starring John Krasinski, was a taut and tense, edge-of-your-seat original about an isolated family with a deaf daughter trying to survive after an invasion by sound sensitive aliens that kill anything they hear.

Besides being an unexpected success, the film and its ingenious major plot point of the need to keep quiet or be killed was also surprisingly a cultural and political lightning rod as it was a potent metaphor for political correctness, cancel culture and the silencing of alternative views – things which have only increased since 2018.

Considering corporate Hollywood’s insatiable hunger for reusable intellectual property it can exploit for profit, it isn’t surprising that Paramount Pictures has gone back to the well to try and recapture the magic, and more importantly the box-office success, of the first film.

A Quiet Place II was ready to go back in the Spring of 2020 but Covid delayed the release for over a year. But now it’s in theatres and Paramount is so desperate for a hit they are actually running a short introduction to the film from Krasinski where he thanks audiences for coming out and seeing his movie.

That bizarre intro seemed exceedingly polite (if not a bit desperate), but is understandable coming out of Covid and considering that after a shortened 45-day release window A Quiet Place II will be available on the Paramount + streaming service.

As for the original A Quiet Place…I absolutely loved it. I had zero expectations going into it and when it ended, I let out a deep breath that I realized I’d been holding nearly the entirety of the movie. I love when that happens, when a film comes out of nowhere and just pulls you in and takes you on a gripping and suspenseful journey.

I was equally shocked and thrilled that John Krasinski of all people, who was best known as Jim from the U.S. tv show The Office, was capable of being such a skilled director and interesting storyteller.

A Quiet Place II, which is also written and directed by Krasinski, and once again stars his real-life wife Emily Blunt, is not flying under the radar and won’t sneak up on anybody. Expectations are very high for the film, and unfortunately, it doesn’t live up to them.

A Quiet Place II isn’t a terrible movie, by any stretch. In fact, there are some fantastic moments, like the first five minutes of the movie. But beyond that it is too often a forgettable, generic, repetitive and predictable horror film/monster movie, which is a terrible letdown.

The film is chock full of sequences meant to be suspenseful, but they all feel so calculated and contrived as to be just another piece of movie-making manipulation manufactured by Hollywood conventionalities.

The drama and the narrative too seemed forced, flat and rushed. Missing is the claustrophobic dramatic sense of imposed silence, small spaces and familial relationships that fueled the drama, suspense and tension of the original.

Due to the events in A Quiet Place, the sequel lacks the combustible father-daughter drama to the extant it was featured in the original. The introduction of new characters, like the forlorn Emmett (Cillian Murphy), further dissipates the confined family drama aspect of the story that was so effective in the first film.

Also gone is the suspense from the all-encompassing dread and need for silence, as the aliens are exposed for having a weakness in the original so silence becomes more a tactic than an existential demand in the sequel. And finally, in the sequel the family ventures out into the world, thus diminishing the tension born of that sense of being trapped in the same space.

As for the cultural and political relevance of the film…well…cancel culture and political correctness have only gotten more powerful in the three years since A Quiet Place premiered, but somehow A Quiet Place II actually feels less metaphorically relevant.

If you strain hard enough there is certainly some cultural and political sub-text you can deconstruct. For instance, the notion of needing to find courage, stay calm and work together to overcome the woke beasts of cancel culture is there if you look hard enough. So is the idea of needing to find a big enough and effective enough communication device to expose the weakness of the p.c. police and defeat them. But none of that metaphorical analysis is fueled by remotely as much energy as that found in the first film.

Maybe it’s just a function of A Quiet Place II not being as effective as the original or maybe it’s because the original already rang the cancel culture alarm so there’s nothing new to posit on the subject in the sequel. Regardless, A Quiet Place II doesn’t feel like a cultural lightning rod so much as a corporate cash grab. Such is life in Hollywood.

Ultimately, A Quiet Place was an ingenious piece of storytelling that was unique and original. But while familiarity doesn’t breed contempt for A Quiet Place II, it certainly does breed predictability and boredom.

 A version of this article was originally published at RT.

©2021

5th Annual Mickey™® Awards: 2018 Edition

Estimated Reading Time: The Mickey™® Awards are much more presitigious than the Oscars, and unlike our lesser crosstown rival, we here at The Mickeys™® do not limit acceptance speech times. There will be no classless playing off by the orchestra here…mostly because we don’t have an orchestra. Regardless… expect this awards show article to last at a minimum approximately 5 hours and 48 minutes.

The ultimate awards show is upon us…are you ready? The Mickeys™® are far superior to every other award imaginable…be it the Oscar, the Emmy, the Tony, the Grammy, the Pulitzer or even the Nobel. The Mickey™® is the mountaintop of not just artistic but human achievement, which is why they always take place AFTER the Oscars!

This year has been an erratic one for cinema, but with that said there are still a multitude of outstanding films eligible for a Mickey™® award. Actors, actresses, writers, cinematographers and directors are all sweating and squirming right now in anticipation of the Mickey™® nominations and winners. Remember, even a coveted Mickey™® nomination is a career and life changing event.

Before we get to what everyone is here for…a quick rundown of the rules and regulations of The Mickeys™®. The Mickeys™® are selected by me. I am judge, jury and executioner. The only films eligible are films I have actually seen, be it in the theatre, via screener, cable, Netflix or VOD. I do not see every film because as we all know, the overwhelming majority of films are God-awful, and I am a working man so I must be pretty selective. So that means that just getting me to actually watch your movie is a tremendous accomplishment in and of itself…never mind being nominated or winning!

