"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Looking California and Feeling Minnesota: Episode 88 - Guillermo del Toro's Pinocchio

Two Pinocchios in one year? You better believe it! On this episode, Barry and I don our wooden shoes and head to Geppetto's workshop to debate the merits of Guillermo del Toro's stop-motion animated Pinocchio, available on Netflix. A bevy of heavy topics are discussed, including death, religion, and Barry's shocking Christmas confession.

Looking California and Feeling Minnesota: Episode 88 - Guillermo del Toro's Pinocchio

Thanks for listening!

©2022

Obi-Wan Kenobi (Disney +): The Final Verdict

****THIS ARTICLE CONTAINS SPOILERS!!! THIS IS NOT A SPOILER FREE ARTICLE!!!!****

Obi-Wan Kenobi, the Disney + money-grab of a mini-series has finally come to its miserable conclusion.

I wrote a wholly negative review of the first three episodes of the show and remarkably the series managed to make the last three episodes even worse than the first three.

A drunk toddler playing with its feces in a bathtub has more commitment to narrative coherence than the makers of Obi-Wan Kenobi. It’s not hyperbole to say that Obi-Wan Kenobi is so illogical, idiotic and imbecilic as to be insulting.

For example, not once, not twice, but three times in this series, a character is killed/left for dead and then comes back to life.

Reva Sevander (played by the impossibly awful actress Moses Ingram) dramatically “kills” the Grand Inquisitor (Rupert Friend) by stabbing him with her light saber…and then he pulls a Lazarus and shows up again later. Darth Vader slices and dices Reva with his light saber but then, for some completely inconceivable reason, doesn’t finish her but just walks away and she goes on to no doubt get a shitty spin-off series (God help us!). And then there’s the Obi Wan and Vader battle where Obi-Wan vanquishes the evil one with some fine light sabering but decides to…you guessed it, just walk away instead of killing him.

To the show’s credit, the Obi Wan – Vader fight in the finale contains some of the few visually pleasing shots in the entire anemically photographed show, but for some ungodly reason they end up turning the cinematic light saber duel into a literal rock fight. Sigh.

Besides the apparent ineffectiveness of the light saber to kill anyone, other egregious inanities abound.

For example, in the finale Vader’s star destroyer is chasing and firing upon a transport vehicle filled with every single member of a rebel group, including Obi Wan. Obi Wan, in a cringy scene with O’Shea Jackson Jr., or as I call him Li’l Ice Cube, who is so bad at acting he makes his ham-handed father Ice Cube look like Sir Laurence Olivier, decides to leave the ship to distract Vader.

Obi-Wan then jets off in a small shuttle and Vader says ‘go after him instead of the rebel transport’. The Grand Inquisitor wisely retorts, ‘hey, we can kill the entire resistance right now if we go after the transport…’, and Vader says, ‘nah…let’s take this big star destroyer and follow Obi Wan instead’. Of course, anyone with half a brain in their head would say, ‘hey Darth, why don’t you go after Obi Wan in your own ship and we’ll kill the rebels?’  But no, that makes too much sense.

So then what happens? The star destroyer follows Obi Wan to some planet and then Vader says, ‘hey everybody, I’m gonna take my own ship down to the planet because I want to fight Obi Wan alone!’ If I were working on that star destroyer Vader would most definitely have strangled me because I would’ve told him, ‘Hey genius, why didn’t you do that in the first place so we could kill the resistance and finally put an end to all this stupid bullshit and put us all out of our fucking misery?’

It's this sort of clownish, childish storytelling that makes Obi-Wan Kenobi just not brutally bad but downright offensive.

The other absurd thing about the entire enterprise is that, as I stated in my initial review, it’s based entirely on false jeopardy. Obi-Wan, Darth Vader, Leia, Luke and his aunt and uncle, are never in actual danger because we know they’re going to live to star the cavalcade of movies about their futures that we’ve all seen already.

The whole series is like an grown-up watching home movies of themselves at the beach when they were a kid and trying to convince themselves they might have been eaten by a shark. You know you weren’t eaten by a shark because you’re sitting here two decades later entirely uneaten watching videos of yourself playing in the sand.  

And of course, the acting in Obi Wan Kenobi, sans a committed Ewen McGregor, is just as atrocious in the final three episodes as it was in the first three.

For example, I kept praying that they would just replace the terrible little kid playing Leia with Peter Dinklage in a wig. And I’ve already written much about the awfulness of Moses Ingram as Reva, and God-damn she is still utterly abysmal.

The thing that horrifies me about the monument to empty tokenism that is Moses Ingram’s acting career is that the ending of Obi-Wan Kenobi makes it perfectly clear that they intend to give this lackluster character and the talentless actress who plays her a spin-off series. One can only imagine the artistic and creative depths of the Disney/Star Wars septic tank that will be dredged to bring that turd to life.

In conclusion, Obi-Wan Kenobi is a great character, but Obi-Wan Kenobi is a truly heinous and atrocious, dead-on-arrival series which, if there is any mercy in the universe, will not see a season two.

If Disney does pull the trigger and there is a season two of Obi-Wan Kenobi, and/or a spin-off Reva Sevander series, the only sane response will be to simply say…May the Force Go Fuck Itself.

©2022

Obi Wan Kenobi (Disney +) : A TV Review

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. The first three episodes of this pile of crap feature some of the very worst writing, performances and direction in Star Wars history. So much so that I have lost all hope that the final three will be even remotely worthwhile.

We need to talk about the new Disney Plus series Obi Wan Kenobi. I just watched the first three episodes (the only three released thus far) of the six-episode series and holy shit. It isn’t just bad, it’s absolutely, ridiculously, insanely fucking atrocious. It is a gigantic monument to artistic, creative and narrative incompetence.

To set the context of my thoughts it should be noted that I am not a Star Wars fanatic or fanboy. I am not particularly well-versed in Star Wars mythology and lore but I do find it compelling and fascinating. That said, I have seen all the films and live-action tv shows but more out of pop culture duty and/or work obligations than anything else.

My aggravation over Obi Wan Kenobi has nothing to do with some betrayal of Star Wars canon, no my anger is because the writing, casting, directing and acting (save for Ewen McGregor – who, not surprisingly, does solid work in it) is so beyond amateurish as to be offensive. I mean, how can Disney pass this steaming pile of horseshit off on audiences and expect anybody to take it, or them, seriously?

Let’s begin with the basic premise of the show. Set in between The Revenge of the Sith (the third prequel film) and A New Hope (the original Star Wars movie), the series tells the tale of Obi Wan (Ewen McGregor reprising his role from the prequel films) as he watches over young Luke Skywalker, and eventually, young Princess Leia.

As a basic storytelling venture, Obi Wan Kenobi is already at cross-purposes with itself because if you put Obi Wan and Leia in danger in the show, viewers already know they’ll survive since there are mountains of movies in the storyline set after this mini-series that audiences have already seen which proves that point. As a big wig writer in Hollywood recently told me during a discussion about the show, Obi Wan Kenobi is based entirely on “false jeopardy”, which sounds like a direct-to-video Bruce Willis action romp. So, there’s no drama created when Obi Wan and Leia are put in jeopardy in the series because we all know they aren’t really in danger because we’ve followed their storylines for forty years.

Speaking of danger, the action sequences In Obi Wan Kenobi are the worst I can remember in a film or tv series. Deborah Chow directed the entirety of the series and she is so hapless and hopeless in the director’s chair that she should not only be banned from directing ever again for the length of her natural born life, but also, as a punitive measure, be banned from watching any sort of entertainment ever again.

An example of Ms. Chow’s incompetence is a fight in episode three, the details of which I will refrain from sharing for spoiler reasons, that is so visually and viscerally anemic and so devoid of any sort of narrative logic, that it looked and felt like something a mental defective child in a North Korean prison created while playing with straw action figures.

There’s also the absurd and ridiculous sequence where ten-year-old Little Leia runs away from three adult male kidnappers and it looks like parents letting their toddler score a touchdown during a family’s Thanksgiving Day touch football game so as to avoid a tantrum. The men (who are truly dismal at pretending to chase someone) in the scene keep running into fallen trees while pursuing Leia, who is apparently the most unathletic girl in the universe, as she “runs” away from them like she’s running under forty feet of water.

The girl cast as the ten-year-old Leia is nine-year-old Vivien Lyra Blair, who besides running like a midget with polio also happens to portray the most annoying character in the Star Wars universe since Jar Jar Binks. I know Leia grows up to be a hottie in a bikini at the end of Jabba’s leash in Return of the Jedi, but I kept wishing Obi Wan would just pull out his lightsaber and slice this annoying brat in two and put us all out of our misery.

The casting of an annoying nine-year-old who looks (and runs) like a four-year-old to play a ten-year-old, isn’t the only casting atrocity in Obi Wan Kenobi.

Moses Ingram is cast as the villain Reva Sevander and is the worst adult actor to ever appear in a Star Wars film or series, which is saying a lot considering even in Obi Wan Kenobi alone film director-turned-actor Benny Safdie and Red Hot Chili Peppers’ bassist Flea give abysmal performances in supporting roles.