The Prizes!! The winners of The Mickey™® award will receive one acting coaching session with me FOR FREE!!! Yes…you read that right…FOR FREE!! Non-acting category winners receive a free lunch* with me at Fatburger (*lunch is considered one "sandwich" item, one order of small fries, you aren't actors so I know you can eat carbs, and one beverage….yes, your beverage can be a shake, you fat bastards). Actors who win and don't want an acting coaching session but would prefer the lunch…can still go straight to hell…but I am legally obligated to inform you that, yes, there WILL BE SUBSTITUTIONS allowed with The Mickey™® Awards prizes. If you want to go to lunch I will gladly pay for your meal…and the sterling conversation will be entirely free of charge.

Enough with the formalities…let's start the festivities!!

Is everybody in? Is everybody in? The ceremony is about to begin...

Ladies and gentlemen…welcome to the fifth annual Mickey™® Awards!!!

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s masterful use of a black and white with sharp contrast and his at times eye-popping framing make for exquisite visuals in Cold War that help to propel the narrative and tell the story in theri own right.

Roma - Alfonso Cuaron: Cuaron’s virtuoso camera work in Roma, which includes dazzling camera movements and remarkable framing, is a master class in the art. Any single frame from this movie could hang in a photography exhibit in any of the great museums of the world.

The Favourite - Robbie Ryan: Ryan deftly uses light and darkness, especially with candles, to illuminate the dramatic sub-text in The Favourite.

If Beale Street Could Talk - James Laxton: Laxton paints this film with a striking and lush palette in this film that is gorgeous to behold.

Widows - Sean Bobbitt : Bobbitt’s framing, particularly his use of mirrors, is simply stunning and elevates this rather sub-par material.

First Man - Linus Sandgren: Sandgren’s ability to contrast the claustrophobia of space travel to the vast expanse of the moon is breathtaking and aids in giving this film a visceral element.

You Were Never Really Here - Thomas Townend: Townend’s wondrous cinematography amplifies the fever dream feeling that envelops this entire film.

And The Mickey Goes To….ROMA - ALFONSO CUARON - This was an absolutely stacked category this year but Cuaron’s masterful work on Roma takes the award. Cuaron's cinematography on this film is stunning as he pulls off numerous, extremely difficult maneuvers with an ease and subtlety that is staggering to behold. Is Cuaron winning a Cinematography Oscar this year a big deal? Yes it is. Is Cuaron winning The Mickey™® Award for best Cinematography a bigger deal? You bet your ass it is.

BEST ADAPTED SCREENPLAY

First Man : A film more about grief than space travel, this script is able to take an expansive and historical subject and reduce it into a viscerally intimate and personal film.

The Sisters Brothers : An extremely well-written narrative filled with deep symbolism and genuine humanity that turns the western genre on its head.

Leave No Trace : This script perfectly captures the powerful relationship of a young girl coming of age with a damaged father, and never falls into the trap of sentimentality or caricature.

You Were Never Really Here: Intense and disturbing, this script grabs you and pulls you into its protagonist’s tortured mind and soul and never lets you go, even when you want it to.

The Death of Stalin: An uproariously funny script that is masterfully paced and wondrously smart.

AND THE MICKEY GOES TO…YOU WERE NEVER REALLY HERE - Lynne Ramsay’s script drags us kicking and screaming into the mind of her kicking and screaming main character, Joe, and never lets us leave. A wonderfully woven nightmare of a movie that is both grotesque and gripping. Lynne Ramsay is now among the best of the best having won a Mickey™® Award.

BEST ORIGINAL SCREENPLAY

Cold War: A narrative that stretches over decades and vast swaths of Europe but with an immediate pace that never loses its sense of intimacy.

Roma: A story of a simple woman that is anything but simple. Riddled with rich symbolism and moments of magical realism, Roma is a magnificent script.

The Favourite: Darkly funny and deeply insightful, The Favourite never fails to shock, compel or intrigue.

The Quiet Place: A fascinating story that transcends genre and speaks to the larger issues of our time without ever losing its horrifyingly entertaining value.

First Reformed: An extraordinary script that seriously grapples with matters of faith, theology, philosophy and eco-politics while also being a poignant and exacting character study.

AND THE MICKEY GOES TO…ROMA - Alfonso Cuaron masterfully weaves a precise and detailed story of harsh realism with mysticism in this slice of life/family drama that never fails to compel. Cuaron has already won more Mickeys™® in this ceremony than other mere mortals could dream of winning in their entire lives.

BEST SUPPORTING ACTRESS

Amy Adams - Vice: Amy Adams is stunning as Lynne Cheney, the Lady MacBeth who is the straw that stirs the drink of Darth Cheney’s nefarious political career. This is the very best work of Ms. Adam’s stellar career.

Sakuro Ando - Shoplifters: Ando gives a mesmerizing performance as the de facto mother of this rag tag family trying to make ends meet under the oppressive boot of capitalism. A powerful yet delicate performance that is simply wondrous.

Emma Stone - The Favourite: Stone gives a delicious performance as the ambitious social climber who will do whatever it takes to survive and thrive in Queen Anne’s court. A sexy, funny and compelling piece of work.

Emily Blunt - A Quiet Place: Best Actress Mickey Award winner (for Sicario) Emily Blunt proves once again that she is not just a movie star/pretty face, but one of the very best actresses working in film today. A kinetic, immediate and stunning performance.

Claire Foy - First Man: Foy imbues her character with a frenetic and unrelenting power that bubbles just beneath her calm facade. When that power boils to the surface it brings with it a magnetic intentionality that is palpable and mesmerizing.

Rachel Weisz - The Favourite: Weisz’s use of physicality to convey her character’s intellectual and political prowess is a master class in posture and stance and is something actors should study and steal from.

AND THE MICKEY GOES TO…AMY ADAMS - VICE : Adams’ very first scene in Vice is the best acting I have seen by an actress on film this year. Adams’ Lynne Cheney is a force of nature and when unleashed is a sight to behold. Adams’ Lynne has an insatiable hunger for power and an arrogant streak that drives the film even if it is from the backseat. Amy Adams is a hugely rich and famous movie star, but it wasn’t until now, when she won her first Mickey™® Award, that she finally “made it”. Congratulations m’lady!