Ingram’s Reva is a critical role, she’s supposed to be the big bad villain but she has all the presence of a tumbleweed. Ingram’s line readings are elementary-school-drama-class-reject level of God-awful and her inability to even remotely conjure some sort of menace is staggering to behold. The character of Reva would’ve had considerably more life to it if they had cast a cigar store wooden Indian in the role instead. The bottom line is that Moses Ingram’s performance is an absolute and utter embarrassment, so much so that, as insane as it sounds, I actually feel bad for her.

Adding to my discomfort for Ms. Ingram is the allegation that she has received racist comments on Instagram from Star Wars fans. If true, that is revolting and reprehensible. But I must say, I have my doubts about the voracity of those claims, not because I have some undying belief in the goodness of humanity…I don’t, but because I don’t trust Disney or its culture warrior minions in the slightest.

In the plethora of articles I’ve read about the alleged racist comments from rabid Star Wars fans, all but one has failed to actually share what any of the racist comments are, so I’ve yet to see them. The one article that did quote them said that Ingram has received “"hundreds" of racist and threatening messages, with one telling her "you're [sic] days are numbered" and another using the N-word.”

I find this less than compelling evidence that there is a cavalcade of racism coming at Ms. Ingram. I’m sorry but someone commenting that “you’re [sic] days are numbered” is not necessarily a racist attack, it could be someone saying that she will be fired for sucking at acting – which she should be because she does in fact suck at it.

The “n-word” comment is obviously repugnant, repulsive, egregious and disgusting, but if those two comments are the worst of the “hundreds” of allegedly awful racist ones – which the article implies that they are, then that seems like Disney and its stenographers in the establishment media and online are making a mountain out of a molehill by conflating criticism with racism.

Now why would Disney conflate criticism and racism and promote the idea that one of their minority actors is being inundated with racist attacks online? Because that helps Disney signal its woke bona fides as a diverse and inclusive company, and also acts as a way to limit any criticism of the show, even non-racist criticism, by creating the paradigm that being negative towards Obi Wan Kenobi is racist and being a supporter of the show is a way to signal anti-racist virtue.  

I, of course, could not care less about the color of Ms. Ingram’s skin, I just care if she can act or not, and the evidence I’ve seen thus far is a very compelling indictment regarding her acting ability, or more specifically, her decided lack of it.

The Moses Ingram story aside, the reality is that Obi Wan Kenobi is an utter creative disaster for Disney and its Star Wars property. If this were a one-off error than you could brush it aside. But Obi Wan Kenobi being bad and boring comes on the heels of the series The Book of Boba Fett being bad and boring. The Mandalorian was a terrific series that I greatly enjoyed, but batting .300 will get you into the hall of fame in baseball, but in the Disney Star Wars universe will get you to the hall of shame…and this doesn’t even factor in the shitty the Star Wars movies of recent years.

The same is true regarding Disney’s Marvel behemoth, which, post Endgame, has been stumbling and staggering around like a barefoot drunk on a frozen lake. The Marvel tv shows have been mostly miss, and even the hits have been mediocrities, and Disney’s Marvel movies since Endgame have been relentlessly egregious misfires.

I could not care less about the health of Disney, but the truth is that they are perilously close to shitting all over themselves and both their Star Wars and Marvel properties, to such a massive degree that they’ll never be able to remove the stink.

If the next batch of Star Wars shows coming out this year, which include Andor and Ashoka, are on the same level of bad as The Book of Boba Fett and Obi Wan Kenobi, then Disney is in deep doo-doo indeed.

That will suck for Disney, but it will suck even more for the legion of Star Wars fans, who, alleged racist assholes aside, deserve considerably better.  

 

©2022

'The Book of Boba Fett' and the Future of Star Wars

‘The Book of Boba Fett’ may be a warning sign of Star Wars’ creative bankruptcy.

The Disney Plus series was a miserable misfire, as it relied on nostalgia to cover up its incompetent storytelling.

The Book of Boba Fett’, the once highly anticipated spin-off series to the stellar Disney Plus show ‘The Mandalorian’, limped to its first season finale on January 9. To say the show went out with a whimper would be a massive understatement.

When the series premiered back in December, I wrote that the show was bursting with potential but got off to a very slow start. Unfortunately, ‘The Book of Boba Fett’ never morphed into a page turner as it got bogged down by atrocious writing, anemic acting, derivative direction, lethargic action sequences and second-rate sets, costumes and special effects.

Boba Fett has long been one of the most mysterious and beloved of Star Wars characters. Despite not appearing in the original film and only having four lines of dialogue in the entire original trilogy, Boba Fett became a fan favorite because he was such a mysterious and intriguing presence.

Boba sparked the imagination of Star Wars fans like few other characters could, but the series dedicated to telling his story has disappointed fans because their imaginations are no doubt more vibrant than the suits at Disney who saw Boba Fett as little more than a vehicle for flaccid fan service and a nostalgia delivery system.

It's an act of creative malpractice that ‘The Book of Boba Fett’ turned the bounty hunter Boba Fett from badass into boring, and considering that the character was the franchise’s most iconic and interesting untapped resource, wasting this storytelling opportunity is an egregious sin.  

The failure of ‘The Book of Boba Fett’, and make no mistake the series is an abysmal failure, could be seen as merely a bump in the road, especially considering the dramatic success of its immediate predecessor ‘The Mandalorian’. But it could also be an ominous sign for the road ahead for the Star Wars franchise as a whole.

Despite hitting some major bumps in the road, like the cringe-worthy prequels and the woke-ified and feminized sequel trilogy, Star Wars has been a consistent cash cow for the 45 years it has been in existence. But you can only hit so many bumps before the wheels fall off the wagon, and in the wake of ‘The Book of Boba Fett’ one wonders if the franchise has an especially bumpy ride ahead.

As of right now Star Wars has no movies lined up to hit the big screens until December of 2023, a full four years after ‘The Rise of Skywalker’, and even that date might be optimistic.

So, the only thing for the Star Wars faithful to watch for the next two years are a bevy of Star Wars tv series which could be awesome or they could be awful.

‘The Mandalorian’ season 3 is set to premier in the second half of 2022, and if it’s anything like the previous two seasons, it should be terrific. Although, one of the most dynamic characters from the series was Cara Dune, who was played by Gina Carano. Carano was fantastic in the role but after she was labelled a heretic by the woke inquisition, Disney kicked her to the curb, and it remains to be seen if the show can adequately replace her and keep its creative momentum.

Also expected to arrive on Disney Plus this year is ‘Andor’, a prequel to the Star Wars film ‘Rogue One’ which tells the backstory of Rebel spy Cassian Andor. The series stars Diego Luna, and the biggest question is if, like Pedro Pascal in ‘The Mandalorian’, Luna can carry a series, or if like Tamuera Morrison in ‘The Book of Boba Fett’, he lacks the required gravitas to captivate audiences for a full series.

After ‘Andor’, the series ‘Obi Wan Kenobi’ is scheduled to premiere in the latter half of 2022. The show is set ten years after ‘Revenge of the Sith’ and features Ewan McGregor reprising his role as Obi Wan from the sequel films.

With McGregor starring, ‘Obi Wan Kenobi’ has no concerns about whether its lead is compelling, but there are still some concerning red flags. For instance, the series was scheduled to shoot in July of 2020 but Disney put it on hold because the scripts were so bad. Considering the abysmal writing for ‘The Book of Boba Fett’ passed muster at Disney, one can only imagine how god-awful the ‘Obi Wan Kenobi’ scripts must have been.

And when you consider that the paper-thin story of Boba Fett could only be stretched out into seven episodes, two of which ignored the lead character, and that ‘Obi Wan Kenobi’ is set to be only six episodes, it’s easy to think that this series might be, like ‘The Book of Boba Fett’, nothing more than empty nostalgia.

Other series without set release dates which may or may not hit Disney Plus before December of 2023 are ‘The Acolyte’, ‘Ahsoka’, ‘Lando’, and ‘A Droid Story’.  

Star Wars has always attracted viewers and always made money, but with Disney exploiting the fans desire for all things Star Wars by expanding the franchise, the very real possibility of overexposure, market saturation, and creative bankruptcy, which will lead to either fan disinterest or outright rebellion, exists.

If Disney goes for quantity over quality with its Star Wars tv shows and movies, eventually the brand will lose its luster and, like an imploded death star, be left a useless, hulking shell of its former self, as well as a stark reminder of the consequences of bad decisions by leadership.

 A version of this article was originally published at RT.

©2022

Birds of Prey: A Review

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

My Rating: 1 out of 5 stars

My Recommendation: NEVER SEE THIS MOVIE.

This is an extended version of a review that was originally published at RT.

The new film Birds of Prey is populated by despicable men, and feminist women who want to be just like them. The outcome: Financial losses and moral bankruptcy.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), written by Christina Hodson and directed by Cathy Yan, is the story of Joker’s ex-girlfriend, Harley Quinn, as she navigates Gotham and a series of bad guys trying to take her down. The film stars two-time Academy Award nominated actress Margot Robbie as Harley Quinn, with supporting nods from Ewen McGregor, Jurnee Smollett-Bell, Mary Elizabeth Winstead and Rosie Perez.