BEST SUPPORTING ACTOR

Ben Foster - Leave No Trace: Foster is one of the great under rated talents of his generation and in Leave No Trace he gives yet another magnetic performance by imbuing his character with a palpable wound that torments and propels him to seek solace from it.

Sam Rockwell - Vice: Rockwell gives a delicious performance as Dubya, never falling into imitation or caricature, Rockwell turns Bush into a genuine yet damaged human being that is always compelling to watch and often times hysterically funny.

Thomas Hoult - The Favourite: In lesser hands, Hoult’s character in The Favourite, a sharp tongued and sharp elbowed dandy who plays to win the game of palace intrigue, would have been reduced to a punch line, but Hoult turns him into a dynamic presence that elevates the film considerably.

Joaquin Phoenix - The Sisters Brothers: Phoenix’s tortured character is a combustible mess who never fails to make the wrong decisions for the wrong reasons but also never fails to be a compelling, unsettling and dynamic screen presence.

Jonah Hill - Don’t Worry He Won’t Get Far on Foot: Hill creates an intriguing character in this film who is both a self-help bullshitter and a complicated and real human being. A subtle and finely crafted piece of acting that is a testament to Jonah Hill’s skill and commitment.

AND THE MICKEY GOES TO…BEN FOSTER - LEAVE NO TRACE: This is Ben Foster’s second Mickey nomination (Best Supporting Actor Hell or High Water) and first win. Foster has been known to be a rather explosive actor in the past and often thrives in roles where he is combustible, but in Leave No Trace he eschews his usual pyrotechnics for a more subdued, more nuanced and more subtle approach. Foster’s Will is an explosive character, but Foster takes all of that combustibility and stuffs it into a little furnace inside him. The furnace gets hot and even feels like it could explode, but Will fights to keep it contained and it is this struggle which makes for such a compelling and satisfying performance from Ben Foster…who rightly takes his place among the best actors of his generation with this Mickey™® award win.

BREAKOUT PERFORMANCE OF THE YEAR

Thomasin McKenzie - Thomasin McKenzie is so great in Leave No Trace it is miraculous. She masterfully brings to life a teenage girl struggling to make sense of her ever changing world and also her damaged father. A deft and subtle performance, highlighted by her ability to have the impulse to cry but the skill to not let herself, McKenzie proves her worth as a vibrant and compelling actress in Leave No Trace. Much like Jennifer Lawrence, who starred in director Debra Granik’s previous film Winter’s Bone, which launched her career, McKenzie has an undeniable screen presence and a surprising level and command of craft for such a young actress. I look forward to seeing what her very bright future holds.

BEST ACTOR

Christian Bale - VIce: Bale proves he is one of the very best actors working in film with his remarkable transformation into Dick Cheney. A master of physicality, Bale also is able to fill Cheney’s silences with a palpable intentionality that gives even the quietest scenes an unsettling air of menace.

John C. Reilly - The Sisters Brothers: Reilly gives the very best performance of his versatile and stellar career as the older and more sensitive of the Sisters brothers. Reilly’s well-crafted and nuanced work never falls into the trap of sentimentality and is a testament to his great talent.

Joaquin Phoenix - You Were Never Really Here: Joaquin Phoenix is may be the best actor on the planet right now and his volatile, magnetic and dynamic performance in You Were Never Really here stands as a monument to his towering talent and his mastery of craft. Phoenix creates an unsettling character suffering a Sisyphean wound that eats at his soul but never contaminates his pure heart.

Tomasz Kot - Cold War: Kot masterfully portrays a man who seems above the fray of life and then adeptly shows his unraveling and descent at the hands of love. A compelling and finely crafted piece of work that highlights Kot as both a movie star and a sublime actor.

AND THE MICKEY GOES TO…JOAQUIN PHOENIX - YOU WERE NEVER REALLY HERE: This is Joaquin Phoenix’s second nomination (Best Actor Inherent Vice) and first win. Joaquin Phoenix may be the very best actor working in film today. Phoenix is blessed with an undeniable talent and an interesting look, but what makes him so potent as an actor is his mastery of craft and exquisite skill. Phoenix never half-asses his way through a role, always committing fully to whatever is demanded. Phoenix’s work in You Were Never Really Here is as unnerving as it is glorious, as it reveals the tormented soul of a man on the edge and falling off of it. For this hypnotic and mesmerizing piece of work Joaquin Phoenix rightly takes his place atop the acting world with his much deserved Mickey™® Award.

BEST ACTRESS

Joanna Kulig - Cold War: Kulig gives an electrifying and explosive performance as an alluring Polish songstress. Kulig is like a Polish Jennifer Lawrence, charming, sexy and beguiling with a dash of danger sprinkled in. A truly mesmerizing performance.

Yalitza Aparicio - Vice: Aparicio makes her debut in Roma and could not have been better. Entirely genuine, present and grounded, Aparicio makes us feel as if she isn’t acting at all, but those of us in the know realize she is doing incredible and complicated work.

Olivia Colman - The Favourite: A deliriously delicious performance that is both funny and poignant. Colman won an Oscar for her dazzling work in the film, but being nominated for a Mickey trumps winning an Oscar…this is a fact.

Thomasin McKenzie - Leave No Trace: The winner of the presitgious Breakthrough award, McKenzie is one to watch as her work in Leave No Trace proves. A finely crafted and intricate performance that shows an actress with a refined skill set and in command of her craft.

AND THE MICKEY GOES TO…JOANNA KULIG - COLD WAR: This is Joanna Kulig’s first nomination and first win. Joanna Kulig is an intoxicating screen presence in Cold War and she expertly makes the audience fall in love with her even while keeping them at an arm’s length. This performance is so dynamic as to be glorious and is a pure joy to watch even when things take a darker turn. Masterfully crafted and palpably brought to life, Joanna Kulig’s work in Cold War gives her the highest honor an actress can ever receive…The Mickey™® Award.

BEST ENSEMBLE

Vice: Christian Bale and Amy Adams give career best performances in this uneven film and are joined in their sublime acting by Sam Rockwell and even Steve Carrell. Across the board this film is blessed with top-notch talent doing high level work.

The Favourite: A cornucopia of delectable performances make The Favorite a delicious joy to behold. Boasting four Mickey™® acting nominees, The Favourite is an actor’s delight.

The Death of Stalin: A cavalcade of talent lends their skill to this phenomenal dark comedy. Steve Buscemi, Simon Russell Beale, Jason Isaacs, Andrea Riseborough and Jeffery Tambor are among the multitude of actors who shine in this movie. A very skilled and very deep cast.

The Sister Brothers: The four actors in this film, John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal and Riz Ahmed all give nuanced, layered and standout performances in this alt-western gem. Reilly and Phoenix in particular have a crackling chemistry that is a pure pleasure to watch.

Shoplifters: A wonderful cast which includes Mickey™® nominee Sanduro Ando, Lily Franky, Mayu Matsuoka and the late Kirin Kiki. All of the actors in this film, including the child actors, do tremendous and very complex work.

AND THE MICKEY GOES TO…THE FAVOURITE - Olivia Colman, Emma Stone, Rachel Weisz and Nicholas Hoult give stellar performances in The Favourite that are intoxicatingly funny and layered. When you put a collection of talent this strong with a director of such vision, great things happen…like winning a Best Ensemble Mickey™® Award!! I am truly looking forward to this cast claiming their award and joining me for a feast fit for a Queen at Fatburger!

BEST DIRECTOR

Pawel Pawlikowski - Cold War: A stunning piece of film making that is concise, precise and beautiful. An achingly beautiful yet complicated love story set in the shadow of European history that never takes a misstep.

Alfonso Cuaron - Roma: Cuaron’s masterpiece is a piece of virtuoso film making that is undeniably compelling and viscerally heartbreaking. At once a beautifully shot piece of magical realism as well as an earnestly told and acted slice of life. A simply stunning and unforgettable piece of work.

Hirokazu Koreada - Shoplifters: A finely crafted film that never lets you go and haunts you for weeks after seeing. An exceedingly well directed film that boasts top notch performances from a big cast of actors.

Lynne Ramsay - You Were never Really Here: This film is a disturbing and unrelenting fever dream and character study that draws you in and refuses to let you go. Both visually and dramatically dynamic, this movie is a testament to Lynne Ramsay’s talent and vision.

Yorgos Lanthimos - The Favourite: Lanthimos has been nominated twice before for a Mickey™® and is proving himself as one of the great and original filmmakers of our time. The Favourite is proof of Lanthimos’ great ability and intriguing style.

Debra Granik - Leave No Trace: Granik is one of those understated directors that often gets overlooked. She has the increasingly rare skill of coaxing terrific performances from actors without surrounding them with cinematic pyrotechnics. A highly skilled, old school director who puts character and drama before spectacle.

AND THE MICKEY GOES TO…ALFONSO CUARON - ROMA: This is a loaded category but Cuaron has made a personal film that is universal in its beauty and insight. A gorgeous movie to look at and a heart breakingly human story make for a glorious piece of cinema. Cuaron has established himself as the auteur of our times with this masterpiece and with his unprecedented 3 Mickey™® Awards tonight!

ACTOR/ACTRESS OF THE YEAR - JOAQUIN PHOENIX

Joaquin Phoenix gives three stellar performances this year in the films You Were Never Really Here, He Won’t Get Far on Foot and The Sisters Brothers. All of these performances were intricate, delicate, dynamic and magnetic and show him to be a master craftsman as well as a transcendent artist. Few actors have ever churned out three performances of this caliber in their career, never mind in one year…and it is for this reason that Mr. Joaquin Phoenix wins the prestigious, and first ever, Actor/Actress of the year Mickey™® Award.

BEST COMEDY OF THE YEAR - TIE BETWEEN THE FAVOURITE & THE DEATH OF STALIN

Two dark and exceedingly hilarious films, that boast rapturously glorious and deep casts, and speak volumes about the corrupting influence of power in history and today. In dark times, these two films bless us with their morbid but enlightening humor mixed with drama that make for spectacular cinema.

BEST BLOCKBUSTER OF THE YEAR - A QUIET PLACE

A Quiet Place came out of nowhere to dominate the box office and to open my eyes. Who knew that Jim from The Office, otherwise known as John Krasinski, could be such a great writer, director and leading man? A Quiet Place isn’t just a fantastically well-made, finely-crafted, heart pounding and stomach churning horror/thriller, it is also an insightful commentary on our current culture. A remarkable and entertaining film that is both scary and smart and that beat out other blockbusters like Avengers: Infinity War, Deadpool 2 and Ready Player One, who all won the box office battle but lost the prestige war to A Quiet Place, the first ever Mickey™® Blockbuster of the Year award winner.

BEST PICTURE

10. HAPPY AS LAZZARRO - A magical movie that uses the mystical to peal back the scab of capitalism and exposes the gangrenous wound festering underneath.

9. LEAVE NO TRACE - This film poignantly reveals that genuine masculinity is dying in America. Subtly directed and marvelously acted, Leave No Trace is an understated gem.

8. A QUIET PLACE - A shockingly good movie that is extremely well-crafted. This movie was so well-made I exhaled a breath of relief when it was over…and I wasn’t even consciously aware I had been partially holding my breath the whole time.