Birds of Prey is marketed as a girl power manifesto that re-imagines Harley Quinn without the condescending sexism feminists felt was so prominent in Suicide Squad (2016), the last movie that featured Margot Robbie as Harley.

Suicide Squad was a horrifically shitty movie, and was regarded as a box office under-performer with a notoriously troubled production history, but it still was able to scratch out $750 million in total.

Despite oddly positive - to the point of delusional - reviews from woke pandering mainstream critics, Birds of Prey won’t do half that number in its theatrical run. With a reported production budget of $100 million (which includes re-shoots) and additional marketing costs, Birds of Prey is going to lose big money for the douchebag suits at Warner Brothers.

How did things go so wrong?

Birds of Prey banished the problematic “male gaze” of Suicide Squad that allegedly dehumanized Harley by making her purely an object of desire, by employing an all female creative team that included producer Margot Robbie, writer Christina Hodson and director Cathy Yan. The production goes so far in exorcising men as to even have a soundtrack with all-female artists on it.

The problem though is Birds of Prey tries to thread the needle and make a chaotically cool combination of Deadpool meets Wonder Woman, only it doesn’t have the first clue about the sardonically masculine humor of Deadpool and the appealing feminine power of Wonder Woman, or masculinity and femininity in general.

The film’s sexual politics are aggressive to say the least. In our current cultural moment, toxic masculinity and masculinity have become synonymous, so it is no surprise that Birds of Prey goes to great lengths to denigrate and disparage all its male characters and yet also to venerate all its female ones.

Every man in the movie, with the lone exception being a character (played by the criminally underused actor Eddie Alfano!) with fifteen seconds of screen time and no dialogue, is either entitled, conniving, maniacally violent, a rapist or all of the above.

In contrast every female character wears the noble crown of resilient victimhood after having suffered at the cruel hands of men.

The portrayal of men as misogynist beasts is pretty heavy handed, as at one point Harley and female friends are surrounded and the sadistic Roman Sionis (Ewen McGregor) yells to his army of all-male thugs, “Men of Gotham, go get those bitches!”

What’s so bizarre about the supposed girl power message of the movie is that while it relentlessly tells us that men are despicable creatures, all of the female characters are lionized for trying to behave like men. Like the recent batch of feminist movies such as Charlie’s Angels (2019) and Terminator: Dark Fate, Birds of Prey believes that feminism means women should act like men.

Even more baffling is the cinematic schizophrenia of Birds of Prey, as it obviously loathes men yet is so desperate for their attention it serves up a steady supply of hyper-violence. As Harley Quinn says, “nothing gets a guy’s attention like violence…blow something up, shoot someone.”

Totally coincidentally, The New York Times published an op-ed by an actress, Brit Marling, titled “I Don’t Want to be the Strong Female Lead” on the day Birds of Prey premiered.

In the piece Marling describes strong female leads as, “She’s an assassin, a spy, a soldier, a superhero, a C.E.O. She can make a wound compress out of a maxi pad while on the lam. She’s got MacGyver’s resourcefulness but looks better in a tank top.”

In some ways this applies to Birds of Prey, since the women in it are smarter, tougher and stronger than the men, except they have been stripped of their sex appeal in a convoluted attempt to be pro-feminist.

For instance, Harley Quinn wore short shorts and alluring outfits in Suicide Squad, but in the female empowering Birds of Prey she dresses in baggy, Bermuda length shorts and a pink sports bra. It’s as if Harley went full Lady MacBeth and cried “unsex me here” and the filmmakers dutifully complied to stick it to the patriarchy.

Contrast this with the Super Bowl halftime show where Jennifer Lopez and Shakira were declared fiercely feminist when they wore skimpy outfits and literally danced like strippers.

How can female filmmakers like Cathy Yan properly tell an empowering feminist story if feminists haven’t even figured out what feminism is just yet?

This confusion manifests when Birds of Prey defines women solely in opposition to men, but then has them emulate masculinity as a show of their feminine strength.

Brit Marling wasn’t commenting on the troubling Manichean anti-male sexual politics of Birds of Prey, but she could have been, when she eloquently wrote, “I don’t believe the feminine is sublime and the masculine is horrifying. I believe both are valuable, essential, powerful. But we have maligned one, venerated the other, and fallen into exaggerated performances of both that cause harm to all. How do we restore balance?”