7. THE DEATH OF STALIN - A masterful comedy with an exquisite cast that is perfectly paced and precisely acted.

6. THE SISTERS BROTHERS - A film that challenges conventions and overturns genres, The Sisters Brothers was an overlooked piece of gold.

5. SHOPLIFTERS - This movie is haunting as it stayed with me for weeks after seeing it. An insightful that challenges us to question what we think we know about our world and ourselves.

4. THE FAVOURITE - A top notch cast and a daring director combine to make a rabidly funny mediation on the intoxicating and corrupting sway of power.

3. COLD WAR - A gloriously shot, extremely well-acted and well-directed film that is so mesmerizing as to be hypnotic.

2. YOU WERE NEVER REALLY HERE - This film is an electrifying and pulsating fever dream of a movie that transports us into its lead character twisted mind and never lets us go. A masterfully directed and acted film that shows the moral decay on the soul of America.

1. ROMA - A true masterpiece, impeccably shot and directed. Alfonso Cuaron brings his artistic vision to life with such originality and technical skill that it is a marvel to behold. Cuaron has a lot of Fatburger meals waiting for him after winning an unprecedented FOUR Mickey™® Awards tonight!

MOST IMPORTANT FILM OF THE YEAR - THE FAVOURITE, VICE, THE DEATH OF STALIN AND YOU WERE NEVER REALLY HERE

What could these four seemingly disparate films have in common that could make them the most important films of the year? The answer is that they are all meditations or contemplations on corruption.

In The Favourite and The Death of Stalin we see those who get closer to power losing their minds and distorting or ignoring reality just to stay in close proximity to power. If this doesn’t reflect the current state of Washington and the establishment media, nothing does.

In Vice we see the full arc of corruption when the same type of sycophants on display in The Favourite and The Death of Stalin finally finagle their way into the top spot and unleash their power on to innocents across the globe.

And in You Were Never Really Here we see the how the moral and ethical cancer that infects those in the power structure, compels the ruling elite to seek out the innocent in order to satiate their depraved desires and pass on their sickness by devouring the purity of the next generation.

All fo these films high mirror back to us the sickened world in which we live. As far fetched as the narrative in You Were Never Really Here may seem, a cursory glance at the news will reveal that it is not as fictional as we would like to believe. Whether it be the Catholic church and its never ending sex abuse scandals or Bryan Singer and the pervasive pedophilia in Hollywood or Jeffrey Epstein and his Lolita Express that exposes Washington’s elite sexual abuse of young people, this issue is very very real.

These stories are not the whole ugly truth, they are but the tip of a repulsive iceberg. If you think the Catholic church is the only institution to sexually prey upon young people, you are a fool. If you think Bryan Singer is the only Hollywood power player to systematically sexually exploit young people, you’re an even bigger fool. And if you think the Lolita Express is the last word on Washington depravity, you are the biggest fool of all.

The moral and ethical corruption on display in these films and in these scandals are epidemic in American culture. Corruption doesn’t just infect institutions but also individuals. When the powerfully depraved and the depraved powerful control the levers of power then truth gets perverted and reality itself comes under assault….this is America in 2019.

The Favourite, The Death of Stalin, Vice and You Were Never Really Here shows us that the corrupting influence of power has made the world mad (crazy), which in turn has made the world mad (angry). This anger and this madness combine to create an unstoppable force, a vortex of spiritual, mental, emotional and political insanity, that will eventually gather more and more momentum until it destroys absolutely everything in its path.

We aren’t at this tipping point just yet…the despicable Dick Cheney is still allowed to live free and walk the streets of America without fear of someone bludgeoning his brains out with a hammer. Donald Trump, the Queen Anne of our times, still skates through life without a care. Mitch McConnell, Nancy Pelosi and Chuck Schumer, act like a modern-day version of Beria, Khrushchev and Melenkov as scramble to hold up the illusion of democracy in the wake of America’s death, all while feeding at the corporate trough like the insatiable pigs that they are.

That said, it does become clearer and clearer as every moment passes that this shit house is a tinder box that is going to go up flames. So the time is fast approaching when we will have to grab our ball peen hammers and get to work...the ruling elite are a target rich environment…we will have a lot of smashing to do.

On that upbeat note…WHO’S READY FOR SOME FATBURGER!!

And thus we conclude our 5th annual Mickey Awards™®!!! Thank you for reading. I appreciate all my readers, their support and openness to debate and discussion!! We’ll see you next year at The Mickeys™®!!

And tune in later this week for the shadow of The Mickey™®, the Slip-Me-A-Mickey™® awards!!

©2019

Sicario: Day of the Soldado - A Review

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

My Rating: 2.25 out of 5 stars

My Recommendation: SKIP IT. No need to see this film in the theatres, just wait to see it on Netflix or cable if you are interested.

Sicario: Day of the Soldado, written by Taylor Sheridan and directed by Stefano Sollima, is the sequel to the highly acclaimed Sicario (2015) that tells the story of U.S. black operators fighting drug and human trafficking along the U.S.-Mexico border. The film stars Josh Brolin and Benicio del Toro, with supporting turns from Catherine Keener and Matthew Modine.

When I went to see Sicario: Day of the Soldad in the theatre on the morning of its opening day, something odd happened. After an usher introduced the film and showed patrons where the exits were in case of emergency, sort of like a cinema flight attendant, a crotchety old man sitting by himself in one of the first few rows of the second section of the theatre barked to the female usher to "COME HERE". This boorish old man's antics greatly displeased many patrons, mostly for its rudeness but also because of the racial dynamics at play, as the attendant was a young Black woman and the old man was White. As voices of resistance spoke up against the old man he proclaimed very loudly to everyone in the theatre to "mind your own business".