That is a good question, but Birds of Prey is oblivious to balance…and quality for that matter. It’s a hot mess of a movie that features derivative, repetitive and dull action sequences, and that tries to be funny, but isn’t…hell…there is a hyena in the movie and even he wasn’t laughing. Watching this thing felt like wading through an Olympic-sized swimming pool of radioactive girl power vomit.

The cast, including lead Margot Robbie, who is one of my favorite actresses, are dreadful. Robbie’s New Yawk accent is brutally distracting and completely idiotic. Robbie’s Harley Quinn makes no sense dramatically, comedically or artistically.

The supporting roles are equally incoherent. Jurnee Smollett’s Black Canary and McGregor’s Sionis are cardboard cutout caricatures that are embarrassing to behold….as is Winstead’s Huntress. The biggest crime these actors commit is that they are all suffocatingly dull in their roles. There isn’t a spark of life at all from them…or from Rosie Perez who is wildly miscast as a girl cop done wrong.

In conclusion, if equality is women making misandrist, hyper-violent, incoherently vapid and dreadful movies…then Birds of Prey is a smashing success for feminism. It is also an abysmal failure for cinema…and probably humanity. It deserves to fail.

©2020

'Birds of Prey' Hates Men, but Wants Their Money - No Wonder It's Bombing at the Box Office

Estimated Reading Time: 3 minutes 28 seconds

The new film Birds of Prey is populated by despicable men, and feminist women who want to be just like them. The outcome: Financial losses and moral bankruptcy.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) opened on Friday and stars two-time Academy Award nominated actress Margot Robbie reprising her role as DC Comics super villain Harley Quinn.

The film is marketed as a girl power manifesto that re-imagines Harley Quinn without the condescending sexism feminists felt was so prominent in Suicide Squad (2016), the last movie that featured Margot Robbie as Harley.

Suicide Squad was a horrifically shitty movie, and was regarded as a box office underperformer with a notoriously troubled production history, but it still made $750 million in total.

Early numbers suggest that despite oddly positive reviews from woke pandering mainstream critics, Birds of Prey will struggle to do half that number in its theatrical run. With a reported production budget of between $80 and $100 million, and additional marketing costs, Birds of Prey looks primed to lose money for the suits at Warner Brothers.

How did things go so wrong?

Birds of Prey banished the problematic “male gaze” of Suicide Squad that allegedly dehumanized Harley by making her purely an object of desire, by employing an all female creative team that included producer Margot Robbie, writer Christina Hodson and director Cathy Yan. The production goes so far in exorcising men as to even have a soundtrack with all-female artists on it.

The problem though is Birds of Prey tries to thread the needle and make a chaotically cool combination of Deadpool meets Wonder Woman, only it doesn’t have the first clue about the sardonically masculine humor of Deadpool and the appealing feminine power of Wonder Woman, or masculinity and femininity in general.

The film’s sexual politics are aggressive to say the least. In our current cultural moment, toxic masculinity and masculinity have become synonymous, so it is no surprise that Birds of Prey goes to great lengths to denigrate and disparage all its male characters and yet also to venerate all its female ones.

Every man in the movie, with the lone exception being a character (played by the criminally underused actor Eddie Alfano) with fifteen seconds of screen time and no dialogue, is either entitled, conniving, maniacally violent, a rapist or all of the above.

In contrast every female character wears the noble crown of resilient victimhood after having suffered at the cruel hands of men.

The portrayal of men as misogynist beasts is pretty heavy handed, as at one point Harley and female friends are surrounded and the sadistic Roman Sionis (Ewen McGregor) yells to his army of all-male thugs, “Men of Gotham, go get those bitches!”

What’s so bizarre about the supposed girl power message of the movie is that while it relentlessly tells us that men are despicable creatures, all of the female characters are lionized for trying to behave like men. Like the recent batch of feminist movies such as Charlie’s Angels (2019) and Terminator: Dark Fate, Birds of Prey believes that feminism means women should act like men.

Even more baffling is the cinematic schizophrenia of Birds of Prey, as it obviously loathes men yet is so desperate for their attention it serves up a steady supply of hyper-violence. As Harley Quinn says, “nothing gets a guy’s attention like violence…blow something up, shoot someone.”

Totally coincidentally, The New York Times published an op-ed by an actress, Brit Marling, titled “I Don’t Want to be the Strong Female Lead” on the day Birds of Prey premiered.

In the piece Marling describes strong female leads as, “She’s an assassin, a spy, a soldier, a superhero, a C.E.O. She can make a wound compress out of a maxi pad while on the lam. She’s got MacGyver’s resourcefulness but looks better in a tank top.”