The theatre attendant gave a dismissive laugh and walked over to see what the man wanted. He then said very loudly... and to my great amusement considering Sicario: Day of the Soldad is about Mexican drug dealers..."get me a Mexican Coke". This old guy was obviously an ultra-asshole, but his "Mexican Coke" demand was even more insulting and bizarre than his order of "come here"...are movie theatre ushers waitresses now too? The attendant gave the guy a cursory answer along the lines of "I have something else to do" and stormed off with a laugh...leaving the tension filled theatre in a hurry.

After this rather strange and unsettling incident, I sat back and tried to enjoy my popcorn and root beer which I had, like the grown man that I am, gotten all by myself at the concession stand. At the concession stand I was, coincidentally enough,  served by a fellow who worked crew on a film I shot years ago. We exchanged pleasantries and caught up with each other while he rang me up for my popcorn and root beer. In hindsight, I wish I had sternly told him to get me a fucking Mexican Coke...but sadly I didn't.

Needless to say my movie going experience up to and including the post-old man Mexican Coke incident had been a roller coaster ride, first the pleasantness of catching up with an old comrade followed up by the ugliness of an old man demanding Mexican Coke...and the feature presentation hadn't even started yet. I could not figure out if all of these strange happenings were good or bad omens for my seeing of Sicario: Day of the Soldad...then the movie started.

In my vast cinema experience I have learned that sometimes you go to the theatre and the popcorn is stale and the root beer is flat and it ruins the whole movie for you. Other times, you go the the theatre and the popcorn is fresh and the root beer fizzy, but it is the movie that is stale and flat. Sicario: Day of the Soldad falls into the latter category and is sadly the cinematic equivalent of stale popcorn and flat root beer and all of the accompanying disappointment that goes along with them.

Sicario: Day of the Soldado has some very big cinematic shoes to fill as its predecessor, Sicario, was one of the best films of recent years that boasted Mickey Award® wins for Best Actress - Emily Blunt, and Best Cinematography - Roger Deakins, and Mickey® nominations for Best Director - Denis Villeneuve, and Best Screenplay- Taylor Sheridan along with a Best Picture nomination.

Sicario: Day of the Soldado does not in any way live up to the high standards of Sicario. The reasons for this are numerous and obvious, the most glaring being the drop in talent among the filmmakers. Day of the Soldado is directed by Stefano Sollima, and he is certainly no Denis Villeneuve. The new film also replaces famed cinematographer Roger Deakins with Dariusz Wolski, and Wolski cannot hold a candle to the grand master Deakins. And finally the movie replaces Emily Blunt with...well...no one.

Day of the Soldado's failure to replace Blunt isn't just a matter of star power or performance, it is a matter of structure. Sicario 2 has no main protagonist and therefore is so structurally unsound as to be useless, like a rudderless ship lost at sea. Blunt's performance in the original was exquisitely sublime, but even more importantly was the fact that the story was propelled forward by her character. Day of the Soldado has multiple narratives, one of an assassin out for revenge, another of a CIA agent who'll do anything to protect America, one about a teenage trafficker and finally one about a cartel princess, but none of them carry any dramatic or emotional resonance or are compelling enough to keep our interest. 

Taylor Sheridan is the best screenwriter working in Hollywood today, his scripts for Hell or High Water, Wind River and the original Sicario are truly fantastic and speak to the crisis of America and the American Male better than any films of the last quarter century. But Sheridan's screenplay for Day of the Soldado suffers from a stark lack of narrative focus and dramatic power, and is extremely poorly conceived and even more poorly executed. I was absolutely shocked at Sheridan for having written such a dilapidated script that lacks a coherent narrative, dramatic impact and cultural insight.

Director Sollima is simply ill-equipped to tackle the unwieldy beast that is Sheridan's script. Unlike his predecessor Villeneuve, Sollima seems more at home making a "cool" action type movie rather than a powerful drama. Day of the Soldado is littered with "cool guy" moments and one liners that feel more like something from a high-end Liam Neeson shoot-em up movie than an Oscar contender.

Benicio del Toro does solid work in reprising his role of assassin Allejandro Gillick...but he too falls into the "cool guy" mode of acting to fit the improbable script he is given. Gillick has morphed into a sort of Mexican Dirty Harry or a Charles Bronson character or something. Del Toro is a captivating screen presence but in Day of the Soldado his invincible Gillick jumps the shark into the incredulous.

Josh Brolin also does solid but unspectacular work in reprising his role of CIA black operator Matt Graver. Brolin has grown into a substantial actor and is having a particularly fruitful year, having co-starred in both Deadpool 2 and Avengers: Infinity War. In Day of the Soldado, Brolin is hamstrung by Sheridan's limp script that gives his character an arc that is simply not dramatically believable.

Other actors in the cast do not fair as well as del Toro and Brolin. Catherine Keener is atrocious as government bureaucrat Cynthia Foards. Keener's lack of verbal rhythm combined with her scattered performance, are so clueless as to be uncomfortable to watch.

Matthew Modine plays Secretary of Defense James Riley and is laughably bad. Modine tries as hard as he can to convey gravitas but it is like getting blood from a stone.

Sicario: Day of the Soldad is littered with time and logical inconsistencies as well as a flaccid narrative. None of the motivations of the characters makes sense and none of the conclusions are dramatically satisfying.

Instead of being a taut and tightly wound drama like its predecessor, Sicario 2 is a limp, poorly paced, confusing dark action movie that falls decidedly flat. Even though it has all the trappings of a great movie, it lacks the artistic courage to actually be one, and seems more interested in building a franchise than in telling a compelling story.

In conclusion, I was greatly disappointed by Sicario: Day of the Soldado, and I think you will be too. There is no sense in paying to see this film in the theatres, but if you really want to see it, buy your own root beer (or Mexican coke), make your own popcorn and  watch it when it comes out on Netflix or cable.

©2018

A Quiet Place: A Review

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

My Rating: 4.5 out of 5 stars

My Recommendation: SEE. IT. NOW.

A Quiet Place, written by Bryan Woods and Scott Beck and directed by John Krasinski, is a horror/thriller about a family that must live in silence in order to avoid being killed by creatures that hunt exclusively by sound. The film stars Emily Blunt and John Krasinski with supporting turns from Millicent Simmonds and Noah Jupe. 

As a general rule, I am not a fan of horror/thriller films, they just aren't my thing and since I have to be judicious with my limited movie going time, I rarely if ever go see them in the theatre, instead I'll wait to see them on cable or Netflix. But since I just got MoviePass, and since MoviePass is probably going out of business very soon, I decided I better use it before I lose it, so I made my virgin MoviePass journey to go see a film I otherwise never would have seen in the theatre...A Quiet Place. Boy am I ever glad that I did.

A Quiet Place is an absolutely phenomenal motion picture. It is a perfect combination of independent movie aesthetics with conventional Hollywood horror structure. The film is a riveting and engrossing piece of work by first time director John Krasinski (aka Jim from The Office), and is highlighted by a staggering performance from Emily Blunt. 

Krasinski's direction borders on Hitchcockian in its sheer brilliance and deft use of craft. The film is, at times, reminiscent of (and pays tribute to) such great films as Ridley Scott's Alien, Spielberg's Jaws and Shyamalan's Signs, but yet remains a very unique and original vision. 

Krasinski skillfully trims all the fat from A Quiet Place and what is left is a tense, taut and harrowing thriller of sinewy cinematic muscle and dramatic bone that is at times unnerving to experience. Krasinski so expertly raises the tension throughout the 90 minute movie that when it ended I surprised myself when I audibly exhaled a breath of air I wasn't even consciously aware that I was holding.

Krasinski masterfully uses good old fashioned fundamental filmmaking - camera movement, framing, lighting, sound and music (things often overlooked in special effects laden films) to build and heighten tension and drama throughout the movie, and yet he also expertly deploys top-notch Hollywood CGI creatures to further enhance the story. 

John Krasisnki also stars in the film as the father of the family and does very solid, subtle and sturdy work. Krasinski's character in A Quiet Place is a long way from his lovable incarnation as Jim on The Office, and this character's gravitas and complexity is a testament to Krasinski's versatility as an actor.

Emily Blunt is absolutely stunning as the wife/mother of the vulnerable brood that are desperate to stay silent and therefore stay alive. There is a sequence, which I won't give away, where Blunt is so remarkable in expressing yet containing her pain, fear and anguish that it is sublime and artistically transcendent. Blunt's performance is further buttressed by Krasinski's exquisite direction which makes the most of her truly dynamic talents. 

Millicent Simmonds plays the pre-teen daughter of the family and does excellent work in the film. Simmonds brings a palpable and visceral isolation to her character that is a cornerstone of the film. Simmonds character is extremely well-written, and she brings all of its complexity to life with a compelling awkwardness and discomfort.

Cinematographer Charlotte Brus Christensen does exquisite work on A Quiet Place and her use of red light, bare lightbulbs and distant fires creates a sparse but effective visual aesthetic that is cinematically and dramatically effective in propelling the narrative and fleshing out the sub-text of the film.

The sound design and sound editors do remarkable work on the movie as well, and without their magnificent contributions this film would not succeed. The same with the special effects team that created the creatures, which are as unique as you could ever hope and put the movie over the top.

A Quiet Place is a film that excels on multiple levels, it is an entertaining and compelling horror/thriller that will have you squirming on the edge of your seat, but it is also a film of much deeper meaning with a political/cultural sub-text pulsating just beneath its surface. In order to avoid spoilers, I will avoid speaking of the metaphor at the heart of A Quiet Place, but will do so below. Needless to say, I found the sub-text to be absolutely fascinating and have been thinking about it and the film non-stop since I left the theatre.

One word of caution though, if you are a person who is uncomfortable with "children in peril" types of narratives in a film, I recommend you skip A Quiet Place, as it is basically 90 minutes of children in peril. I usually dislike the use of children in peril as a narrative device myself, but I thought A Quiet Place did it very effectively and not in a cheap way, but that being said, as a father it was very, very difficult to watch.

In conclusion, as someone who was reticent to see the film due to its genre, I must say A Quiet Place handily won me over and impressed the hell out of me. I highly recommend A Quiet Place to anyone who wants to see a well-crafted and original film that happens to be a horror/thriller, it is well worth your time and effort to go see it in the theatre. Just remember...don't buy popcorn, as your loud munching will break the hypnotic silence of the film...and also draw the attention of the creatures…like me! So…BE QUIET! The life you save could be your own!!

FILM COMMENTARY - WITH SPOILERS

****WARNING- THIS SECTION CONTAINS SPOILERS!!****

****THIS IS YOUR FINAL WARNING - SPOILERS AHEAD!!****

There is a lot to get to in terms of the deeper meaning, metaphor and sub-text of A Quiet Place. As the film ended I was overwhelmed with thoughts and was frantically jotting down as many notes as I could in order to remember. Here are some of those thoughts...

1. A Quiet Place is a metaphor for our current politics and culture. In the film, a White "traditional" family, who live on a farm in rural upstate New York, must stay silent in order to stay alive. If they speak up, if they raise their voices, the creatures will come and devour them.

Obviously, this speaks to the current climate of suffocating tribalism, political correctness and lack of diversity of thought in our culture. The rural "traditional" White family in the film represent not only the White majority in America who feel "under siege" by "cultural elites" who despise, belittle and chastise them at every turn, but also anyone who dare speak up and out against their own tribe's rigid dogma.

As America changes, the traditionalist Whites (even liberal ones) feel they cannot speak up for themselves, their country, their religion or their ethnicity or they will be brandished as racist, xenophobic or worse by the ever vigilant PC police in the media and online that attack anyone who dare challenge liberal establishment orthodoxy. A Quiet Place gives voice to this anxiety about the pitfalls of speaking freely. 