In some ways this applies to Birds of Prey, since the women in it are smarter, tougher and stronger than the men, except they have been stripped of their sex appeal in a convoluted attempt to be pro-feminist.

For instance, Harley Quinn wore short shorts and alluring outfits in Suicide Squad, but in the female empowering Birds of Prey she dresses in baggy, Bermuda length shorts and a pink sports bra. It’s as if Harley went full Lady MacBeth and cried “unsex me here” and the filmmakers dutifully complied to stick it to the patriarchy.

Contrast this with the Super Bowl halftime show where Jennifer Lopez and Shakira were declared fiercely feminist when they wore skimpy outfits and literally danced like strippers.

How can female filmmakers like Cathy Yan properly tell an empowering feminist story if feminists haven’t even figured out what feminism is just yet?

This confusion manifests when Birds of Prey defines women solely in opposition to men, but then has them emulate masculinity as a show of their feminine strength.

Brit Marling wasn’t commenting on the troubling Manichean anti-male sexual politics of Birds of Prey, but she could have been, when she eloquently wrote, “I don’t believe the feminine is sublime and the masculine is horrifying. I believe both are valuable, essential, powerful. But we have maligned one, venerated the other, and fallen into exaggerated performances of both that cause harm to all. How do we restore balance?”

That is a good question, but Birds of Prey is oblivious to balance…and quality for that matter. It’s a hot mess of a movie that features derivative, repetitive and dull action sequences, and that tries to be funny, but isn’t…hell…there is a hyena in the movie and even he wasn’t laughing. Watching this thing felt like wading through an Olympic-sized swimming pool of radioactive girl power vomit.

If equality is women making misandrist, hyper-violent, incoherently vapid and dreadful movies…then Birds of Prey is a smashing success for feminism. It is also an abysmal failure for cinema…and probably humanity. It deserves to fail.

A version of this article was originally published at RT.

©2020

T2:Trainspotting - A Review

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

My Rating : 3 out of 5 stars

My Recommendation : SEE IT. If you absolutely loved Trainspotting, like I did, then see T2 for nostalgia purposes. If you were lukewarm on the original, then you can see T2 on cable or Netflix.

T2: Trainspotting, is the sequel to 1996's Trainspotting and just like the first film, T2 is directed by Danny Boyle, and is written by John Hodge based on the books Trainspotting and Porno by Irvine Welsh. The film returns the same actors who starred in Trainspotting as well, with Ewen McGregor (Renton), Ewen Bremner (Spud), Johnny Lee Miller (Sick Boy) and Robert Carlyle (Begbie) reprising their iconic roles. 

Trainspotting is one of my favorite films of all-time. Part of the reason for that is that I am the son of a Scottish immigrant and consider myself to be a Scots-phile of the highest order. The film also resonated with me because the chaos and mayhem of it rang familiar to the madness surrounding my own struggle with substance abuse a few years before the film came out. Another reason I loved the film so much was because it was such a revolutionary and inventive work of cinema. Director Danny Boyle brought a unique and distinct style and perspective to the story of junkies languishing in Edinburgh, that it felt like a whole new wave of film was being born with Trainspotting

Boyle has gone on to have a very good, but frankly, not great and often uneven career. Although Boyle is unquestionably a remarkably skilled filmmaker, he has not turned out to be a  revolutionary director, and that's ok. But part of the appeal with Trainspotting was that it felt like cinema might be on the cusp of something very big and transformative. With T2, that air of possibility is deflated and long gone, and in a certain ironic way, that benefits the theme and tone of the film tremendously. 

T2 is nowhere near the film Trainspotting was, but with that said, it is a serviceable sequel, entertaining and even insightful at times. Boyle's bag of cinematic tricks was spent on the first Trainspotting, but to the sequel he brings a self-assured and high quality craftsmanship. The chaotic and powerful energy of the first film is missing, but in its place is a proficient and calculated middle-aged desperation.

Ewen Mcgregor became a star as Renton in Trainspotting, and much like his director Boyle, McGregor has never become quite as big a star as that first major role promised. But the fact that both McGregor and Boyle have never hit the heights that seemed to be their destiny, is a wonderful backdrop for a film about lads in Edinburgh who never seem to get out of their own way or to have lived much of a life at all.

The undercurrent running through T2 is that of impotence and emasculation. All of the main characters are either incapable or disinterested in sex with women. Begbie can't get it up, Renton is sterile, Spud has lost his kids and Sick Boy hasn't closed the deal with his hot Bulgarian girlfriend. Add to that the school principal whose dirty little secret is that he likes to get banged in the ass by an attractive woman with a strap-on, and you've got a recurring theme…the deterioration and desecration of the archetypal Scotsman.

In T2, the Scotsmen have lost their balls and can only wallow in nostalgia for a time when they had them, be it 1690 or when Georgie Best ruled the world. This Scottish impotence is highlighted by the fact that the women dressed in Scottish garb greeting people at the airport are actually Eastern European. The Scotland of old is dying out and Renton, Spud, Sick Boy and Begbie are dying with it. The Scottish male is an endangered species and the existential crisis that rages at their core is why they so often turn to booze (Begbie) or drugs (Spud, Renton and Sick Boy) to medicate themselves.

The American working class is suffering through the same existential crisis as the Trainspotting crew went through twenty years ago. Opiates are killing Americans in record numbers, and there is no end in sight. The soul crushing aimlessness that festered in the soul of Edinburgh twenty years ago is now devouring an entire generation of working class Americans and whole swaths of America. In twenty years America's lost generation will be just as impotent and eternally flaccid as the T2 gang are in their sequel. 

Some of the Trainspotting crew, like Renton, have cleaned themselves up since we last saw them, but addiction is a spiritual disease and "not using" is a step in the right direction, but it isn't a cure. The spiritual ailment at the core of the Trainspotting lad's woes remains, so without some sort of emotional/spiritual/mythical catharsis, relapse is inevitable. While the machinations of the plot of T2 are a bit mundane, this sub-text is what I found fascinating. Only Spud is able to be "re-born", both literally (the vomit scene) and figuratively (as a storyteller), into a person who can find catharsis from his existential malaise. Begbie is little more than a pre-historic id searching for a skull to bash, but in the end even he is able to find a deeper meaning to his otherwise savage life through his relationship with his son. But Renton and Sick Boy are both so narcissistic and adolescent that they are incapable of any true growth and are sentenced to a lifetime hating/loving each other.

It also fascinates me that T2 is a film about nostalgia, that is itself, a form of the same nostalgia that it comments upon. The lads all think about the good old days, which weren't very good, and can barely keep up with the present, never mind consider the future. And the fact that T2 even got made at all is a tribute to the susceptibility we all have for nostalgia. We all feel the pull of either the past, or the future, anything but the terrible here and now. 

I know I enjoyed the nostalgic effects of T2, and that feeling of possibility that came along with the original Trainspotting. Like listening to Nirvana in the early 90's, Trainspotting made you feel like something was shifting artistically, and anything was possible. Cold, hard reality reared its head in the form of Kurt Cobain's heroin addiction, and the rigors of a film industry more interested in money than artistic transcendence or cultural relevance. But at least T2 brought back memories of that spirit of chaotic revolution, even if it was only momentary. 

In the same vein, I kept thinking about the Scottish Independence referendum as I watched T2. When Independence lost that vote, I wondered why the Scots didn't have the balls to tell England to go fuck off. It seems in T2, Danny Boyle asks the same question. As a nation, if Scotland could have mustered the courage to become independent from the UK, then maybe the spiritual disease that ravages the soul of Scotland could have been healed, and catharsis could take place. But it didn't happen and Scotland, and the T2 lads, are still languishing in some sort of cultural and spiritual purgatory that drives them to stick needles in their arms and sleep their useless lives away. Heroin addiction, with its enforced ritual of shooting up, is a religion that fills the void left in a spiritually vacant heart. It also gives meaning and purpose to the addicts life, as insane as that seems to people not seduced into worshipping the god of opiates and dreams, Morpheus.

At least with the initial sting of the needle, the junkie feels something, which is better than being lifeless and numb all of the time. Americans know the numb all too well, and we use any and all means available, be it food, sports, technology, porn, or TV, to numb ourselves to the slow suffocating cultural and spiritual death that is wrapping itself around us like a python squeezing its prey. The sweet sin of heroin may leave a bitter taste in your mouth, but at least it tastes better than the bullshit of the delusional American dream being shoved down your throat. 

America is stuck in its death spiral with no conceivable way out, this is why Trump was elected. The dupes who voted for him thought a grenade thrown into the system would change the trajectory of our death spiral, it won't. The Scots though, have a second chance at life with Brexit becoming reality. Scotland has another chance to find courage and get its balls back with a new referendum on Independence. I hope they can muster the strength and energy to do it, because it will be their last chance. For "no true Scotsman" would rather live on his knees than die on his feet, and if Scotland remains in the UK, the archetypal Scotsmen's balls will be permanently kept in a glass jar by the Queen's bed. Scotland will be reduced to a distant memory, to be wistfully recalled and remembered only through the aching haze of a fever dream induced nostalgia. 

©2017