An emphasis on racial, ethnic and sexual diversity is bringing change (some believe much needed change) to America, and A Quiet Place speaks to the discomfort of White traditionalists with that change.

Even the casting of A Quiet Place speaks to the changing face of American culture, as it is startling that there are only White actors in the film, "diversity" and "inclusivity riders" need not apply here, and it actually felt refreshing and oddly subversive that no one felt the need to do any token casting of minorities in order to elevate liberal establishment sensibilities above storytelling.

It is even more oddly subversive that the family in A Quiet Place actually prays. It is only one brief scene, and there are no other overt displays of religiosity, but it is striking that this brief scene is in the film because prayer and religion is so rare in cinema nowadays (except of course in those God-awful - pun intended - super Christian movies that are so sugary they cause an intellectual cavity). 

The film's metaphor seen through the eyes of Christians in America (or the west) gives voice to their anxiety over the decline of Christianity in the west, hostility in the public square towards Christianity and the perceived threat of expansionist Islam. Christianity's fears and feelings of persecution may seem unreasonable to nonbelievers, but it is a genuine sentiment among many in the pews, and A Quiet Place is an effective metaphorical tool for expressing it. 

2. Rockets symbolically play a key role in the film. To open the film a young boy draws a rocket on the floor and says "this is how we will escape". Another little boy reaches precariously for a toy space shuttle on a shelf and nearly falls over making a loud noise (which would lead to death at the hands of the creatures)...but is saved by his sister. The older son is told to go do "rockets" which is code for shooting fireworks in order to distract the creatures when they are attacking the family farm. 

What does this rocket symbology mean? Well...rocketry and space exploration are from an earlier time in our history, a time when the the traditional White majority ruled unabashedly…post WWII 1950's and early 1960's. Kennedy's call to go to the moon, and America's successful journey there, were the height of human achievement, and the height of traditional "White" American accomplishment.

Pride in that accomplishment, and pride in White American heritage, gets the youngest son killed when he smuggles the toy space shuttle out of the store and turns it on during his walk home. The toy makes a noise...and draws the attention of the creature...who quickly runs and kills the boy. In other words, any display of pride in what America used to be, or pride in White achievement or heritage, will get you devoured by the creature/PC mob.

The Space Shuttle is symbolic of Reagan's vision of America…which is has now become diminished to just a small toy on a dusty shelf in a nearly vacant store. The little boy is attracted to Reagan's appeal to traditional White America…an 80's version of MAGA, a throwback to the glory days of post WWII 1950's and early 60's. The boy is destroyed by the PC watchdogs because he dares to be attracted to and celebrate the Reagan/traditional White American legacy of his forefathers. 

In terms of the older son launching rockets/fireworks to save his mother, the family(traditional White America), the father in particular, thinks strategically and studies all he can about the creatures and their strengths and weaknesses, and thus is smart enough to learn/know how to distract the creature/PC attack dogs in order to buy time for the next generation to be born safely, so that they can have a chance to stem the tide of the anti-traditional, anti-White "outsiders".

The rocket/fireworks...think of the tradition of the Fourth of July, a brazen celebration of America...is like red meat to the PC attack dogs in that it drives them crazy and makes them react instinctively. The fact that this leads to a fall, fight and near death in a silo (missile silo - rocket symbology again), is representative of the same thing...America's former post WWII might and 1950' and 60's missile/rocket development. This silo is filled with corn, symbolic of the farmland/heartland of America and the roots of America's beginning, and this is where a battle is fought and important lessons learned in how to defeat the creatures. The two children almost drown in traditional White America's abundance, symbolized by a tidal wave of corn, but are able to work together to stave off the pc attack dog. 

Anytime you see or hear rockets in the movie, think of it as a giant American flag and being symbolic of the height of traditional White American power back in post WWII 1950's and early 60's.

3. The father in the film is symbolic of the traditional White male in America. He is smart, resilient, reliable and handy. He sacrifices himself so that his children can live and maybe win the war against the barbarian hordes who literally eat their enemies, children included. Unbeknownst to him, he actually develops in his basement lab the technology to defeat these vicious "outsiders"/PC attack dogs. The traditional White American male saves his family, his race and his country through his ingenuity, skill, brains and sacrifice. 

He passes along his knowledge to his son…not his daughter, who is not allowed into his lab. He takes his son, not his daughter, on a fishing trip and teaches him about being able to yell…raise your voice and say what you want behind a wall of water (water being symbolic of the unconscious and transitions). 

It is his daughter, who is deaf, whom he tries to help literally to hear (the Truth), and in so doing she is able, along with her mother's shotgun, to defeat the invading beasts who threaten to devour them all. 

The father, in truly traditionalist form, is tasked with defending and protecting his family by his wife/mother to his children. He does so when he sacrifices himself, in front of his wife's eyes, thus making himself a sort of a martyr for the traditionalist cause. She, witnessing her husbands sacred sacrifice, is then transformed, and she is able to use his male energy and power after he dies, just like his daughter is able to use his hearing aid invention in order to defeat the monsters. In the end it is women who must step up in the absence of men and win the final victory. 

4. Considering all the above, there is an obvious parallel to immigration in America and traditional White America's anxiety over it. Also the stifling of dissent (particularly by establishment Democrats), which is at epic proportions over the last bunch of years, and has resulted in many negative thoughts and ideas being suppressed into the collective unconscious, and from this suppressed shadow place, these thoughts have grown and strengthened until they finally came out in spectacular fashion in the form of the beast Donald Trump. 

Trump is undoubtedly the American Shadow incarnate in all its vainglory.  

I hope to write more in the coming weeks about A Quiet Place as I think it is an extraordinarily important film in revealing the sentiments swirling around in our collective consciousness. 

©2018

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

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